Kay Bourne Arts Report – Issue #42

July 18th, 2007  |  Published in Kay Bourne Arts Report


by Kay Bourne
(pictured: Opening Night Film – I’m through With White Girls)

365 Kay Bourne Arts Report   Issue #42The 9th Annual ROXBURY FILM FESTIVAL welcomes home filmmakers who’ve exhibited previously at the popular cinematic event. The weekend celebrates indie movie makers of Color, as well as, introducing new filmmakers to the public. This year’s festival, August 1 – 5, will screen some 50 films, from documentaries to feature and shorts.

This is the fourth festival for Jibril Haynes, who shoots his movies on locations throughout Boston’s Black community. A second generation Bostonian, Haynes debuted in 2004 with “Got Yours.” He followed with “The Plague” in 2005 and “T-wins” in 2006. This year he’ll screen “Bullet Full Of Knowledge.”

Wife & husband/director & producer team, Christine and Michael Swanson return with their new film “All About Us.” They won RFF’s “Audience Award” in 2002 festival with their movie “All About You.” “All About Us,” a story of two struggling Hollywood filmmakers who travel to Mississippi to ask Morgan Freeman to star in their next movie, is RFF’s Saturday Night Feature.

This year, Milton’s Thato Mwosa offers viewers “Day of My Wedding.” She was in the 2005 RFF with “Don’t Tell Me You Love Me.”

Randy Dottin returns with a new film “Lifted.” The Cambridge native was in the festival four years ago with “A-Alike” about the divergent path in life taken by him and his brother.

Bill Willis from Mattapan has moved from in front of the camera to behind the lens. This year’s festival presents his documentary, “Shot in the Hood.” He was an actor in RFF 2002 “Missing You.”

Susan Talibah Kennedy returns with “When Spirits Dances” She was in the 2001 fest with “Griot.”

Some other 2007 Roxbury Film Festival highlights include acting coach to-the-stars, Susan Batson, with an acting workshop; “Nina Baby,” a 14-minute short about an aspiring jazz musician whose family are on the skids in L.A.; and “The Mentor” from Hollywood actress, Victoria Rowell, about the connection between the fine arts and the success of a foster child, as told through her personal life’s journey.

Roxbury Film Festival 07 – tickets and schedule information

by Kay Bourne
(pictured: Susan Batson)

364 Kay Bourne Arts Report   Issue #42 Susan Batson, acting coach to P Diddy, Nicole Kidman, Jamie Foxx and many many more is conducting an Acting Workshop at this year’s Roxbury Film Festival. She is accepting only 20 participants although additional people may observe. There will be a drawing to determine who the lucky 20 are. For a chance of a lifetime, send your name and email address to: lisa@coloroffilm.com before JULY 27.


“DINNER & A MOVIE” kicks off at this year’s RFF in conjunction with Haley House Bakery Cafe and The Color of Film Collaborative, Inc. This will be the FIRST of a few more “DINNER & A MOVIE” events throughout the year featuring independent movies, fabulous food and great company in a cinema-cafe atmosphere.

Be one of the first to experience our “DINNER & A MOVIE” with the featured film, “Cherps” on Friday evening, AUGUST 3. $25 p/p includes Haley House‘s hearty and healthy: Baked Ziti with fresh tomato and mozarella (with or without meat), Organic Summer Salad, Carmelized Rhubarb Upside-down Cake with whipped cream, herbal or regular iced tea and Hot Butter & Honey popcorn (This menu features fresh, organic and local vegetables) paired with the featured film. Beer and wine sold separately. TIckets to this event must be purchased in advance on the Roxbury Film Festival 2007 website, due to limited seating capacity of Haley House Bakery Cafe, which is located at 12 Dade Street in the parking lot, opposite the Hamill Gallery on Washington Street near Dudley Square.


Enjoy a special HALEY HOUSE EARLY BIRD SUNDAY BRUNCH SPECIAL to celebrate the Roxbury Film Festival, 9 – 10:30am, Sunday, AUGUST 5. $11 offers all-inclusive, fabulous food, “Best Breakfast in the City”!! Buffet of French toast, crustless quiche, fresh fruit, homemade muffins, scones, coffee cakes, organic coffee and teas!After 10:30am, you’re still welcome to come enjoy the regular “Haley House Sunday Jazz Brunch”, which continues till 3:30pm. For $14 it includes a more expansive menu, beverages and LIVE JAZZ! Tickets for Sunday Brunch are available only at Haley House, that morning.

Susan Batson’s official website

by Kay Bourne
366 Kay Bourne Arts Report   Issue #42 Kasi Lemmons has been an indie film maker – until now. Her first commercially made movie, “Talk To Me” opened last weekend.

Lemmons came to the 2002 Roxbury Film Festival with her feature “Caveman’s Valentine” and sat on a panel on making indie films.

She’s had wide-ranging Hollywood practice. The director of “Talk To Me” (Focus Features) has extensive acting experience in a bouquet of itty, bitty parts. Most notable, of course, is her tiny, but significant role in “Silence of the Lambs” as Clarice Starling’s roommate at the F.B.I. Academy. You also saw her in John Woo’s “Hard Target,” Rusty Cundieff’s “Fear of a Black Hat,” Bernard Rose’s “Candyman,” Robert Townsend’s “The Five Heartbeats, Robert Bierman’s “Vampire’s Kiss,” and Spike Lee’s “School Daze.”

All along, however, Lemmons has had her eye on the director’s seat.

Her helming debut was the atmospheric indie feature “Eve’s Bayou” about a wayward husband as seen through the eyes of his young daughter. The tangled, backwoods Louisiana tale of a prominent physician played by Samuel Jackson, who also produced the film, evidenced Lemmons‘ knack at revealing depth of character while spinning a mesmerizing story.

“I’d gone to film school so I knew I wanted to direct,” said Newton, Massachusetts’ native Lemmons about transitioning from acting to directing. After graduating from the Commonwealth School in Boston, Lemmons went on to NYU and Circle-in -the-Square theater school in New York. She also studied dance with Alvin Ailey, as well as, history and psychology at UCLA. She’s married to actor Vondie Curtis Hall whom she cast in “Talk To Me.”

Some of the elements important to her as a director, she said in a recent conversation at The Ritz on Avery Street “is that you hire great actors and then you take them almost over the line with their characters, but pull them back from going too far.”

“That’s directing to me.” And, indeed, Lemmons gets an on-the-edge performance from the magical Don Cheadle as Washington, D.C. radio jock Ralph Waldo “Petey” Greene, Jr. (Cheadle like Jackson with “Eve’s Bayou” is a producer of this film). Also up to Lemmons‘ challenge is the rest of her stellar cast, including Chiwetel Ejiofor, Cedric the Entertainer, Taraji P. Henson, Mike Epps, and Martin Sheen.

Another directing concern she said is watching “where the drama is placed and where the comedy is placed. Don would find it and I could hear it in his voice.”

She was particularly anxious about this aspect of the story of the flamboyant ‘Petey Greene’, a borderline alcoholic and street philosopher. “I worried that it would be slick and silly under the wrong direction.”

As to the story of an ex-con who wins the trust of tens of thousands of listeners, she said, “I wanted to key into the emotional integrity of ‘Petey Greene’ but I never saw ‘Talk To Me’ as a bio pic. For me, the focus is more on the relationship between the radio exec, ‘Dewey Hughes’ played by Ejiofor and ‘Petey’. The movie is told from ‘Dewey’s’ point of view.

“It’s easy to get defused directing a bio picture. I wanted to delve into the human behavior of the people. No one is absolutely heroic and they have demons they’re wrestling with,” she observed.

She also had the history of the moment to take into account, which is the events leading up to the assassination of the Rev. Martin Luther King, Jr. “It was a matter of respecting the feel of history and the facts of the times without being imprisoned by it,” she said.

Her background as an actor working with some fine directors has also informed her own directing. “I’ve learned from other directors how to be quiet and not scream at actors.

“Directing is a private art. One hundred and twenty people may be on the set looking, but you have a personal conversation with actors. There’s nothing worse than screaming directors,” she said.

IMDB – Kasi Lemmons

by Kay Bourne
367 Kay Bourne Arts Report   Issue #42 Johnny Lee Davenport has a passion – Shakespeare!

He dreams of acting in every one of the bard’s plays.

With “Midsummer Night’s Dream” on the Boston Common, he’s chalked up twenty-seven. He’s in the home stretch! Shakespeare is credited with thirty-seven plays, plus collaborating with John Fletcher on “Two Noble Kinsmen.” Davenport’s most recent was “Love’s Labour’s Lost” with the Actor’s Shakespeare Project in Harvard Square, which followed a two month tour of Ireland as Othello, with an otherwise, all-Irish cast.

Born in Shreveport, Louisiana, Davenport, who turns 57 shortly, grew up in the ‘Jim Crow South’. For the atmosphere of his childhood, think: Kasi Lemmons film “Eve’s Bayou,” which Davenport loves.

“On hot days, the roads were red dirt for miles. It was pretty wonderful, in its own way, even with the racism, because we were protected by our parents. Living there was a separate joy.”

“Not until we went North did I realize the fear my father raised me under. In my high school there were only six blacks the class of six hundred. My father flipped the first time I brought home a white friend.”

Being Black in America has given Davenport an edge in acting, he feels, a way of developing depth in a character. “To say one thing and protect the other, to keep ourselves out of harm’s way.”

In “Midsummer Night’s Dream,” Davenport plays the dual role of Theseus and Oberon. One of Shakespeare‘s most popular comedies (Davenport has acted in three previous productions), the story about magic, mayhem, and romantic misadventures, is free to the public JULY 24 -29.

You’re also welcomed to attend open dress rehearsals JULY 21 and 22, 8pm curtain call. During regular performances, there’s a matinee on Saturday, JULY 28, at 3pm. The Citi Performing Arts Center production is directed by Steven Maler. The performances are at the Parkman Bandstand.

Commonwelath Shakespeare Co. official website

by Kay Bourne
(pictured: Antiguan artists with DeAma Battle, Chair of CMAC Board)

368 Kay Bourne Arts Report   Issue #42 Is that tree outside your window staring at you?

“Woodism and “Jumbie” aesthetics inspire the art of three African-Antiguan artists currently exhibiting together at the Cambridge Multicultural Arts Center.

Friends from youth, in the small Caribbean nation, Errol Edwards, Zucan Bandele, and Mali Olatunji have since migrated to this country. A drummer, a dancer, and a longtime in-house photographer at New York’s Museum of Modern Art (MOMA), as well as, graphic artists, they remain involved in the centuries-old native culture of their homeland. ( At the time of emancipation, 1834, the African population of Antiqua, mostly Yoruba, was 37, 808 or 93.5 % of the settlers overall; the island was effectively an extension of a West African village, and while the population has since about doubled, Black Antiguans are still by far the dominating citizenry.)

The thought-provoking exhibit continues through AUGUST 10 in a second floor gallery at CMAC, 41 Second St., Cambridge, one block from the Lechmere MBTA stop.

Jumbies are spirits who are featured in West African-influenced storytelling. They are the offspring of the dead but their ethereal presence remains among the living. They reside in nature and maybe especially in trees, although they can move about, primarily at night. So, as you would imagine, some Jumbie stories are cautionary tales related by parents to keep children inside at the midnight hour.

Masterful conga player Errol Edwards used his wood carving skills to create 20 or so intricately designed walking sticks that hang from ropes forming several lines. The effect is a march of griots (storytellers).

Zucan Bandele most recently earned a rave review from a Boston Globe critic for his dancing at Northeastern University‘s annual concert devoted to John Coltrane‘s music. A recent graduate of Mass. College of Art, Bandele‘s masks and paintings reflect the Yoruba orishas he’s known for interpreting in dance. For example, the exhibit includes an acrylic of the orisha or spirit of the ocean and rivers which he paints standing next to a conga player, perhaps, Edwards. When this spirit is danced, Bandele is inside the structure which is initially seen as a mushroom-like being, about three feet tall. The dancer then causes the costume to expand until it reaches a height of twelve feet or more.

A scholar on the history of Antiguan culture, Mali Olatunji‘s article in the spring issue of “The CLR James Journal/A Review of Caribbean Ideas” is a thorough investigation of art over the centuries in that island nation and a useful guide to jumbies and “woodism.” He also describes, in wonderful detail, his experiments as a photographer in expanding that art when it intertwines with the notion of a spirit dwelling in a tree.

Peering through the bark, at various scenes in New York City, the Jumbie enjoys Central Park and other urban nooks, just as you will likely enjoy the textured and new way of seeing otherwise familiar city terrain.


The Cambridge Multicultural Arts Center also hosts live entertainment with the Stan Strickland Group appearing JULY 20. The jazz reeds player is coming off of his one-person autobiography drama at the Boston Center of the Arts which won both an Elliot Norton award and an IRNE award (Independent Reviewers of New England). Following Strickland will be Valerie Stephen’s tribute to Nina Simone on AUGUST 4, a fabulous evening of singing which she debuted at the Piano Craft Gallery a month ago. She’ll be accompanied by first rate instrumentalists: Frank Wilkins – keyboard, Yoron Isreal – drums, Vicente LeBron – percussion, and Thomas Hebb – bass.

Cambridge Multicultural Arts Center website

by Kay Bourne
(click image on the right to visit NNenna’s website)

369 Kay Bourne Arts Report   Issue #42 Cambridge sees its own under the kliegs at this year’s jazz festival in Newport, Rhode Island.

On opening night, The JVC Jazz Festival – Newport celebrates one of its splendid programs of the past with “Newport ’57 Revisited: The Legacy of Ella, Billie, & Basie.

The glorious music of yesteryear is beautifully echoed with a Friday, AUGUST 10, 8pm concert on the tennis courts at the Newport Casino featuring Dianne Reeves & her band and The Count Basis Orchestra with special guest artist Nnenna Freelon.

Born Nnenna Pierce, the daughter of Charles and Frances Pierce, the Concord Jazz Recording artist‘s first audience was her home church, St. Paul’s AME.

Recently, the Count Basie Orchestra teamed with Nnenna Freelon, the multi-Grammy nominated vocalist, celebrating the 100th anniversary of Count Basie’s birth and the 75 years of the orchestra. The first Newport Jazz Festival, produced by George Wein was at the very same casino, back in 1954. For tickets or more info you can call 401-847-3700.

JVC Jazz Newport RI website

by Lisa Simmons and Robin Saunders
(click Cheadle’s picture on the left, to go to the TALK TO ME website)

373 Kay Bourne Arts Report   Issue #42If it’s been a while since you’ve been to a good Black movie, then your wait is over. Kasi Lemmons‘ film “TALK TO ME” is one that is well worth seeing.

Inspired by the true life of a activist, Ralph Waldo ‘Petey” Greene, Jr., (played by Don Cheadle) “TALK TO ME” explores relationships between individuals as they navigate through life at a very tumultous time in American history, during the Civil Rights Movement. A relationship between two men; about understanding a person’s character and taking chances on people who would normally be disregarded, based on their appearance or general nature.

Chiwetel Ejiofor‘s character, Dewey Hughes is straitlaced and an upstanding member of society who is an executive at a radio station broadcasting to the Black community of D.C., while Cheadle‘s character is an ex-con who is loud, brash and highly opinionated. Their relationship begins based on need. They each need something from each other, but as the movie progresses we see the relationship develop into friendship and admiriation for each other’s talents and strengths.

Lemmons uses music as another ‘character’ in this film as it informs, explains and weaves together the story and its players. From the opening sequence of Petey Greene’s prison DJ ‘rap’ as Dewey Hughes gets ready for his visit with his brother (Mike Epps), to the ending song, Sam Cooke’s “A Change Is Gonna Come,” this film is lyrical and filled with Soul. Lemmons, her cast and crew, all listened to over two thousand songs while in production, to stay in the mood and time frame of the movie and you can both see and hear that her homework has paid off. The TALK TO ME soundtrack is available on Atlantic Records.

The film is a definite Oscar nod for Don Cheadle who is brilliant in this film as “Petey” Greene. Chiwetel Ejiofor and Taraji P. Henson give stellar performances as Martin Sheen, Vondie Curtis Hall, Cedric the Entertainer and Mike Epps all round out this amazing ensemble of actors.

“TALK TO ME” opened last week, in select theaters around the country, and is currently at Kendall Square Cinema, Cambridge and AMC Boston Common Theater. So gather up a group of friends and go see the movie we can’t stop talking about!

To learn more about D.C.’s Petey Greene, pick up “Laugh If You Like, Ain’t A Damn Thing Funny, The Life Story of Ralph ‘Petey’ Green as told to Lurma Rackley.”

Kendall Sq. Cinema’s website

review by © 2007 Josiah Crowley
(Click the image on the left to go to the YOU KILL ME website)

374 Kay Bourne Arts Report   Issue #42YOU KILL ME

It seems to be the summer of the Alcoholics Anonymous member/Serial Killer at the movies. First, in the thriller “MR. BROOKS”, Kevin Costner played a psychotic killer – and member of good standing of AA. Now in “YOU KILL ME” comes Ben Kingsley as Frank Falenczyk, a man whose drinking is getting in the way of his work. While he’s supposed to be working, he passes out in his car. Which is never a good career move. Especially if, like Frank, you’re a hitman.

At this point in the offbeat comedy, Frank is given an ultimatum by his boss: join AA and get sober, or else… Many people with substance abuse problems are given this choice by their bosses. The twist here is Frank’s profession.

His boss, Roman Krzeminski, played by the great character actor Phillip Baker Hall, the head of the Polish mob who runs the underworld in present-day Buffalo, orders Frank out to San Francisco. “A change of scenery will do you good”, says the empathetic mobster.

Kingsley, one of our great actors whose range seems to be endless, from “GANDHI” to “SEXY BEAST”, here displays a hilarious comic ability along with strong acting skills. His expressions are unbeatable as Frank joins a group of people who seem to enjoy crying and sharing their weaknesses. And they hug. A lot. This is a whole cultural shock to Frank. At the same time that he’s turning in a farcical performance, Kingsley‘s body language also subtly displays his character’s physical/mental detoxing. And he is joined by that brilliant comic actress, Tea Leoni, who falls in love with the gangster.

Offbeat? Sure. Unbelievable? Definitely. But – as members of Frank’s AA group say – “Let go” … if you do, you’re in for a great time. “YOU KILL ME” is, to be sure, a great hit.


(abridged review)
by Mervan OsBourne

Director David Yates faced a formidable challenge in bringing this, the longest and most dense of the Potter books to screen. Author J.K. Rowling‘s book introduces many new and substantive characters (a favorite being the wonderfully flaky ‘Luna Lovegood’) to the growing wizardry community. Most significant of these additions are the members of the Order of the Phoenix, a kind of underground fraternity of rebel witches and wizards. This small group of powerful conjurers are veterans of the first big battle with evil Lord Voldemort and are sworn to confront and defeat him in the inevitable WWII that has clearly been foreshadowed. Yates plays with the ‘great war’ parallel throughout: heavy Nazi overtones permeate his Ministry of Magic, the political center of the wizarding world and the Order of the Phoenix group has a decidedly French Résistance vibe.

Minister of Magic Cornelius Fudge is certain that his old political adversary and Hogwart’s Headmaster Albus Dumbledore has been plotting to build an army that will one day overthrow him from his post- Fudge’s corruption has been well documented in previous installments. To address these fears, Fudge appoints one of his cronies, Dolores Umbridge to the Hogwart’s staff and hands her the authority to make sweeping changes at the school. Umbridge is one of the most unforgettably oxymoronic paradigms of evil in recent memory- a brilliant fusion of June Cleaver and Josef Mengele who surrounds herself in flouncy pink Chanel suits and Persian cat paintings yet happily draws blood in her sadistic punishment rituals.

In short order, all manner of new rules take effect. “Harry Potter and The Order of the Phoenix” is a much more mature film than its predecessors, in many ways that have everything to do with the filmmakers’ decisions about which elements of the book to exclude. The action, particularly the fighting in this film takes on a more serious and treacherous tone. At the end of film 4, Cedric Diggory met his death at the hands of Voldemort and in this film, death strikes even closer to Harry’s heart. Thankfully, the main trio of young characters appears to be growing comfortably into their maturing roles, something that easily could have failed the franchise. Hermione (Emma Watson) and Ron (Rupert Grint) have developed true chemistry and Harry (Daniel Radcliffe) is mostly effective, if a bit overwrought playing up the pathos and inner torment of Rowling‘s hero. While The Prisoner of Azkaban remains the best of the Harry Potter books, it has, with the release of this film been clearly supplanted as the most satisfying film in the series.

Harry Potter official website

interview by Soul Brown
Griot House “Oral Traditions” Radio

370 Kay Bourne Arts Report   Issue #42 Boston get ready for the next infusion of low down, swampy, funk-dripping, sweat releasing, spirit-rising music as Papa Mali rolls into Harper’s Ferry in support of his second release on San Francisco’s Fog City label, “Do Your Thing!” featuring down home jam sessions with originators and standard bearers of New Orlean’s musical traditions.

Doing his thing for over 30 years on professional stages since the age of 16, Papa Mali nee Malcolm Welbourne carries the sounds of the low lands in his guitar case along with original, dub-influenced compositions. After many years, his smoky Southern road show is being received at North America’s largest festivals this summer, and he’ll be touring Europe for the first time in August on a twin bill with good friend Cyril Neville, percussionist and vocalist for the famed Neville Brothers.

I spoke with Papa Mali as he was traveling from Burlington to Canada, before returning to Boston to close out the northern leg of his tour.

SOUL: I heard your name and right away said, “cool, African”. PAPA MALI: Yeah, that’s probably what people think. The only connection is the folks who gave me my nickname years ago. I was on tour with Burning Spear and all reggae musicians have nicknames. My real name is Malcolm, so they were calling me, Mali, then they found out I had a bunch of kids (four at the time, six now) and from then on it was Papa Mali.

S: Sort of like Papa was a rolling stone… Have you been to Africa? PM: I’ve never been, though I do enjoy West African music. There’s some influence of that in my playing, though most of my musical influences come from the swampy, funky sound of New Orleans.

S: Tell me about “Do Your Thing!” it sounds hip. Was there any other direction for this record other than come out and play? PM: There’s a spiritual thread that ties the record together. Parts of it feel almost like a séance because of the vibe I create when I play, which is that of calling on spirits. And then some of the people who I played with, they have very shamanistic qualities. It’s very uplifting. You have to listen to this record in the dark with headphones on… It’s like there are ghosts in the tracks.

S: You hear that a lot about New Orleans, why is spirituality so important to music there? PM: It’s an old city, like Boston. Any time your walking in a part of town where the buildings were built 300 or 400 years ago, you can’t help but feel the presence of those who walked before you. It’s not like we have a ouiji board out or are trying to call on dead people; it’s that we have respect for all the souls, both musical and spiritual that have come before us; people who influenced us and guided us to get to the point where we are now. And there’s this history of voudon . . . that is not all about black magic. The word itself actually means ‘closer to God’ and has to do with praying to saints and burning candles so it’s not that different from Catholicism. That’s not to say that’s what we’re about, but it does influence what we did in those sessions.

S: Who played on the album with you? PM: Kirk Joseph, founding member of the Dirty Dozen Brass Band. He plays the bass which is the defining factor of what makes it funky. He was largely responsible for the whole tradition of brass bands playing funky music. The Dirty Dozen started it all about 25 years ago. Henry Butler, who’s considered the musical heir to the piano tradition that was started by people like George Booker and Professor Longhair. And Big Chief Monk Boudreaux, the foremost ambassador of the whole Mardi Gras-Indian scene, which is responsible for some of the direct ties to Africa. He plays percussion, chants, sings and actually lent lyrics to a couple of songs.

S: This was all done before Katrina? PM: Yeah, the whole record got postponed because of that. We had to take a few steps back and wait for everybody to regroup before we could finish.

S: Do you feel, in some ways, the record captures something that was in New Orleans, that’s no longer there? PM: I was worried about that. But you know, it’s coming back! There are parts that will take longer. . . but anybody who’s not from there can still go and get the New Orleans experience. In fact, I encourage everybody to attend Jazz Fest if you’ve never been or Mardi Gras.

S: “Do Your Thing!” picks up from a lot of cultural roots, what is it that you bring that’s new? PM: I think the thing that makes my approach unique is first, I grew up in Louisiana so I have the authenticity factor. More importantly, for many years I was like a musicologist trying to absorb all the musical styles that I could including African, reggae, dub, the music of my native Louisiana, blues and funk from my friends, as well. (There’s) an underlying spiritual quality in my music. For some reason, I can just channel it . . .Every time I open my mouth or pick up a guitar, I’m very humbled by that. I’m just open to the possibility of extraordinary things happening every time I play.

Papa Mali will be conjuring up the ghosts of Crescent City this Saturday, JULY 21 at Harper’s Ferry, 158 Brighton St, Allston.

Harper’s Ferry website

375 Kay Bourne Arts Report   Issue #42The Annual Collaborative Cookout is going through a metamorphosis in its eighth year, now becoming The Boston Soul Music Festival taking place this Saturday, JULY 21, noon – 7:30pm at UMass Boston, with The Color of Film Collaborative, Inc. and ACT Roxbury as hosts.

The day’s theme is “Addressing Health Care Disparities and Promoting Volunteerism,” therefore, numerous healthcare and volunteerism organizations will be on location to distribute information, conduct health screenings and recruit volunteers.

As always, the event allows its participating community organizations and sponsors, such as Downtimeonline.net, Delta Sigma Theta Sorority, Inc., Omega Psi Phi Fraternity, Inc., First Fridays United, Sportsmen’s Tennis Club, National Black Collage Alliance, Matthew Entertainment, Urban Leage of Eastern Massachusetts, NAACP Boston Branch, Touch 106.1FM, and others, a chance to thank their volunteers, patrons and employees, while having a full day of fun, music, games, networking and socializing for the entire family, with this year’s added bonus of various Soul and R&B recording artists.

For further info, visit the Boston Soul Music Festival‘s website. Boston Soul Music Festival official website

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The Color of Film Collaborative is a non-profit organization that supports and fosters the individuals and organizations in the creation of diverse images of people of color in film, video, theater and other media, by providing artists with opportunities to exhibit, distribute and find funding for their work, as well as provide a supportive environment where they can share and develop their ideas, their vision and their work with their peers. About Us

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