"TV Party," a Cocktail Party That Could Be a Political Party by Nitzan Koshet May 16, 2005 @ 6:18 PM - New York

Total Page:16

File Type:pdf, Size:1020Kb

"TV Party," a Cocktail Party That Could Be a Political Party By Nitzan Koshet May 16, 2005 @ 6:18 PM - New York “TV Party,” a documentary film directed by Danny Vinik of Brink Films and produced by Kai Eric and Vinik, recently debuted as part of the Tribeca Film Festival in New York City. It follows the making of Glenn O’Brien’s TV Party, the colorful do-it-yourself cable TV show that aired from 1978 to 1982 in NYC and includes interviews with the crew and guests looking back on the crazy times. Yesterday, Brink DVD (www.brinkdvd.com ) released “TV Party” the documentary in a limited addition 3 DVD box set along with two originals episodes of TV Party. Hosted by Glenn O’Brien, a column writer for Andy Warhol’s “Interview” magazine, it also featured Chris Stein, the guitarist of Blondie, Walter Steding as the experimental orchestra leader of the show and an eclectic group of their bohemian friends directed by underground film director Amos Poe. Half talk show and half wild party, “TV Party” the show captured the trends of the time such as public access cable TV, punk rock, and radical fashion statements. Most shows opened with O’Brien saying, “Welcome to TV party, The TV show that is a cocktail party, but which could be a political party,” with his dry and oh-so-charming sense of humor. Says O’Brien, the show was based on Hugh Hefner’s Play Boy After Dark TV show, the first show to be held in the format of a party. The attendees were mostly artistic icons of the time - Andy Warhol, Jean Michel Basquiat, Fab Five Freddy (host of ‘Yo! MTV Raps’), Tim Wright (of DNA), Debbie Harry (of Blondie) were all regular guests. Others simply followed the friendly call of O’Brien, “If you can find us, you can join” - partying together, playing live music, talking, doing drugs - not necessarily in that order - all on live TV. Fashion Wire Daily talked to Vinik about the controversial happenings of the ‘80s and the documentary he directed about it. Vinik is the creator of Brink Media, a company that creates web solutions and marketing campaigns with clients such as Kevin Spacey’s filmmakers community site (www.triggerstreet.com) and Christy Turlington. SEARCH He also launched The Brink, a group of entertainment companies and Brink Films that released SPUN (2003), Porn Star Pets (2005) and TV Party (2005). How did you become involved with “TV Party?” Articles I was aware of “TV Party” many years ago during the show itself when a friend of mine, performance artist Bruce Geduldig, had just been on the show. Fast forward to Photos present day and my partner (in Brink Media) Kai Eric, was asked by Glenn O'Brien for some advice on how to archive and save the tapes from decomposing. You are currently What were the 80's about for you? logged in as All of my ideas about fashion and art were completely formed by 1979. The eighties sammy67 didn't have much to do with that for me, although that was a decade of great creative + YOUR ACCOUNT freedom for artists. I myself spent the first half of the eighties in a drug induced stupor + LOGOUT and the other half getting out of that stupor. SIGN UP FOR A FREE What’s the message of TV Party? DAILY FIX I don't really see it as having much of a message; it's more of a document of a time that has passed. A moment came and gone. It's a close look at the origins of a particular strain of fashion and art virus that continues to infect young people today. What was it about downtown Manhattan of the '80s that inspired you? Following the pathetic hippies of the seventies, anything seemed possible. We were winning. It was a time when petty rebellion really did work and really pissed people off. This was before the right wing got their s**t together and made all media meaningless, like it is today. How did the scene change since? People from those times have either bought real estate and today live well or have became very poor and are living very poorly. Do you think TV Party influenced the media? Where is DIY TV today? TV Party not only influenced the media, it was the media. Then the media swallowed it whole and now Rupert Murdoch (CEO of News Corporation) owns every thought. How do you feel about reality TV? Sometimes it makes me laugh, but mostly it bores me s**tless. Where is the underground scene today? The underground doesn't exist anymore in geographical "places" like New York or San Francisco. Now it exists on the Internet at domains like www.brink.com and www.heavy.com...The corporate world will try to once more absorb it, but hopefully the Internet is anarchistic enough to resist that. Who do you think will enjoy this film? Just about any man, woman, or child with eyeballs. Drugs seemed to play a big part in TV Party. Did you get any negative reactions to that aspect while working on the film or screening it? It was expensive keeping the editor supplied with grass. I like what Robert Aaron says in the film, ‘Sure it was drug fueled, so what? A lot of great artists walked the earth during that time.’” Did you make any discoveries while working on this project? Chris Stein (Blondie) is an amazingly cool person. Do you support the ideas of TV Party (Anarchy, self-expression, and so on)? Well, it's not like anyone is taking contributions....but sure I support free thinking and fun and socialism in the way the visionary political thinker Glenn O'Brien imagined it....‘If you want to be a socialist you have to be social. Socialism means going out every night. Call up your friends and discuss the issues with them...’" Where can we see TV Party after Tribeca Film Festival? BrinkDVD is distributing the documentary domestically, along with (over time) 10 episodes of the show. We also hope to be able to have some sort of limited theatrical run and we are currently exploring our options there. Stay tuned to www.brink.com for more information. Add to Shopping Bag :: Printable Version :: E-mail to a Friend :: Go Back ADVERTISE WITH FWD HEADLINES ▪ NEWS ▪ FASHION ▪ LIP ▪ BEAUTY ADVERTISING ▪ ABOUT US ▪ ESPANOL ▪ TERMS © 1999 - 2005 FWD FASHION WIRE DAILY .
Recommended publications
  • Innovation Diffusion: Marketing Drivers of Hip-Hop Success
    Innovation Diffusion: Marketing Drivers of Hip-Hop Success Chuck Tomkovick, University of Wisconsin-Eau Claire Justin Eder, Hip-Hop Event Organizer & Artist hen Clive Campbell, aka DJ Kool Herc, organized an after-school party in 1971 at his sister’s request, he had little idea he was inventing hip-hop, and even less of an idea Wthat his South Bronx style would spark music and fashion innovation for generations to come.1 By hopping back and forth between two turntables using duplicate copies of the same record, Kool Herc was able to extend the percussion breakdown (“the breaks”) of songs, enabling break-dancers and emcees to show and prove their skills.2 From this eclectic collage of deejaying, break-dancing, graffiti expression, and emceeing, hip-hop culture was born.3 Fast-forwarding to today, hip-hop has been an amazing commercial success. With over $12 billion in estimated annual sales4 (comprised of CDs, DVDs, digital downloads, clothing, books, magazines, ringtones, beverages, and other assorted products), the size and scope of hip-hop merchandise, and its widespread adoption, is the envy of many in the world of pop culture. Curious onlookers and those appreciative of marketing’s role in innovation diffusion wonder how this culture has spread so pervasively. Where is hip-hop in its product life cycle? Why are people of such diverse geographic and ethnic backgrounds so willing to embrace a culture that was spawned primarily by minorities in the South Bronx? Answering these and other related questions provided the motivation for this marketing module. 1 # # ʯ%ÿ৺ %# ʯ6ʯÿ6ʯ֊8ӹӹޱ״ȶʯϻ% $ÿ״ʯÿ8# ÿ6״6৺ϻ$ÿ6״״7 2 Marketing Drivers of Hip-Hop Success The diffusion of hip-hop culture, from its earliest days to its powerful world stage presence today, can be attributed to four major market- ing forces: rhythmic market visionaries with a penchant for fashion and branding, innate consumer attraction to underdogs and rebels, the merging of media and modern technology, and unabashed corpo- rate co-optation.
    [Show full text]
  • Green the Green Book
    Book # 1 THE GREEN BOOK Universal Zulu Nation Infinity Lessons Archive 1973 - 2000 FOR THE MASSES Compiled By : King Mark Luv & Malika Saphire Table of Contents Myths and Misconceptions ..................................................................................................................................................... 2 Laws and Regulations of the Universal Zulu Nation Part 1 (1 – 20) ........................................................................................ 4 Laws and Regulations of the Universal Zulu Nation Part 2 (21 – 46) ...................................................................................... 5 INFINITY LESSON ONE ............................................................................................................................................................. 6 ABOUT ZULU NATION ......................................................................................................................................................... 6 Message to the People........................................................................................................................................................ 7 INFINITY LESSON TWO ............................................................................................................................................................ 8 THE HISTORY OF AFRIKA BAMBAATAA ............................................................................................................................... 8 INFINITY LESSON THREE .......................................................................................................................................................
    [Show full text]
  • 0 Musical Borrowing in Hip-Hop
    MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A. Williams, BA, MMus Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy September 2009 0 Musical Borrowing in Hip-hop Music: Theoretical Frameworks and Case Studies Justin A. Williams ABSTRACT ‗Musical Borrowing in Hip-hop‘ begins with a crucial premise: the hip-hop world, as an imagined community, regards unconcealed intertextuality as integral to the production and reception of its artistic culture. In other words, borrowing, in its multidimensional forms and manifestations, is central to the aesthetics of hip-hop. This study of borrowing in hip-hop music, which transcends narrow discourses on ‗sampling‘ (digital sampling), illustrates the variety of ways that one can borrow from a source text or trope, and ways that audiences identify and respond to these practices. Another function of this thesis is to initiate a more nuanced discourse in hip-hop studies, to allow for the number of intertextual avenues travelled within hip-hop recordings, and to present academic frameworks with which to study them. The following five chapters provide case studies that prove that musical borrowing, part and parcel of hip-hop aesthetics, occurs on multiple planes and within myriad dimensions. These case studies include borrowing from the internal past of the genre (Ch. 1), the use of jazz and its reception as an ‗art music‘ within hip-hop (Ch. 2), borrowing and mixing intended for listening spaces such as the automobile (Ch. 3), sampling the voice of rap artists posthumously (Ch. 4), and sampling and borrowing as lineage within the gangsta rap subgenre (Ch.
    [Show full text]
  • The Acoustics and Performance of DJ Scratching. Analysis and Modelling
    The acoustics and performance of DJ scratching Analysis and modeling KJETIL FALKENBERG HANSEN Doctoral Thesis Stockholm, Sweden 2010 TRITA-CSC-A 2010:01 ISSN 1653-5723 KTH School of Computer Science and Communication ISRN KTH/CSC/A–10/01-SE SE-100 44 Stockholm ISBN 978-91-7415-541-9 SWEDEN Akademisk avhandling som med tillst˚andav Kungl Tekniska h¨ogskolan framl¨agges till offentlig granskning f¨or avl¨aggande av teknologie doktorsexamen i datalogi Fredagen den 12 februari 2010 klockan 10:00 i F2, Kungl Tekniska H¨ogskolan, Lindstedtsv¨agen 26, Stockholm. © Kjetil Falkenberg Hansen, February 2010 Tryck: Universitetsservice US AB iii Abstract This thesis focuses on the analysis and modeling of scratching, in other words, the DJ (disk jockey) practice of using the turntable as a musical instru- ment. There has been experimental use of turntables as musical instruments since their invention, but the use is now mainly ascribed to the musical genre hip-hop and the playing style known as scratching. Scratching has developed to become a skillful instrument-playing practice with complex musical output performed by DJs. The impact on popular music culture has been significant, and for many, the DJ set-up of turntables and a mixer is now a natural instru- ment choice for undertaking a creative music activity. Six papers are included in this thesis, where the first three approach the acoustics and performance of scratching, and the second three approach scratch modeling and the DJ interface. Additional studies included here expand on the scope of the papers. For the acoustics and performance studies, DJs were recorded playing both demonstrations of standard performance techniques, and expressive perfor- mances on sensor-equipped instruments.
    [Show full text]
  • The Hip Hop Lectures (Volume 1) By: Dr
    The Hip Hop Lectures (Volume 1) By: Dr. T.L. Osborne Table of Contents Introduction: Why Am I Writing This Book? Chapter 1: Page 1 African Music History: The Originators Chapter 2: Page 27 The Party is Over: A New Journey Without Beats & Freedom Chapter 3: Page 44 From Hopeless to Hopeful: The Power of Spirituals & The Impacts of Lynch, Tubman, and Turner Chapter 4: Page 82 Sold Out, But Not Necessarily a Sell-Out Chapter 5: Page 104 The Harlem Renaissance: Short-Lived With Long-Term Impacts Chapter 6: Page 216 Rock-N-Roll Ain’t Just White People’s Music Chapter 7: Page 228 The Civil Rights Movement: Fantasy versus Reality Chapter 8: Page 276 The Rise of Post-Civil Rights Movements: The Emergence of The Black Arts Movement & The Black Panther Party Chapter 9: Page 292 Soulless to Soulful: The Impact of Berry Gordy & Motown on Hip Hop Culture i Chapter 1 African Music History: The Originators Historically, Hip Hop culture is known to have started in New York; during the early 1970s. However, controversy surrounds which specific area in New York created the cultural phenomenon, called Hip Hop. The history concerning which part of New York created this influential and multi-billion dollar movement is documented in 1985. The battle rap included rappers from Queensbridge (MC Shan & The Juice Crew) versus rappers from the South Bronx (KRS-One & Boogie Down Productions). Even though, New York, is noted as the birthplace for Hip Hop culture, Hip Hop’s roots were developed before one city or state declared ownership of the cultures’ creation.
    [Show full text]
  • Kenyan Hip-Hop Artists' Theories of Multilingualism, Identity And
    “HATUCHEKI NA WATU”: KENYAN HIP-HOP ARTISTS’ THEORIES OF MULTILINGUALISM, IDENTITY AND DECOLONIALITY By Esther Milu A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Rhetoric and Writing - Doctor of Philosophy 2016 ABSTRACT “HATUCHEKI NA WATU”: KENYAN HIP-HOP ARTISTS’ THEORIES OF MULTILINGUALISM, IDENTITY AND DECOLONIALITY By Esther Milu This is a qualitative research study that constellates several theoretical and methodological approaches to understand why and how three Kenyan Hip-hop artists, Jua Cali, Nazizi Hirji and Abbas Kubbaff, engage in translingual communicative practices. A variety of data types including in-depth phenomenologial interviews, lyrical content and multimodal compositions were evaluated to understand how and why the artists used particular linguistic and semiotic resources in composing their texts and in their everyday communication. A translingual analytical framework was applied to examine these resources across various modalities of communication: verbal, written, audio, visual, performative and embodied. Findings from the study indicate that the artists translingual practices are aimed at : 1) constructing various ethnicities and indentities based on their everyday language use and not on dominant language ideologies or theories of race and ethnicity in the country; 2) engaging in language activism work by raising critical language awareness within dominant institutions, and by actively participating in the preservation of youth languages and cultures; 3) theozing and practicing diverse options for cultural and linguistic decolonization. The study concludes by proposing a translingual pedagogy that challenges students to demonstrate critical awareness of the “linguistic culture” surrounding the languages, codes and symbolic practices they use in their translingual composing.
    [Show full text]
  • 'Give Us a Million Dollars!'
    ‘Give us a million dollars!’ Hip hop’s integration of commercialism and counterculturalism as a break in the structures of cultural consumption Thomas van Gaalen 4303024 [email protected] MA Cultural History of Modern Europe Supervised by dr. Jochen Hung 1 Abstract This thesis addresses a central question posed by the popularity of hip hop. Hip hop, which integrates both explicit counterculturalism and commercialism, does not fit the dominant ‘countercultural idea’ as described by cultural historian Thomas Frank. According to Frank, the ‘countercultural idea’ is the im- plication of a dichotomous distinction between authentic, free countercultures and the grey, commer- cial mainstream. This assumption, argues Frank, has formed the foundation of cultural consumption in the second half of the 20th century. As such, a culturally dominant genre such as hip hop’s rejection of the ‘countercultural idea’ implies a break with the dominant structure of cultural consumption. To un- derstand hip hop’s integration of commercialism and counterculturalism, this thesis explores an alter- native theoretical framework based on a suggested new structure of cultural consumption, the structure of ‘omnivorous’ consumption. This structure is defined by an increasingly individual ap- proach to culture, resulting in the demise of traditional countercultures, as well as a more open, ‘cherry- picking’ approach to cultural consumption. This theoretical framework is applied to source material from the New York hip hop scene around 1980-1990, the period hip hop rose to mainstream popularity in the USA. This leads to several conclusions. Firstly, hip hop combined counterculturalism with com- mercialism early on. Whereas earlier African American genres such as jazz and rock ‘n’ roll also show- cased a similar integration, and as such, a break with the ‘countercultural idea’, hip hop’s business- focused approach functioned well within the increasingly neoliberal cultural market of New York in the early 1980s, thus resulting in a large, black-owned hip hop business.
    [Show full text]
  • The Rise and Fall of Hip- Hop Dance How the B-Boy and B-Girl Became Choreographed Count-By-The-Numbers Dancers Prologue: by Mauled Sadiq I Have a Dilemma
    <img class="progressiveMedia-noscript js-progressiveMedia- inner" src="https://cdn-images-1.medium.com/max/ 800/1*yATv4WvSeSkbcCN9uXKnyA.jpeg"> The Rise and Fall of Hip- Hop Dance How the B-Boy and B-Girl Became Choreographed Count-By-The-Numbers Dancers Prologue: By Mauled Sadiq I have a dilemma. Every time I pull up old clips of Def Comedy Jam’s first season all I see is the comedians. Which is cool. Bernie Mack made his name with “I ain’t scared of you mothafuckas” on that jawn. But we didn’t really watch it for the comedians. We watched it for that last minute or two after Russell Simmons came out and said, “God bless.” We watched for the dancers. The culture itself was founded on dancing, with the active participants, b-boys & b-girls, attending those early parties to dance to the breaks — or “the get down” part as Hip-Hop forefather Kool Herc called that one to two minute pocket of funk that drove the crowd wild. Now, whenever I see what people call good dancing I’m bombarded with boy band dances: modified New Edition, Backstreet Boys, New Kids On The Block, Nsynch, B2k type shit. I count with them, 1,2, step, 3,4,5 step. The Five Heartbeats ain’t get trained by Harold Nicholas for us to suffer through a world full of Biebers. Where’d the dancers go? Can anyone catch wreck anymore? Who gonna open a circle? And if you weren’t trained to be a Motown artist, why you dance like that? <img class="progressiveMedia-noscript js-progressiveMedia- inner" src="https://cdn-images-1.medium.com/max/ 800/1*tXSsgDCTkDrSTh0ITsGSMA.jpeg"> An ongoing joke between me and my brother Shawn McCallister is,“where is Hotdog” (Chubb Rock’s infamous Que Dog, dancer) — then we run down the list of all the MIA dancers.
    [Show full text]
  • KEITH HARING: the World of Keith Haring Featuring Fab 5 Freddy, the Jonzun Crew, Yoko Ono, Class Action, Johnny Dynell, Art Zoyd and More
    Soul Jazz Records Presents KEITH HARING: The World of Keith Haring Featuring Fab 5 Freddy, The Jonzun Crew, Yoko Ono, Class Action, Johnny Dynell, Art Zoyd and more 28th June 2019 In collaboration with Tate Liverpool, Soul Jazz Records are releasing this stunning new collection Tracklist entitled The World of Keith Haring featuring music influential to the artist Keith Haring including 1. B Beat Girls – For The Same Man Fab 5 Freddy, Yoko Ono, Gray (Jean-Michel Basquiat’s group), The Jonzun Crew, Larry Levan, Pylon, 2. Damon Harris – It’s Music Johnny Dynell and many others. 3. Pylon – Danger 4. The Jonzun Crew – Pak Man (Look Out For The World of Keith Haring is released to coincide with the presentation of the first major exhibition The OVC) in the UK of Keith Haring’s work opening at Tate Liverpool on 14 June 2019 and runs for the next 5. Funk Masters – Love Money five months. 6. John Sex – Bump And Grind It The album comes in deluxe artwork and three formats: Double CD + 48-page book; a deluxe 3xLP + 7. Sylvester – Over And Over (12" Disco Mix) bonus 7” + download code vinyl version; and a standard 3xLP + download standard vinyl version. All 8. The Girls – Jeffrey I Hear You** formats of the album feature original photography, extensive sleevenotes and interviews. 9. Johnny Dynell and New York 88 – Jam Hot (Rhumba Rock) Haring’s many friends and collaborators included Jean-Michel Basquiat, Andy Warhol, Madonna, Fab 5 10. Talking Heads – I Zimbra* Freddy, William Burroughs, Jenny Holzer, Yoko Ono, Bill T Jones, Larry Levan, Timothy Leary, Futura 11.
    [Show full text]
  • A University Level Course Curriculum for Examining Hip Hop in the Modern World
    San Jose State University SJSU ScholarWorks Master's Theses Master's Theses and Graduate Research Fall 2010 Hip Hip 101: A University Level Course Curriculum For Examining Hip Hop In The Modern World David Ma San Jose State University Follow this and additional works at: https://scholarworks.sjsu.edu/etd_theses Recommended Citation Ma, David, "Hip Hip 101: A University Level Course Curriculum For Examining Hip Hop In The Modern World" (2010). Master's Theses. 3876. DOI: https://doi.org/10.31979/etd.vbuw-2wud https://scholarworks.sjsu.edu/etd_theses/3876 This Thesis is brought to you for free and open access by the Master's Theses and Graduate Research at SJSU ScholarWorks. It has been accepted for inclusion in Master's Theses by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. HIP-HOP 101: A UNIVERSITY LEVEL COURSE CURRICULUM FOR EXAMINING HIP-HOP IN THE MODERN WORLD A Thesis Presented to The Faculty of the Department of Geography San Jose State University In Partial Fulfillment of the Requirements for the Degree Master of Arts by David Ma December 2010 © 2010 David Ma ALL RIGHTS RESERVED The Designated Thesis Committee Approves the Thesis Titled HIP-HOP 101: A UNIVERSITY LEVEL COURSE CURRICULUM FOR EXAMINING HIP-HOP IN THE MODERN WORLD by David Ma APPROVED FOR THE DEPARTMENT OF GEOGRAPHY SAN JOSE STATE UNIVERSITY December 2010 Dr. M. Kathryn Davis Department of Geography Dr. Diana Hollinger Department of Music Dr. Hien Duc Do Department of Interdisciplinary Social Science ABSTRACT HIP-HOP 101: A UNIVERSITY LEVEL COURSE CURRICULUM FOR EXAMINING HIP-HOP IN THE MODERN WORLD by David Ma This thesis is a course curriculum designed for classroom use at the upper- division university level.
    [Show full text]
  • Gangster Boogie: Los Angeles and the Rise of Gangsta Rap, 1965-1992
    Gangster Boogie: Los Angeles and the Rise of Gangsta Rap, 1965-1992 By Felicia Angeja Viator A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Leon F. Litwack, Co-Chair Professor Waldo E. Martin, Jr., Co-Chair Professor Scott Saul Fall 2012 Abstract Gangster Boogie: Los Angeles and the Rise of Gangsta Rap, 1965-1992 by Felicia Angeja Viator Doctor of Philosophy in History University of California, Berkeley Professor Leon F. Litwack, Co-Chair Professor Waldo E. Martin, Jr., Co-Chair “Gangster Boogie” details the early development of hip-hop music in Los Angeles, a city that, in the 1980s, the international press labeled the “murder capital of the U.S.” The rap music most associated with the region, coined “gangsta rap,” has been regarded by scholars, cultural critics, and audiences alike as a tabloid distortion of East Coast hip-hop. The dissertation shows that this uniquely provocative genre of hip-hop was forged by Los Angeles area youth as a tool for challenging civic authorities, asserting regional pride, and exploiting the nation’s growing fascination with the ghetto underworld. Those who fashioned themselves “gangsta rappers” harnessed what was markedly difficult about life in black Los Angeles from the early 1970s through the Reagan Era––rising unemployment, project living, crime, violence, drugs, gangs, and the ever-increasing problem of police harassment––to create what would become the benchmark for contemporary hip-hop music. My central argument is that this music, because of the social, political, and economic circumstances from which it emerged, became a vehicle for underclass empowerment during the Reagan Era.
    [Show full text]
  • The Green Book
    Book # 1 THE GREEN BOOK Universal Zulu Nation Infinity Lessons Archive 1973 - 2000 FOR THE MASSES Compiled By: Queen Saphire Table of Contents Myths and Misconceptions ............................................................................................................................................... 2 Laws and Regulations of the Universal Zulu Nation Part 1 (1 – 20) .................................................................................. 4 Laws and Regulations of the Universal Zulu Nation Part 2 (16 - 33) ................................................................................. 5 Laws and Regulations of the Universal Zulu Nation Part 2 (34 - 46) ................................................................................. 6 Policies and Procedures.................................................................................................................................................... 7 How to apply for Membership ...................................................................................................................................... 7 Collection of Dues ........................................................................................................................................................ 8 Opening of Charters ..................................................................................................................................................... 9 The New Universal Zulu Nation Wisdom Face .................................................................................................................10
    [Show full text]