Interview 2pm Saturday April 19th with Nadine Patterson


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Host Deardra Shuler talks with award winning director/producer/documentary filmmaker Nadine Patterson about her film “Tango Macbeth,”  a Shakepearean tale told with a unique slant which will be screening at the Magic Johnson Theatre on Wednesday, April 23rd at 6:30:00 pm in Harlem.

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Tango Macbeth Trailer with Music by Lenny Seidman and Jorge Retamoza


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Synopsis: Shakespeare, dance and world music! A theater company rehearses Macbeth. A film crew documents their every move. The drama of the play intertwines with the drama of making the film. It’s unlike any version of Macbeth you have ever seen.

Celebrate Shakespeare’s 450th Birthday with us on April 23rd in Harlem [buy tickets at this link] and experience one of the world’s greatest dramas! Since the days of Ira Aldridge (1807-1867) African Americans have been producing multi-ethnic and explosive renditions of Shakespeare’s work. TANGO MACBETH continues that tradition. Music by Lenny Seidman and choreography by Zane Booker propel audiences to see this classic tale in a new light. If you love Shakespeare, this film is for you. If you are not familiar with Shakespeare, this film is for you! Nadine Patterson’s documentary-fiction hybrid creates an earthy, gritty and at times elegant space where the story unfolds. The film features riveting performances by Brian Anthony Wilson (Detective Holley on “The Wire”) and new comer Alexandra Bailey. Buy the film to download or stream for $7.99 at

Happy Birthda Paul Robeson!


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Shakespeare in America: A Tale of Two Stratfords on Paul Robeson’s Birthday

Book Rev[Read full article here] In his introduction to Shakespeare in America: An Anthology from the Revolution to Now (Library of America $29.95), James Shapiro writes of the “steady stream of American tourists” visiting the Bard’s birthplace, Stratford-Upon-Avon, among them “a pair of future presidents,” John Adams and Thomas Jefferson. According to Abigail Adams, Jefferson “fell upon the ground and kissed it” while her husband cut “a relic” from a chair said to have belonged to the poet himself.

Although legions of tour busses may never be a fact of life the way they are in Shakespeare’s home town, Princeton is something of an American Stratford for people coming to pay their respects to Albert Einstein, who lived the last half of his life here, and Paul Robeson, who was born here on this day, April 9, in 1898, and spent the first nine years of his life in the Witherspoon-Jackson neighborhood, Jackson having been at one time the street now known as Paul Robeson Place.

A Realm Unto Himself

The many facets of Paul Robeson’s genius — as a speaker, athlete, singer, actor, and world figure like his friend Einstein — led the PBS series, American Masters, to refer to him as “the epitome of the 20th-century Renaissance man.” Shakespeare, who wrote the signature role of Robeson’s acting life. is beyond terminology. There’s no end to him, or to it, if you believe that no single human being could have created what he created, a vast, complexly intelligible realm that will always be there to be discovered, explored, inhabited. “Reading Shakespeare continues to bless us, long past the first encounter,” says another former president, Bill Clinton, in his foreword to Shakespeare in America. Clinton entered the realm when an English teacher in Hot Springs, Arkansas had him memorize a hundred lines from Macbeth (“I was not overjoyed”) from which he learned an early lesson about “the perils of blind ambition and the emptiness of power.”

Paul Robeson was introduced to Shakespeare in 1915 by an English teacher at nearby Somerville High School. According to Martin Duberman’s 1988 biography, the 17-year-old senior, one of 12 African American students, played the Moor in a burlesque version of Othello. His teacher “later recalled her hesitation in asking him to take on the parodic role of Othello as a hotel waiter, since the performance was designed to raise money for a class outing to Washington, D.C.,” which Paul could not have attended “because no hotel in the capital would accept a black guest.” Even so, he played the part and “proved a huge hit with the audience.”

Although he seems to have been popular with his white classmates, Robeson was aware of a more subtle version of prejudice in high school society that, as Duberman points out, “allowed him through practice and forewarning, to keep his temper under wraps.” A teacher who called him “the most remarkable boy I have ever taught, a perfect prince” still “can’t forget that he is a Negro.” It was Robeson’s understanding of the social reality, of always knowing his “place,” that sustained his popularity. The situation suggests a microcosm of his later career. Even when turning in superior performances, whether as speaker, athlete, singer, or actor, he had to “exhibit maximum affability and minimal arrogance.” Whenever whites were “surpassed” by him, his attitude could “never smack of triumph.” Duberman quotes Robeson repeating “a litany drummed into him by his father, ‘do nothing to give them cause to fear you.’”

Consider how it must have been for a man conditioned to downplay his power finding himself in a realm of language as rich as Othello, peering into the mirror Shakespeare held up to him as he assumes the character of a black general, a leader of men. Othello’s first great speech (Act 1, scene iii) is one that Robeson must have been thrilled to perform, the way it brings the actor and the character together as Othello discourses on his success as a performer disarming Desdemona with stories like those he dazzled her father with, moving her to tears “when I did speak of some distressful stroke/That my youth suffer’d,” recalling how she “gave me for my pains a world of sighs:/She swore, in faith, ‘twas strange, ‘twas passing strange;/’Twas pitiful, ‘twas wondrous pitiful.” Describing how Desdemona “wish’d/That heaven had made her such a man,” and if the Moor could but teach a friend how to tell his tale, it “would woo her,” he shows that the “witchcraft” he used to seduce her was simply a matter of stepping forth as the hero of his own story: “She lov’d me for the dangers I had pass’d/And I loved her that she did pity them.”

Tango Macbeth Premieres in Harlem April 23rd @6:30pm ~ Celebrate Shakespeare’s 450th Birthday With Us


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Please join us in New York for the Harlem premiere of Tango Macbeth (click here for tickets). We will celebrate the writer who has given the world dramas that are still gut wrenching mind blowing works of art. We will have special giveaways including posters and DVDs of Tango Macbeth and issues of the international hit comic Kill Shakespeare. Q&A with filmmaker Nadine Patterson will follow the film.

Save the date and time-

When: Wednesday, April 23 6:30PM – 8:13PM

Where:  AMC Magic Johnson Harlem 9
2309 Frederick Douglass Blvd, New York, NY, 10027 (map)

How Much: Tickets $11.00 (there are no additional fees)

Reserve tickets today @Tugg. We must have 51 more ticket reservations in order for us to meet threshold of 76 pre-sales by 12noon April 16th. Your card will not be charged until the threshold is met.


William Shakespeare (1564-1616)

Tango Macbeth is Available Online @VHX!


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We are excited to announce that Tango Macbeth is available online. VHX is a new service that enables artists to sell directly to fans. We are offering a download and streaming version without DRM (Digital Rights Management). This means you can watch the HD MV4 version of the film on any device. Once you click on the image below, go to the sight and type in “tmac” in the redeem code button to receive a discount. Please keep in touch with us and let us know what you think!


Competition Will Not Survive The Comcast-Time Warner Merger


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Op/Ed 2/27/2014 @ 10:59AM 8,222 views

Competition Will Not Survive The Comcast-Time Warner Merger


Television distribution in the United States is broken. The system denies consumers reasonable choices at affordable prices. Comcast’s proposed acquisition of Time Warner Cable will make a dismally performing and anticompetitive industry even worse.

Comcast is already a giant among media firms. It owns the nation’s largest cable distribution network, serving over 22 million households. It also owns NBC Universal, one of the largest programmers and broadcasters.  A combination of Comcast and TWC will make Comcast larger on both levels: TWC is the second largest cable distributor serving roughly 12 million households and also operates a news channel in New York and sports channels in Los Angeles.  Although the two firms have announced a plan to divest distribution facilities serving 3 million subscribers, their combined share of over 30 million households would dwarf rival cable firms and would be 50% larger than the largest satellite distributor (Direct TV).

Consumers might not feel the immediate impact of this deal. The two firms operate cable networks in distinct and non-overlapping geographic markets.  A change in the name of the cable company that extracts ever-increasing monthly subscriber fees probably matters little to most consumers. In the longer term, however, the deal will make video programming delivery even less responsive to legitimate consumer interests.  The reason is that a vertically integrated company such as Comcast stifles the highly beneficial and naturally occurring competition between distributors and programmers.  This vertical competition, often ignored or undervalued by economists and enforcers, is vital to ensuring that the system remains competitive.

Distributors, when they are independent of programmer coercion, can and do respond to consumer interests. They can do this by offering varied and attractive buying choices and advocating for consumer interests in business transactions and regulatory matters. Last Summer, TWC fought, albeit with limited success, to limit or delay the $2 per month charge that CBS sought to impose on subscribers.

A year ago, Cablevision, a New York based cable distributor, brought a major antitrust suit against Viacom (one of the largest programmers) challenging the bundling and tiering restrictions that Viacom imposes on all its distributors.  The suit, if successful, could unravel the forced, elephantine bundles that are imposed on pay TV subscribers.  When the suit was filed, a number of distributors, including TWC, enthusiastically endorsed it.  Direct TV, for example, wrote that “the current all-or-nothing system dictated by programmers is completely broken,” complaining that “for programmers to force this [bundling] system on all pay TV customers just so they can line their pockets . . . is shameful.”

TWC’s pro-consumer and pro-competition view will not survive the merger.  Instead, Comcast will fight to maintain the corrupted and broken business model that denies consumers reasonable choices.  Other anticompetitive effects are also likely. Comcast will favor its own programming when making carriage decisions within its own distribution network, making it more difficult for independent programmers to gain distribution rights.  Comcast could also use its power over programming to disadvantage rival distributors (e.g., making it more difficult or expensive for rival distributors to get access to NBC Universal programming).  Most frightening of all, with control over the Internet pipeline for 30 million households, Comcast could use discriminatory pricing and other strategic tools to stifle viewer access to video streaming provided by firms such as Netflix and Amazon Prime.

Comcast comes into this proposed merger with unclean hands. It is a primary actor in maintaining a grossly anticompetitive system of forced bundling and tiering restrictions, something that is no longer tolerated in Canada, where consumers pay an average of $30 a month less for pay TV subscriptions.   At a minimum, the merging parties should demonstrate their good faith by voluntarily eliminating forced bundling and allowing all distributors to offer consumers a la carte or smaller customized bundles.  They should also agree not to discriminate in prices for Internet access and to sell that access without bundling it with cable TV programming.  Finally, the two firms could eliminate substantial anticompetitive effects of this proposed union by agreeing to divest all of their programming assets. As it stands, the merger should be prohibited as a violation of the Clayton Act (governing anticompetitive mergers).

Warren Grimes is a professor at Southwestern Law School where he teaches and writes about antitrust and communications issues.

Try This Instead


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We here at Harmony Image Productions Inc. want to promote better relations between humanoids of all persuasions. There are some things one should definitely not say or do to a fellow human being under any circumstances. Please review the video series TRY THIS INSTEAD by Cameron Johnson.  From “Try This Instead is a satirical look at how to avoid racism and micro aggression in the modern world.”

Tango Macbeth joins lineup of Pittsburgh’s Sembene Film & Arts Festival February 18th

Our Pittsburgh premiere on Tuesday February 18th 7pm at Southside Works Cinema is now co-sponsored by the Sembene Film & Arts Festival.


We are presenting our film via Tugg. You MUST make your reservation online. You can order your $10 tickets here It is best if you order your ticket today. Don’t miss out on this one time only Pittsburgh screening with director Nadine Patterson. There will be a Q&A immediately following the film with the director and assistant director Martha Conley.

The Sembene Film & Arts Festival formed in 2009 to celebrate the life and honor the legacy of Senegalese filmmaker Ousmane Sembène. Ousmane Sembène is considered the ‘Father of African Cinema’ and one of the most important filmmakers of the 20th century. Sembène – the Film & Arts Festival is the first film festival ever launched in honor of the Ousmane Sembène and it’s the first film festival in the region dedicated to showcasing films by, about and from the African Diaspora.

Ousmane Sembene_director

Festival organizers see the festival as a vehicle to speak to the critical issues facing people of African descent – indeed, the world community. Check out the February line-up. Visit:

I look forward to meeting you all at Southside Works Cinema! Tuesday 7pm February 18th— Cheers, Nadine Patterson, writer/director TANGO MACBETH



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JANUARY 23RD, 2014—- Philly RITZ 5 Theatrical Premiere of TANGO MACBETH! Photography by Stephanie Malson.  Thanks to the Philly community for all of your support! Thanks for showing your love! Thanks for traversing the snow and surviving the cold. Audience members ranged in age from 7 months to 85+ years old. The event sold 204 tickets! This is a dream come true for me as a filmmaker.To learn more about how we used Tugg click here for a complete case study.

Thank you one and all!—Nadine Patterson, TANGO MACBETH

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More Tickets Available Now! Come & See Tango Macbeth @ Philadelphia’s RITZ 5 Thurs. Jan. 23rd 7:30pm


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Photo Montage TMAC

Come and see Tango Macbeth! Over 200 people are attending this groundbreaking event. Please join us.

Due to the overwhelming response, the Ritz 5 has moved us to a larger screening room! You have hours left to order tickets. Tell your friends and everyone that was not able to get a ticket over the weekend.

Let’s see if we can fill the theater– 243 seats, and give more money to Philadanco!


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