News Brief

This Clip of Spanish Beachgoers Watching as an African Migrant Boat Lands Will Put Things In Perspective

A new clip from The Guardian, shows beachgoers in Southern Spain watching as a boat carrying African migrants reaches shore.

A new clip from The Guardian, shows beachgoers in Southern Spain watching as a boat carrying African migrants reaches shore.

Up to 20 passengers can be seen running onto land in a dinghy and continuing into the surrounding countryside. The group, likely reached the area called Zahara de los Atunes—located just 7.7 miles from the coast of North Africa—via the Strait of Gibraltar. This route, considered "less hazardous" than the path from Mauritania to the Canary Islands, has become more widely used in recent months, as reported by the Guardian.

According to a spokesperson for the EU's Frontex border agency, this is the shortest route and it  allows for the passage of larger groups. The spokesperson also stated that migrant camp closures in both Algeria and Morocco may be responsible for migrants taking greater risks to reach Europe in recent months.

According to data from Frontex, the number of migrants who made the crossing into Spain in the early months of the year more than doubled that of last year, with 7,500 people entering the country in the first three months of 2017, compared to 3,200 crossing during the same period in 2016.

The migrant crisis is far from over, and this video is a glaring reminder. Watch it below.

Photo by Don Paulsen/Michael Ochs Archives/Getty Images

Hugh Masekela's New York City Legacy

A look back at the South African legend's time in New York City and his enduring presence in the Big Apple.

In Questlove's magnificent documentary, Summer of Soul, he captures a forgotten part of Black American music history. But in telling the tale of the 1969 Harlem Cultural Festival, the longtime musician and first-time filmmaker also captures a part of lost South African music history too.

Among the line-up of blossoming all-stars who played the Harlem festival, from a 19-year-old Stevie Wonder to a transcendent Mavis Staples, was a young Hugh Masekela. 30 years old at the time, he was riding the wave of success that came from releasing Grazing in the Grass the year before. To watch Masekela in that moment on that stage is to see him at the height of his time in New York City — a firecracker musician who entertained his audiences as much as he educated them about the political situation in his home country of South Africa.

The legacy Masekela sowed in New York City during the 1960s remains in the walls of the venues where he played, and in the dust of those that are no longer standing. It's in the records he made in studios and jazz clubs, and on the Manhattan streets where he once posed with a giant stuffed zebra for an album cover. It's a legacy that still lives on in tangible form, too, in the Hugh Masekela Heritage Scholarship at the Manhattan School of Music.

The school is the place where Masekela received his education and met some of the people that would go on to be life-long bandmates and friends, from Larry Willis (who, as the story goes, Masekela convinced to give up opera for piano) to Morris Goldberg, Herbie Hancock and Stewart Levine, "his brother and musical compadre," as Mabusha Masekela, Bra Hugh's nephew says.

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