London, England — A massive audience of 6.2 million Canadians watched the world’s fastest runner win gold in the men’s 100m final Sunday, powering Day 9 (August 5) to be the most-watched day yet for Canada’s Olympic Broadcast Media Consortium at London 2012.

With an average of nearly 5 million viewers watching from 4:52 – 5:03 p.m. ET on CTV alone, Usain Bolt’s winning race is in line with the record-setting Top 10 (non-hockey) events from Vancouver 2010. Day 9 (Sunday, August 5) becomes the most-watched yet at London 2012 with 2.5 million viewers watching on average over 22 hours of coverage.

Canada’s Olympic Broadcast Media Consortium confirms that audiences for London 2012 continue to out-run Beijing 2008, with viewing increasing by an impressive 87% during Days 7-9. An average of 2.3 millionviewers tuned in throughout the consortium’s 22 hours of daily coverage from Aug. 3-5, including an average audience of 2.9 million viewers in prime time.

Additionally, a whopping 3.6 million viewers tuned into OLYMPIC DAYTIME during Days 7-9, with 4.3 million viewers tuning in to Sunday’s daytime broadcast alone. On CTV, the tape-delayed prime time coverage averaged 2 million viewers, up 43% over CBC’s prime time live/tape-delayed coverage of Beijing 2008 (1.4 million) for the same time period.

From the start of the 2012 Games to date, an incredible 30.5 million Canadians – or 90.7% of the population – has watched some coverage on Consortium channels. Additionally, London 2012 continues to be a wide-reaching event with 92% of all women, 91% of all men and 87% of all children experiencing some part of the 2012 Games on television.

In addition to the men’s athletics 100m final, the top events of London 2012 on the Consortium networks all took place over the weekend. On Canada’s golden Saturday, an average of 2.1 million viewers tuned in as Rosie MacLennan won Canada’s first gold medal of the 2012 Games during the women’s trampoline final.

The men’s 1500m freestyle swimming final averaged 2.8 million viewers as Canada’s Ryan Cochranewon a silver medal, while the women’s team pursuit cycling averaged 2.2 million as Canada won bronze. Additionally, Michael Phelps’ last Olympic race, the men’s 4x100m medley relay, garnered an average audience of more than 2.9 million on Saturday.

Meanwhile, despite only two days of coverage, athletics (16.3 million) is now a close second to swimming (18.6 million) in terms of most-watched sports by unique viewers.

Additional Highlights for Days 7-9:

• Sunday’s men’s athletics 100m final is the top event on both CTV (4.9 million) and V (854,000) of the 2012 Games to date
• TSN achieved its highest audience of the 2012 Games to date on Friday with the Canada/Great Britain women’s soccer quarter-final averaging 841,000 viewers and reaching 2.7 million viewers
• Sportsnet achieved three of its Top 5 most-watched events of the 2012 Games on Days 7-9, led by the women’s athletics 100m semifinal on Saturday with 417,000 viewers
• RDS had four of its Top 5 events of the 2012 Games on Sunday including the women’s 3m springboard final (446,000) and men’s athletics 100m final (426,000)

As Canadians left work for the long weekend, they stayed with Consortium digital coverage of London2012 as Days 7-9 brought 4.3 million video views, 20% higher than the same three days during Vancouver2010. By the end of Day 9, total page views to CTVOlympics.ca, RDSolympiques.ca, and the CTV Olympics London 2012 and RDS olympiques pour Londres 2012 Apps reached 129 million views, pacing 17% higher than Vancouver 2010.

The mobile story continues, as Saturday and Sunday saw the highest days of mobile traffic to digital platforms with almost 70% of digital traffic coming through mobile devices.

Image Courtesy of  José Goulão

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Director Kevin Macdonald began an incredible journey in which he explored the life and influence of musician and legend Bob Marley. Macdonald began the film because he wanted to learn more about how Marley influenced the world. The director stated, “the question I wanted to answer in making the film, was: Why does he still speak to people around the world (because it’s clear that he does) and why does he speak to people so much more profoundly than any other rock artist or popular music artist….What I was fascinated to try to do in this film was to make something very personal. Who is this man? Why did he become so successful? What was the message that he had to give out to people?” Macdonald began the film by talking to Marley’s family and friends, but not everyone supported the film.

In March 2010, Macdonald received a phone call from the producers at Shangri-La Entertainment to tell him that they – including Shangri-La founder Steve Bing – were committed to making the definitive movie about Marley, and that Chris Blackwell had recommended him as a possible director. Macdonald says that he has now come to believe that he was simply destined to be the man to tell this unforgettable story.

“What is to be must be – that old saying is something that we really believe in,” says Bob’s oldest son, David “Ziggy” Marley. “So Kevin was supposed to do the documentary, is how we look at it. I wasn’t worried, I wasn’t fussing….I knew it would get done, and I knew it would get done by whoever was supposed to do it in the first place.”

And so, Macdonald would begin the process of working with the Marley family – chiefly Ziggy, his sister Cedella (named for Bob’s mother), and their mother, Bob’s wife, Rita Marley.

“The attitude I had,” Macdonald remembers, “was to persuade them nothing good has really been made in terms of a documentary about Bob, and now was the time to do it before even more people pass away. That’s what I said to Ziggy when I first met him – I said, ‘I want to do the most conventional thing possible. I want to go out with a camera and interview absolutely everybody. I’m not going to just stick with who they’ve talked to before.’…. A problem with a lot of the big stars – in particular Bob because he’s almost got this image of a prophet – is that people forget to ask the personal questions – what was his family like? His father? Why was he like he was? Why was he so driven?”

Of course to aid his compelling narrative, Macdonald has used some of the great Bob Marley material – including “Exodus,” “No Woman, No Cry” – in addition to a few obscure but illuminating discoveries. But he discovered that, despite yeoman work by seasoned archival researcher Sam Dwyer, there was precious little material to be found, either from the musician’s youth, or from his fledgling years as a reggae performer.

“Obviously one of the challenges with Bob is that there’s so little great archive footage,” said Macdonald. “There’s nothing at all of the first 11 years of his career. From 1962 to 1973 there’s not a single piece of footage, and only a handful of photographs.”
Case in point: The Wailers, the breakthrough group that Bob formed with Peter Tosh and Neville “Bunny” Livingston, once simultaneously had five of the top 10 singles on the Jamaican charts early in their career, yet despite their relative prominence at the time, the interest and infrastructure necessary to chronicle their career was simply lacking.

“It just shows a lot about what Jamaica was like then,” said Macdonald, “and what the standing of Jamaican music was as well – that nobody filmed the Wailers, nor, for many years, took them seriously.”

So in interviewing some 60 people, with maybe half of those interviews being cut into the film, the director had Marley’s ongoing legacy in mind: “That’s history that can go into the archive.” With what he does include in the film, Macdonald lets Bob’s story be told by the voices of those who knew him best.

Macdonald credits Bunny as one of two key interview subjects included in the film, who guide the audience through the film – especially Bunny, who knew Bob since they were children, and whose recollections take the audience through until 1973, and the split in the band. After that, the chief narrative duties are taken over by Neville Garrick, the Wailers’ artistic director, who was with Bob through the remainder of his life. Garrick was, like Bunny, “very articulate and inventive with language,” Macdonald recalls. “Both of them were very fun to listen to.”

Given the mixed feelings many Jamaican performers, and the Rastafarians especially, have about the music business culture they came up in, enlisting Bunny and some others was no simple task. “It took us many, many months. He was suspicious and felt the story of the original Wailers had not been told accurately in the past. And he feels that, as the last survivor of the Wailers, he wants to shape that history, understandably, because he feels he, and the story, have been misrepresented. It took a long time to persuade him that we wanted to make a fair and balanced film, and the people putting up the money to make the film don’t actually have the final say. This is a completely independent project.

Image Courtesy of  Bob Marley

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For nearly half a century, Bob Marley – the musician, the revolutionary, the legend – has influenced various populations at a unparalleled global level. Marley’s passing in May 1981 not only left a huge void in what is perhaps modern music’s most spiritual and yet accessible genre, reggae, but also, as a testament to the star’s power, set the stage for the unprecedented, posthumous growth of his fan base.

The enduring nature of Bob Marley’s fame is anything but a simple pop music phenomenon. Just one index of it is the success of the Marley compilation album “Legend,” which is one of only 17 albums to pass the 10-million mark in sales (in 2009), continues to sell at the rate of about 250,000 albums per year, and is the second-longest charting album in the history of Billboard magazine’s record-keeping. With an ever-growing fanbase (as evidenced by his 33+ million roster of fans on Facebook and Twitter), his fame has elevated his stature to one of a spiritual beacon.

More than 30 years later, the undying messages that go beyond his music make Marley a cultural force to be reckoned with. His way of living was in many ways a political act on the world stage, across the world’s continents. Today, wherever politically minded youth seeks ways to find solidarity (as was exemplified over recent months by the popularity of Bob Marley’s music and imagery amidst scenes of protest in the Middle East and Africa and at the Occupy Wall Street demonstrations and its many offshoots), they find him to be an ever-potent cultural touchstone. And yet, for all the loyalty shown to the icon, and all the renewing excitement for those still discovering his legacy, many mysteries and unanswered questions have remained. A glut of concert films, biographies, DVDs and unauthorized videos already have attempted to explore his story over the years since his death, but the man himself remains almost as enigmatic as he is beloved.

Now, through the unprecedented, combined efforts of the Marley family, Oscar-winning master filmmaker Kevin Macdonald (“The Last King of Scotland,” “Life in a Day,” “One Day in September”) and Shangri-La Entertainment (“Shine a Light,” “Heart of Gold”), many of those questions have been given an answer, and many of those mysteries have in great part been solved.

“The thing at the back of my mind,” Macdonald explains, “the question I wanted to answer in making the film, was: Why does he still speak to people around the world (because it’s clear that he does) and why does he speak to people so much more profoundly than any other rock artist or popular music artist….What I was fascinated to try to do in this film was to make something very personal. Who is this man? Why did he become so successful? What was the message that he had to give out to people?”
With his documentary “Marley,” which was made with the full cooperation of the Marley family and embraced a variety of sources and speakers who have previously gone unheard, Macdonald brings the legacy into a new generation and lends an often exuberant and moving perspective to a legend.

Beyond the joyous and upbeat quality of many of the film’s sequences (Bob’s music was uplifting even in its darker moments), the film delivers a depth of information and insights that would have been impossible without the kind of cooperation the Marley family have offered. Bob’s wife Rita and his children, friends and musical colleagues, have opened their hearts, minds and memories to Macdonald and his team. As a result, their expansive interviews and the unparalleled and unrestricted access to a trove of archival imagery mean that this film will stand as the one definitive record of the Bob Marley legacy.

However, the filmmaker’s eventual attachment to the project came in stages, over a long period of time.

“My first involvement at all with the universe of Bob Marley,” recalls Macdonald, “was about six or seven years ago. I was approached by [Island Records founder] Chris Blackwell about whether I wanted to do a film about what would have been Bob’s 60th birthday celebration in Ethiopia. Chris had the idea to make a film about flying a load of Rastas from Jamaica to Ethiopia for the first time, and seeing the concert through their eyes. I thought this was a great idea, and so I did a lot of research about Jamaica, but nothing really came of it.”

At the time, Macdonald claimed only an interested layman’s knowledge of Bob Marley’s life and career. Like many casual fans worldwide, he knew the man so often referred to as a “reggae superstar” had achieved a level of popularity even more remarkable for its breadth across the globe than for its depth.

“Then I went off and made “The Last King of Scotland,” which I filmed in Kampala in Uganda. And one of the things that really struck me – because I had Bob Marley on my mind a little bit – was that as I wandered around, particularly in the poorer areas of Kampala, I saw all these Bob Marley images everywhere – on flags and graffiti, with lyrics put up all over the place – quotes from his songs. And I thought, ‘This is amazing. What is it about Marley that has traveled the world? What is it that means something even in Africa, even in Uganda of all places?’”

Macdonald then began his journey to research and film the most in-depth documentary ever of Bob Marley.

Image Courtesy of  Bob Marley

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The production of the new Bob Marley documentary, “Marley,” could not have happened without the efforts and tenacity of director Kevin Macdonald and the openness of Neville Bunny Wailer, musician and good friend of Bob Marley. Both artists have been an integral part of this film and other venues of of art and music.

The Director: Kevin Macdonald

Kevin Macdonald’s first feature, “One Day In September,” won an Oscar for Best Documentary in 2000. His second feature, “Touching The Void,” premiered at Telluride 2003 and won the BAFTA for Best British Film and the Evening Standard Award for Best British Film.

His first feature-length drama, “The Last King Of Scotland,” premiered at Telluride and was released in the UK and the US in 2006. Awards include the BAFTA for Best British Film (Alexander Korda Award) and Best Adapted Screenplay. Forest Whitaker won an Academy Award and a BAFTA for his portrayal of Idi Amin.

Macdonald has made two other dramatic features: “State of Play” (2009), starring Russell Crowe, Helen Mirren and Ben Affleck and “The Eagle” (2011), starring Channing Tatum and Jamie Bell.

His recent user-generated documentary project, “Life in a Day,” premiered at Sundance 2011 before going on to show at Berlin, SXSW and more than 20 other international festivals.

Macdonald also wrote “Emeric Pressburger: The Life And Death Of A Screenwriter,” which won the BFI film Book of the Year award and was shortlisted for the NCR non-fiction prize, and Imagining Reality: The Faber Book of Documentary.

Neville Bunny Wailer

Bunny Wailer is the surviving member of the legendary vocal trio The Wailers, consisting of Bob Marley, Peter Tosh and Neville O’Riley Livingston C.D. pka Bunny Wailer himself.

The Wailers was formed out of a life-long, family and musical relationship between Bob and Bunny. Similarly the cultural revolution of Rastafari which had been formulating its philosophical and theological foundations from the 30’s and the gaining of political independence for the country were the threads that were woven into their gestation period where the group The Wailers were formed in 1962. This after recruiting Peter Tosh who further influenced this dynamic duo, bringing his own musical mastery and inimitable style and other early members Junior Braithwaite and Beverly Kelso that was augmented by Vision and Cherry Smith at various intervals.

Bunny Wailer will be celebrating his 50th Anniversary in 2012 with “The Wailers 50th Anniversary” album and tour. The Bunny Wailers Sings “The Wailers 50th Anniversary” World Tour 2012-2014, products, events and services is the central activity for the identification, revival and celebration of the 50th Anniversary of the formation of the ‘Super Group’ The Wailers.

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Director Kevin Macdonald began investigating the story of Bob Marley in March of 2010. Although many people were distrustful of how he would portray Marley and the film itself one close friend of Marley’s was willing to talk to him: Neville Bunny Wailer of the vocal trio the Wailers. Interviewing Bunny allowed Macdonald to get an indepth look into Marley’s private life.

“Once Bunny signed on, he gave the interview a full and willing day, and came appropriately robed, and accessorized,” says Macdonald. “He’s very conscious of his look and the thing that I was most impressed with was the pipe that he had with him, which was made out of a carrot. He clutched this carrot all day. And I said, ‘What is the carrot?’ He said, ‘it’s my pipe,’ and he was puffing on this all day. That seemed highly appropriate for a man called Bunny.”

“An important part of the process was to discover people like Dudley Sibley, who’s the recording artist, and studio janitor, in Studio One, and lived with Bob for a year or two in the back room there. Nobody had ever interviewed him before – perhaps they felt he was kind of a goofy-looking guy who’s maybe a little crazy. But actually he was fascinating and his memories were unsullied, and he had this firsthand insight of living cheek by jowl with Bob in this room before he was Bob, as it were.”

The filmmaker’s exhaustive interviewing process resulted in a number of other unexpected – and otherwise unavailable – revelations, including from Bob’s close white cousin Peter, who Macdonald says “nobody had thought to speak with before.”

“A real key for me,” says Macdonald, “was trying to understand the importance to Bob’s life that he was of mixed race. It’s hard for some of us in both Europe and America to understand the stigma attached to that. And Bob, coming as he did from the deep countryside in his own day, one of the truly black parts of Jamaica, felt that stigma attached to being of mixed race, and not just from the white side of the island but also from the black side.”

Cedella says that she felt confident that Macdonald, perhaps best known for illuminating both the mythic and shabby sides of dictator Idi Amin as portrayed on film by Forrest Whitaker, would delve knowledgeably into the issues of race and colonialism that ran as threads throughout Jamaican life, from the island’s harsh colonial legacy through the rise of Rastafarianism.

“By coincidence I had just watched “The Last King of Scotland” when Chris called me and said, `Listen, I have this director in mind.’ And when he told me, I said, `Really? I just watched something that he made, and it was just so real.’”

Cedella was particularly struck by the presence of Bob’s half-sister, Constance, who is depicted in the film listening to the song “Cornerstone,” written by Bob after an unsatisfactory and remote meeting with his white uncle. Constance was clearly moved. “I’m glad Auntie Constance was in here,” says Cedella. “She knew Grandpa’s [Norval Marley] family better than Dad did.”

The director’s access to the Marley family proved invaluable when it came to understanding many of the deeply moving and sometimes surprising truths about Bob’s life and relationships which their conversations revealed – many tremendously personal details, which brought to the film, for the first time, a full and rounded portrait of the musician and the man.

Macdonald found himself touched by the grace Rita Marley showed in speaking of Bob’s rather wandering eye. Of Rita, Macdonald says: “She comes out of the film to me as someone who’s quite noble in a way, because she’s clearly had to put up with a lot on a personal level. You feel [Bob] obviously caused her pain and caused Cedella, their daughter, pain in the way he had behaved. But they not only forgive it, they clearly feel that what he was doing was so important, and that the message that he was spreading was so much more important than those details of personal feeling.”

Rita’s words in the film only deepened Cedella’s respect for her mother. “I said to her, `Mom, they don’t make women like you anymore.’ I guess, back in the ’60s, when you fall in love like that, you fall in love, you know? There are days when I go into my mom’s room and she’ll be talking and I know there’s nobody in the room. So I’ll knock on the door and I’ll say, `Mom, who are you talking to?’ And she will say, `Oh, my boyfriend, Robbie.’ That’s what she called Dad. ‘What are you guys talking about?’ And she says, `I’m just making sure he’s taking care of himself.’ She just loves my dad. She loves him. It’s not that she’s not going to get angry if he’s doing what he’s doing, you know? But she loves him beyond that.”

Among the other interviews conducted was one with the legendarily private and diffident Chris Blackwell, who, Cedella says, was vigilant in keeping the focus on the star and not the Island Records label head who guided him. “He’s always telling me, ‘You know I never liked taking a picture with Bob’,” remembers Cedella, “but Dad respected Chris and his ear.”

For Marley’s son Ziggy, the key revelatory moment in the film is the testimony of the nurse who shepherded his father through some of the agonizing final days of his terminal cancer in a European clinic. “Some of that I hadn’t heard or seen before, and that was very emotional and insightful,” he says.

“I think what’s great about the film,” Ziggy continues, “is though there’s been a lot of things done on Bob, I think this one will give people a more emotional connection to Bob’s life as a man. Not just as a reggae legend or a mythical figure, but his life as a man, you know? The struggles he went through.”

Macdonald’s summation of “Marley” is a testament to the deeper insight he has achieved: “I feel that that one of the reasons Bob has lived on is because he speaks to the oppressed people of the world, be they in the United States, or Britain or Germany, but more than anything else, he speaks to people in the developing world who feel like they’ve been given a bum deal, who feel like they’ve been hopped over by the west or whatever. And here’s a voice telling them, `Your turn will come. You’re down now but you’re going to get up there.’”

Image Courtesy of  Mikael Eriksson / Shutterstock.com

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As Labor Day Weekend marked the unofficial end of summer, millions of participant and spectators celebrated in Brooklyn during the annual West Indian American Parade & Carnival. The Labor Day Carnival Parade is an outdoor festival that highlights the cultures of nations across the West Indies.

The 2011 West Indian American Parade & Carnival took place on September 5 and showcased a day packed with music, dance, and international cuisine The show stopping performances during this year’s 43^rd annual parade was one of the biggest ever seen in Brooklyn. The parade route ran along busy Eastern Parkway.

With a combination of many Caribbean cultures coming together for the parade, this yearly festivity is one of the largest cultural events in all of New York City. The celebrations began in Brooklyn a few days prior to the main parade that took place on Labor Day. Countries including Jamaica, Trinidad and Barbados were represented, along with a variety of other Caribbean nations.

The original West Indian American Parade & Carnival started in Harlem in the 1940’s, but was then moved to its current home in Brooklyn in the 1960’s. Remaining on the same route, Eastern Parkway annually lights up with the sights and sounds of the Caribbean.

The parade gets its foundation from the traditions of carnivals throughout the Caribbean, where bright costumes and days of exciting music fill up the streets in preparation for Lent. Although this custom has been redirected towards the time around Labor Day, the beauty of these cultures are still a yearly tradition in Brooklyn.

The parade’s signature theme is to bring out the unique cultural traditions of each country through ornately colorful floats that make their way down Eastern Parkway. Thousands of participants dressed up in vibrant costumes and danced atop the decorated floats. The colors of the rainbow were displayed on Caribbean influenced designs, and often included large headpieces flanked with feathers.

Months of preparation go into the designs of the f loats and costumes to make the West Indian American Parade & Carnival one of the most detailed and radiant festival throughout New York City. Along with the sights of the parade were the distinct sounds of the festival. Caribbean music was played throughout the duration of the parade.

Everything from Jamaican reggae to Trinidadian calypso could be heard along Eastern Parkway. One of the highlights of the parade was the abundance of steel drums. Many groups skillfully playing the steel drums performed and competed for the title of the best steel drum band of the year.

The energetic music from guitars, drums, congas, and other instruments got the massive crowds dancing their way through the parade. The tastes of Caribbean cuisine were also a main event during the parade. As is true for many cultures around the world, food is one of the main examples of how uniquely different these countries can be.

Local cooks and chefs came together to serve plates of delicious food from their home countries. Vendors lined the street selling dishes of oxtail, jerk chicken, coconut bread and fried plantains, among many other choices. The array of cultural cuisine was astounding and was a great display of the local food in the Caribbean.

Over three million people enjoyed this year’s West Indian American Parade & Carnival. A large population of New York City inhabitants comes from Caribbean nations. The parade was bursting at the seams with excitement and pride in their distinct cultures.

The annual parade brought participants and onlookers dressed in costumes and with painted faces to Eastern Parkway, and enjoyed a weekend long celebration of the Caribbean.

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The CONCACAF Gold Cup tournament wrapped up their quarterfinal matches Sunday and are one step closer to the finals match-up everyone has been looking forward to: United States vs. Mexico.

These two teams were undoubtedly the best in the field coming into the group stage, and are keeping up their reputation as the tournament moves forward. Fans on either side of the border have been patiently waiting for this blockbuster match-up since both teams met their unfortunate fates in the world cup last year.

The United States made their way out of group play, even after a stumble in their 2-1 loss to Panama. The went on to face Jamaica in the quarterfinals, but a solid defensive effort and another good day in net from goalkeeper Tim Howard pushed them on to a semi-finals rematch with Panama. Onlookers believe the U.S. Will bring a better effort this time and prove to be very tough to deal with. They have their eyes fixed on the favorites: Mexico.

Mexico, behind star Manchester United striker Javier “Chicharito” Hernandez, blasted their way through group play with a +13 goal differential. Though Guatemala kept it close in the semi-finals, they were quick work for the Mexican nationals as well. Mexico will match up with Honduras in the next round, but their potent attack should most definitely be enough to put them over the top and into the finals.

If there’s one thing fans must know about tournament soccer, it is in fact that any team can put on a spectacular effort for 90 minutes to beat any other, no matter how improbable it may seem. Panama is the key example. They have already beaten the United States in this very tournament, so obviously there is no guarantee there. In fact, it is tough to even consider the U.S. As a heavy favorite in the match, as they have not looked quite as sharp as they did in 2010.

The favorites do not always win in any sport, but this match-up just seems to want to happen. Hopefully for fans sake, the stars will align, and this heavyweight bout will indeed take place. If both teams can take care of business, expect some serious action on the pitch at the Rose Bowl in Pasadena, California on June 25^th.

dalayo / Shutterstock.com

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