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You need to log in before you can reply Login Register now. Thank's Jim will go and have a look. Gatorone30 Offline Gatorone30 lvl. Luinil Offline Luinil lvl. Cheers EdgyMedia will go and have a look. Bob Glad you like it. Chrome Firefox Safari Internet Explorer. Something went wrong Is your network connection unstable or browser outdated? I need help. Borrowed from the rim of the myth. Happy Space Age To You…. With this power, even model pyramids are said to preserve foods, sharpen razor blades,.
But how is it for you? I mostly think about kind of pictures in my head, ideas that I try to concretize, and then I try to find good forms and mediums to do it. I might be thinking about making a sound piece and then it turns into a video piece, or I might be thinking about a video piece and it becomes photographs and so on.
Courtesy of the artist. With your piece Carroussa Sonore you transformed a common object from the streets of Morocco into a mobile exhibition space.
The whole thing becomes sacralized — the object, the sound — which creates a kind of interior conflict. So I was very interested in this object and in this business which has led to an invasion of these objects, and also to an invasion of sound and sound pollution in the public space. I really liked this angle of poverty but then using it as a sound platform for public space. Then, besides working with local Moroccan artists, I invited artists through an international open call for a selection to be diffused through this carroussa.
I was quite amazed to see how people in Rabat seemed to be very interested in it, coming to pick and read through the leaflets etc. The Moroccan people are very curious. And since we were near the Moroccan parliament in Rabat, there were a lot of cops. Zinneke, , In-situ installation. Variable dimension. So I wanted to develop a project which would invite the local inhabitants back to this historical area and perhaps reconnect them with the place. Through a local guide, a person who. I wanted to create all this but in order for the locals to reconnect with this place again and imagine its possible future.
The end result. Pourtant Il est possible de construire avec et pour le son. Alors, to bling or not to bling? Homme, race et classe. Jay-Z feat. Rick Ross - Fuck with me you know I got it. Jay-Z —Picasso Baby Juvenile feat. Sound is always present, infusing the settings. At times it takes on a leading role, as a key to the passage between one world and another, a means of liberation. This is not surprising, coming from an author who has been involved in an affair with sonic waves for more than thirty years.
Alisa Clements is a specialist in the dissection of vibrations. An enthusiastic explorer of the psychoacoustic terrain and fan of the music of ordinary sounds, she has. Peter Shapiro, Allia , This wide-ranging and lucid book follows. Born in Karoi, Zimbabwe, in , and currently based in Harare, Takadiwa is known for his simple but intricate installations made from found materials, including spraycan debris, plastic bottle tops and discarded electrical goods.
Through the works exhibited, Takadiwa engages our senses, both literally and visually, as a unique way for identifying foreign materials, items and objects. The exhibition groups together wall-hung sculptures that bear witness to the cultural dominance exercised by the consumption of foreign products in Zimbabwe and across Africa.
Imported consumables become symbolic of the shifting power struggles within postcolonial Zimbabwe, resulting. Pour lui tous ces vinyles, K7… sont des outils de travail pour ses recherches. Pour Politics of sound, il nous invite dans son vaisseau pour un voyage cosmique. Pour maintenir nos actions, nous avons besoin de vous!
See More. Stepping into a gallery or museum is not merely a visual 4 experience In early anthropologists Emil of the signifier is of people talking in tongues, and other complex music genres to be created Torday and Leo Frobenius both employed a phenomenon often witnessed in black in the Diaspora, pre and post-colonial period. At the outset enables the expansion and construction of Africa.
This Africanization of linked with fantasy, myth, and imagination. These phonograph recordings can be Christianity remains alive in New World African These functions are accompanied with the seen as oral maps, maps encoded with reliable cults in Haiti, Jamaica, Trinidad and other narratives extended baton style from genera- information that aptly trace both the history Caribbean islands.
Alan Lomax, a pre-eminent tion to generation. Therefore, sound acts as a major psalms to such an extent that many observers to know who we are. The dynamics of this culture. In many cases the only method avail- pella and antiphony as a mysterious African flux are as unfixed as a John Coltrane solo. The able to document these histories was by oral music. The de-codification of this music nar- the sanctity of the sacred world rooted in call dialogue with past and present chapters that ration is imperative if we are to gain a broader and response syncopation, and wrapped in are invented betwixt heart, soul and intellect.
This floating soundtrack is an inextricable that were often nomadic and existed in states The ring shout, one such African ceremonial indelible trait that is imbedded in all colonized of constant flux. It speaks as easily crossing, is described circa in Congo to its ruptured past grand narratives as it beats employed in current music genres such Square New Orleans as involving five to six does to its forward thinking future.
It remains as Kuduro from Angola and various other hundred dancers accompanied by drummers rooted in unbridled fertile imagination and strains of Hip-Hop and Dance Hall are to be and stringed instruments, moving and sway- therein flexibly sways like a syncopated found in these early recordings. Dilla beat. It is interesting to note that many of the What I term as the Afro-sonic signifier was The evolution of this sonic vocabulary will the soul companion during the forced migra- dissemination and displacement, came an deter us from becoming what Franz Fanon so tion of the middle passage.
Expressed in kinesics nectedness to nature. Wretched of the Earth, page Jimi purveyed a Du Diaspora. Our names objectify our personas, Atlantic. Boisian double consciousness throughout names are important in shaping identity.
At his short-lived career. Mwandishi and all the musicians in his sextet social comment. Rooted in a time-defying During this period he was a part time Harlem- followed suite. These encounters evolved on members of his band, The Arkestra, But American, Native American and European into Jimi taking a more politicized stance in Sun Ra did impose a distinctive dress code American ancestry, he fluidly mined and his music, thus resulting in the formation of which was a flamboyant cross between Egypt melded Bach tinged passages and Cherokee The Band of Gypsys, an all black funk driven and Sci-Fi.
His concerts were awash with drum patterns with Griot style Mississippi revolutionary trio comprised of drummer pageantry, his self penned spoken philosophy Delta call and response counterpoint. Jimi was sizers as well as African percussion and large dress attire on and off the stage. His genre-breaking universe who had the foresight and good fortune to poser vocalist who re-invented the electric of Jazz traversed the entire canon. He fought migrate to the UK to realize his mission and to guitar expanding its sonic capabilities with the against the negative conditions of this inhar- enable him to achieve the global gravitas that aid of analog pedals, tape echoes, and colossal monious planet.
His mythic music of the spirit his timeless music would swiftly acquire. In levels of feedback. Sun Ra was an early industry, Hendrix was totally aware that for the sonic signifier. Jimi was an iconic person- pioneer of Afrofuturism. Sun white players. To facilitate the success he envi- stereotypification within racial hierarchy.
He stated that black on the Chitlin Circuit. This disconnect from the former was a and until it is regained they will be like flotsam ized and racialized. Renaming is an on the ocean of life. His concerns were mul- Jimi toured with Little Richard among 10 tifold, lamenting a planet out of alignment, the entire canon of African American music left an extensive oeuvre and retains a lofty controlled by the Caucasian race. This spiritual to such an extent he was a living breathing position as sonic scientist supreme in the activism is squarely linked to his experience on archive of it.
He was a native of D. He was a utopian Detroit, a city famed for the birth of Tamla originator, pioneer and principal theorist of visionary for the Black race and planet earth Motown Records and House music. He was able to supply small-scale ensembles. This unique genre The Arkestra still exists under the leadership this need with his unique cut and paste col- bending method of no notation entails a lexi- of his dear friend and founding musician lagist approach. His sound was immediately con of 48 plus hand signs and baton gestures Marshall Allen.
His compulsive collecting of shape musical forms as they appear from the vinyl digging in the crates aided his ever fresh ensemble of individual musicians or sound a Hip Hop producer perfectionist extraordi- relentless pioneering drive. Dilla produced makers. A trained musician and theorist, naire. An obsessed magpie who devoured and collaborated with many formidable artists Morris grew weary of the restrictions imposed vinyl with a voracious appetite and absorbed such as Erykah Badu, Madlib, The Pharcyde, by Western music theory and hence created Common, Janet Jackson, and De La Soul, to his own.
His conductions were impromptu name just a few. His sound revolved around aural bridges to cross and meld into. Obsessed with the terrain sprinkled all and sundry with shape archive of the most innovatively pregnant shifting intergalactic wizardry. Butch mapped out an cinematic sequences. Dilla, aka James Yancey was The aforementioned cut and paste The utter unpredictability of Lawrence in its very fluxuating nature was a subversive sampling technique applied by J.
All hail the continuation of conduction. There is a logical continuum between poser, arranger, harpist, pianist, organist, and the early call and response rhythms and vocal synthesizer player born in Detroit Michigan chants of certain Sub-Saharan African cultures to a deep musical family.
Her mother played and the loop space sampling techniques piano and sang in the local Baptist church. Dilla Turiya began classical music lessons at age seven. Early in her career she played in church eclectic vocalist Erykah Badu is our current an album.
Her ethereal harp playing on this groups and with various Jazz ensembles purveyor of this ancient Egyptian strain of album is extremely innovative as the harp is an such as local Detroiters guitarist Kenny Burrell Afrofuturism.
Badu centers her philosophy instrument rarely heard within the context of and saxophonist Lucky Thompson. Turiya on the Egyptian symbol of the Ankh, the key jazz music.
This album is a compassionate plea moved to Paris in to study Jazz with the of life, also known as the key of the Nile. Note for us to transcend the obduracy of this mate- legendary bebop pianist Bud Powell. In Turiya replaced the of women who played a role in the field of influences. Her flight away from racial in Turiya played piano and organ on idiosyncratic non-orthodox style. They were very few harpists in the entire Jazz canon.
On tion through an awakening and sharing of those particular genres. Later becoming a Swa- transcendental ideal vision that she had also and politically in which the Coltranes were mini, she founded the Sai Anantam Ashram, shared with John.
Music played a major is due to the fact that a race and class hierarchy role in the identities of all of these movements was also clearly apparent in certain spiritual sharing with my sisters and brothers of the and existed in a clearly defined racial strata.
Turiya was clearly world, my all, the results I leave to God I am After the death of John Coltrane in Turiya aware of this fact and naturally attracted not really concerned with results, my only raised their three children and embarked on a fellow African Americans into her congrega- concern is the work, the effort put forth. Ptah, the El Daoud, her second solo tion. Her brand of meditation and yoga with album, is a sublime abstract entropy that takes an emphasis on Bhajans devotional Sanskrit one on an Egyptian, Vedantic Afrofuturist, songs was heavily tinged with her Baptist fantastical voyage.
The music and the album gospel roots. Both were accomplished African American woman who re-imagined theoreticians and philosophical black cos- herself as Swamini Turiyasangitananda retains mic outsiders of the traditional Jazz domain. Journey in Satchidananda, eccentric attire as Turiya, like Sun Ra, was often her fourth solo album recorded in , is in bedecked in flowing regal robes.
The artists To Space Ship. Les codes du carnaval jets artistiques. Abigal Celis- All images courtesy of the artist As an epigraph to a recent exhibition of new works, Jamaican artist Cosmo Whyte cites a line from Frantz Fanon. They are from different time periods coexist in a single Whyte mixed the recordings in his Michigan mobile creatures, rippling through the air as device, though not necessarily appearing in studio and built the stereo wall with his uncle, we rip it on the dance floor.
Recorded sounds, chronological format. A recording Jamaica to help him design and construct can travel from one device to another, make construction, sound blasts through the mega- the wall. The sound of waves were likewise leaps in time as it is converted into different phone at the stall of a vendor in a market originally recorded during a journey, a journey technological formats.
In Jamaican dub, a particu- studio in the icy months of a Michigan winter. It belongs pora as we know it today. He laid the recorded most popular interpretation of it, not necessar- everywhere, and with the right technology, tracks on top of each other, creating a gritty, ily by one that first recorded it. As if this were not already curious, locations. The device, consider at first listen. One would the listeners. Over ing the corpses of other black boys and girls, lineage.
It is how they each acknowledge the beat and chorus, we hear the voices of too young to be anything but innocent, pile the shared vulnerability of the body in their James Baldwin and Stuart Hall each working up around you.
The goal of versation between Baldwin and Dick Gregory, Whyte recorded the sounds. It is also the megaphone. An impossible task, it turns Movement and relate the black experience in the same ocean water that once carried slave out. The performance can be read as an exten- America with that of the Caribbean and Great ships from the shores of Ghana to ports in sion of an earlier photographic work by Whyte Britain.
Baldwin begins the conversation with Great Britain, the Caribbean, and beyond. Over a dozen man in London. I was born in Harlem, Baldwin insists shores. This he samples and mixes with the repeatedly, as the man with his own impatient past decade of experiences in North America. In one is easily cast in the role of a stranger, of the anecdote in his larger reflections. Baldwin fact, the different sounds pieces reverberate being from somewhere else even before they points out that not knowing where one is within each other.
That title is itself a distortion a fresh wound is that black American life is familial backgrounds. Interest- less terrifying forms of disregard. While the story begins as a joke and it means to be black in New York. What that 28 And yet, what unites Baldwin in and Abigail E.
Andrew, Jamaica in Coming back to Copenhagen, Denmark, have not, I was met by press photos of refugees mainly from Syria walking on the Danish highways trying to reach our neighboring country Sweden as they did not feel welcome in Denmark.
Inside a hexagon tower on the harbor front the ghost, indeed to the ghost and with it, And we do need to welcome this ghost in at Arsenale in Venice, Italy, the recordings of a from the moment that no ethics, no politics, order to welcome those refugees on our choir singing the German national anthem in whether revolutionary or not, seems pos- highways. Derrida welcomes a ghost with an the languages Igbo, Bamun, Kikonga, Yoruba, sible and thinkable..
A first step could also are playing. Ogboh worked with a choir con- in this book written right after the fall of the be to sit down and listen to unfamiliar tongues sisting of African immigrants based in Berlin, Berlin wall. The specter or ghost is appear- sing a too familiar tune. Germany, for this piece, and he asked each ing because it is the end of history: liberalism member of the choir to translate the German has conquered and Marx is definitively dead.
The translation of the lyrics of this anthem that encloses the dark side of national identity is a strong gesture 31 Emeka Ogboh, Recording at P4 Studio, Berlin, Que faut-il comprendre? Cela redouble la conception faites entre les femmes noires et le virus HIV?
Camille Moulonguet Et puis la qui constituent ma collection. Ma collection est un outil sont. Ce hauteur, ou encore tu es trop contextuel. Ce qui lier? Comme dit vend rien? Comment envisagez-vous ces espaces? With our eyes closed, listening intently, and Flute Music, both featuring sublime were in exile. We back there. When Dudu the visceral hauntology of grief Blue Notes indoctrinated us with a profound sense of played we forgot that he was in exile too.
He For Mongezi that has turned me into a our separateness. We had, from birth, always invented South Africa. With his eyes closed, disciple. To listen to this threnody of love for a been separated from each other and this blowing concentratedly into the mouthpiece fallen comrade is to understand how far into meant, ultimately, from ourselves. Paradoxi- of that soprano saxophone, Dudu summoned the soul recorded sound can travel; beyond cally the separation from South Africa meant into being the warm spirit of an impossible art, beyond jazz, beyond any intellectual that we could finally meet each other — as home and shared it with us, his congregation.
I exiles — and share bittersweet memories of the In his passionately blowing presence we were have been listening to it every day for nearly a terrible place we called home. We hated it but made privy to an emancipation so incandes- year since first discovering it.
Tonight I will get we wanted, more than anything, to go back cent that the merely political liberation of to see Dudu play for the first time. I will climb ekaya. We loved it but we wanted to change it, the struggle glowed like a 40 Watt bulb by onto my bicycle at 7pm and cycle from my irrevocably. To change ourselves. To repair our comparison.
What we all had in common, It was a way of staying alive. A scream gathered in wet fingers We lived in three distinct places. And finally, groundingly, the drab grey reality of In this perfect quiet, my friend, I am 20 years old. It is two weeks before Who was Dudu Pukwana? On the 9th of March I will located — the Netherlands. This partitioning officially come of age.
But of the self disallowed us full participation in 23 of February is my birthday present Dudu was behind all that and Chris was, you the everyday we were living through.
Exile to myself. Tonight is the first time I will see know, there, but Dudu was the composer and robbed us of an ordinary life. Being unable to Dudu Pukwana perform live. And Dudu was the and always tragic mythopoeia. The nostalgia playing. Memory is always fiction. No place could be recorded set. His first group with about music you start lying.
Although the band won a prize that it never quite decides to unveil. This automatic paternal- spirited playing by ism was to chafe sorely once the band was in Hugh Masekela exile. Mra was a regular favorite of the bone and Cornelius Blue Notes and their future incarnation, the Kumalo baritone Brotherhood of Breath and was also recorded sax and clarinet. The by Hugh Masekela. The performance depends on the stereo Mic and the mobile device.
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