Download All Fela Songs
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Du Mardi 15 Au Mercredi 23 Avril African Remix
Roch-Olivier Maistre, Président du Conseil d’administration Laurent Bayle, Directeur général Du mardi 15 au mercredi 23 avril African Remix 2014 Vous avez la possibilité de consulter les notes de programme en ligne, 2 jours avant chaque concert, Du mardi 15 au mercredi 23 avril avril 23 mercredi au 15 Du mardi | à l’adresse suivante : www.cite-musique.fr African RemixAfrican SOMMAIRE MARDI 15 AVRIL – 20H p. 4 JEUDI 17 AVRIL – 20H p. 6 MERCREDI 23 AVRIL – 20H p. 9 MARDI 15 AVRIL 2014 Kinshasa (République démocratique du Congo) 19h - RENCONTRE (Salle des concerts) Animée par Alain Weber, avec Mopero Mupemba Lumbue (Basokin Ensemble) et Michel Winter, manageur. Présentation de Kinshasa et de ses communautés. 20h - CONCERT (Salle des concerts) Basokin Ensemble Mopero Mupemba Lumbue, guitare François Kalenga Nsomue, guitare Sébastien Ngangu Tiabakuau, guitare basse Diesel Mukonkole Kapenga, percussions Narcisse Kabukulu Mukendi, percussions Dinda Kayembe Muteyi, voix (voix d’or) Kadiya Yempongo, voix et danse Peuple Ngoyi Nkambua, voix Charlène Luanyi Yampanya, danse Isabelle van Oost, créatrice décor Fin du concert vers 21h45. 4 Basokin Ensemble Dans le creuset urbain de Kinshasa, capitale de la République démocratique du Congo, cohabitent des centaines d’ethnies issues de son immense territoire couvrant plus de 2,3 millions de km2. C’est du Kassaï, double région (orientale et occidentale) qui occupe le centre-sud du pays, que majoritairement viennent les Songye. La communauté linguistique et culturelle des Songye est appelée Basongye, le préfixe Ba servant à désigner le peuple dans les langues du Congo. Ainsi l’ensemble musical fondé en novembre 1982 afin de représenter la communauté des Songye vivant à Kinshasa, a naturellement été baptisé Basokin (les Songye de Kinshasa). -
Fela Kuti Anthology 2 Mp3, Flac, Wma
Fela Kuti Anthology 2 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul Album: Anthology 2 Country: France Released: 2009 Style: Afrobeat MP3 version RAR size: 1581 mb FLAC version RAR size: 1712 mb WMA version RAR size: 1597 mb Rating: 4.6 Votes: 105 Other Formats: DXD VOC MOD AC3 WAV AU XM Tracklist Fela & Africa 70 (1975-1976) 1-1 Expensive Shit 13:13 1-2 He Miss Road 10:46 1-3 Everything Scatter 10:30 1-4 Ikoyi Blindness 15:06 1-5 Kalakuta Show 14:29 1-6 Na Poi 75 13:32 Fela & Africa 70 (1977-1980) 2-1 Colonial Mentality 13:42 2-2 Zombie 12:25 2-3 Unknown Soldier (Part 2) 17:20 2-4 Coffin For Head Of State (Part 2) 13:19 2-5 Africa Center Of The World 17:31 DVD - Live In Berlin 3-1 V.I.P. (Vagabonds In Power) 16:29 3-2 Power Show 17:46 3-3 Pansa Pansa 15:15 3-4 Cross Examination 19:34 Notes 1-1, 1-2 from the album Expensive Shit / He Miss Road 1-3 from the album Everything Scatter / Noise For A Vendor Mouth 1-4, 1-5 from the album Ikoyi Blindness / Kalakuta Show 1-6 from the album Yellow Fever / Na Poi 2-1 from the album Sorrow Tears And Blood 2-2 from the album Zombie 2-3 from the album Unknown Soldier 2-4 from the album Coffin For Head Of State 2-5 from the album Upside Down / Music Of Many Colours Barcode and Other Identifiers Barcode: 5414939014925 Other versions Category Artist Title (Format) Label Category Country Year Anthology 2 (2xCD, Comp + WRASS 200 Fela Kuti Wrasse Records WRASS 200 UK 2008 DVD) Related Music albums to Anthology 2 by Fela Kuti Fẹla & Africa 70 - Coffin For Head Of State / Unknown Soldier Fela Ransome-Kuti And His Africa '70 - Alujon-Jon-Ki-Jon (Part 1 & 2) Fela & Africa 70 - Everything Scatter Fela Ransome-Kuti And His Africa '70 - Fela Fela Fela Fela Kuti & Africa 70 - V.I.P. -
Expensive Shit: Aesthetic Economies of Waste In
EXPENSIVE SHIT: AESTHETIC ECONOMIES OF WASTE IN POSTCOLONIAL AFRICA by Sarah L. Lincoln Department of English Duke University Date:_______________________ Approved: ___________________________ Ian Baucom, Supervisor ___________________________ Ranjana Khanna ___________________________ Grant Farred ___________________________ Charles Piot Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of Duke University 2008 ABSTRACT EXPENSIVE SHIT: AESTHETIC ECONOMIES OF WASTE IN POSTCOLONIAL AFRICA by Sarah L. Lincoln Department of English Duke University Date:_______________________ Approved: ___________________________ Ian Baucom, Supervisor ___________________________ Ranjana Khanna ___________________________ Grant Farred ___________________________ Charles Piot An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of Duke University 2008 Copyright by Sarah L. Lincoln 2008 Abstract This dissertation proposes a reading of postcolonial African literature in light of the continent’s continued status as a “remnant” of globalization—a waste product, trash heap, disposable raw material, and degraded offcut of the processes that have so greatly enriched, dignified and beautified their beneficiaries. The “excremental” vision of African authors, poets and filmmakers reflects their critical consciousness of the imbalances and injustices that characterize African societies and polities under pressure from monetized capitalism and domestic corruption. The figure of superfluity, excess, destruction or extravagance—concepts gathered together under the sign of “waste”—is a central thematic, symbolic, and formal feature of many postcolonial African works, and I suggest that literature functions in this context to document, critique, and offer alternatives to the culture of waste that predominates in political and social life on the continent. -
Fela Kutiexpensive Shit Full Album Zip
Fela Kuti-Expensive Shit Full Album Zip Fela Kuti-Expensive Shit Full Album Zip 1 / 4 2 / 4 Fela Kuti-Expensive Shit Full Album Zip > http://urluss.com/10s03w ec7e5db336 See also Expensive Shit / He Miss Road (2 albums on one ... Expensive Shit | Fela Kuti to stream in hi-fi, or to download in True CD Quality on Qobuz.com.. Fela Anikulapo Kuti (15 October 1938 – 2 August 1997), also professionally ... 12th full-length release by the revolutionary Afrobeat pioneer (includes download ... Tracklist. A Expensive Shit 13:14. B Water No Get Enemy 11:06. View more .... Includes unlimited streaming of Expensive Shit (1975) via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. Sold Out. Wishlist ... Flyff Farm Bot Download Expensive Shit. 1975. Expensive Shit · Knitting Factory Records · He Miss Road. 1975. He Miss Road · Noise for Vendor Mouth. 1975. Noise for Vendor Mouth.. On "It's No Possible," drummer Tony Allen imposes a polyrhythmic torrent that locks in the rest of the Africa 70. They have no choice but to grab .... FELA KUTI & AFRICA 70. Expensive shit [LP - Nigeria 1975] A.C.A.B. afrobeat part 2 >>> Download The title of the album refers to an incident ... Ashok N Kamthane Programming In C Pdf Free Downloadrar 1 dinamica de sistemas y control eronini pdf 70 3 / 4 I Wayne Lava Ground 2005 Fela Ransome Kuti & Africa 70: Expensive Shit (Free MP3) Vinyl LP – ... nicest new Hip-Hop releases, including full albums, amazing mash-ups, instrumentals, .... Fela Kuti, Expensive Shit - He Miss Road Full Album Ziplink: http://urlgoal.com/imf. -
FELA and the Black President Film
The African e-Journals Project has digitized full text of articles of eleven social science and humanities journals. This item is from the digital archive maintained by Michigan State University Library. Find more at: http://digital.lib.msu.edu/projects/africanjournals/ Available through a partnership with Scroll down to read the article. I aacLJJm eside Forward HE following is a diary I kept between January 2nd to 28th 1977when I was acting in Fela's biographical film The Black President, co- produced by Fela Anikulapo-Kuti, Faisal Helwani, Alex Oduro and J.K. Braimah. I first saw Fela play in 1972 when he came to the University of Ghana Campus at Legon, where I was then an undergraduate. In November 1974 I stayed at his Africa Shrine (Empire Hotel) with members of Basa-Basa and the Bunzu Sounds, the resident groups at Faisal Helwanis Napoleon Club in Accra. Faisal and Fela co- produced two albums we recorded at the EMI studio in Apapa including two Afro- beats I played and composed jointly with the Bunzus. 'Onukpa Shwapo and Yeah Ku Yeah' were later released on the New York Makossa Lable as 'Makola Special' and 'Volta Suite' respectively. On the first day of our stay at the Shrine we were teargassed, as Fela's Kalakuta Republic across the road was attacked by sixty riot police trying to retrieve a runaway girl Fela had been harbouring. I stayed at the Shrine again in December 1 975, enroute to visit and play with Victor Uwaifo. It was on this occasion that I did the interview with Fela. -
Asimilación Musical Y Crítica Política En La Obra De Fela Kuti Agustín Haro
ESTUDIOS HISTORICOS – CDHRPyB- Año V - Julio 2013 - Nº 10 – ISSN: 1688 – 5317. Uruguay Asimilación musical y crítica política en la obra de Fela Kuti Agustín Haro1 Resumen: Olufela Olusegun Oludotun Ransome-Kuti en Abeokuta, Estado de Ogun, Nigeria en 1938, conocido como Fela Kuti fue un músico y activista abocado al highlife jazz para posteriormente crear un género musical que revolucionaría no solo África, sino Occidente, el Afrobeat. Prolífico músico, su fama fuera de los limites africanos comenzó a surcar a mediados de la década de 1970 con discos como “Coffin for Head of State” o “Zombie”, álbumes con una critica política muy fuerte que lograron colocar a Kuti en la escena musical europea y norteamericana, logrando transmitir un mensaje al exterior de cómo se estaban viviendo en su Nigeria natal. El objetivo del articulo será buscar demostrar como se introdujo de forma clara dentro de su faceta artística un proceso de asimilación tanto del inglés, como de géneros musicales provenientes como ser el jazz, soul, funk y como a partir de ahí con estos elementos occidentales, realiza una mordaz crítica política a los gobiernos de turno y de las nociones que se encontraban impuestas en Nigeria a partir de los procesos de colonización. Como problemática se buscará resolver la dicotomía que provoca esta imbricación/asimilación para criticar Occidente. ¿Por qué Fela se valió de estos recursos? Palabras claves: panafricanismo – black power – critica política – crítica cultural 1) Introducción: Nacido bajo el nombre de Olufela Olusegun Oludotun Ransome-Kuti en Abeokuta, Estado de Ogun, Nigeria en 1938, Fela Kuti fue un músico y activista creador de un género musical que revolucionaría no solo África, sino Occidente, el Afrobeat, del cual es considerado padre hasta el día de hoy por los críticos musicales. -
ウィークエンド サンシャイン Playlist Archive Dj:ピーター・バラカン
ウィークエンド サンシャイン PLAYLIST ARCHIVE DJ:ピーター・バラカン 2016 年 7 月 2 日放送 01. Baby, Don't You Say You Love Me / T Bone Burnett // The True False Identity 02. Shuffletown / Joe Henry // Shuffletown 03. Crying / Roy Orbison and Friends // Black & White Night Live 04. Pistol Packin' Mama / Willie Nelson // Country Music 05. Please Read The Letter / Robert Plant & Alison Krauss // Raising Sand 06. I'll Fly Away / Alison Krauss & Gillian Welch // Down From The Mountain: Live Concert Performances By The Artists & Musicians Of "O Brother, Where Art Thou?" 07. Tear My Stillhouse Down / Gillian Welch // Revival 08. Will The Circle Be Unbroken / Gillian Welch // Another Day, Another Time: Celebrating the Music of 'Inside Llewyn Davis' 09. Underneath the Harlem Moon / Rhiannon Giddens // Factory Girl 10. The Frost Is All Over / The Chieftains w. Punch Brothers // Voice Of Ages 11. There Ain't No Sweet Man That's Worth the Salt of My Tears / Diana Krall // Glad Rag Doll 12. Closer To You / Cassandra Wilson // Thunderbird 13. Nothing But The Whole Wide World / Jakob Dylan // Women + Country 14. Walk in the Woods / Peter Case // Troubadours of Folk, Vol.5: Singer-Songwriters of the '80s 15. Listen For The Laugh / Bruce Cockburn // Dart To The Heart 16. Troubled Land / John Mellencamp // Life, Death, Love & Freedom 17. This City / Steve Earle // I'll Never Get Out Of This World Alive 18. What Kind Of Man Am I / Kris Kristofferson, Phil Alvin, Sheryl Crow,Dave Alvin & Taj Mahal // Ghost Brothers Of Darkland Count 2016 年 7 月 9 日放送 01. Number 9 Train / Tarheel Slim // Bobby's Record Shop 02. -
Nonviolent Protest in Africa: Echoes and Lessons from Fela Anikulapo Kuti
Nonviolent Protest in Africa: Echoes and Lessons from Fela Anikulapo Kuti Noah Opeyemi, BALOGUN Department of Peace and Conflict Studies Afe Babalola University, Ado-Ekiti, Ekiti-State Email: [email protected] Tel.: +2348030627731 Abstract This study examines the intersection of popular music/culture, social movement and protest by analysing the numerous protest music produced and performed by Fela Anikulapo Kuti, Africa’s most iconic resistant artist of the twentieth century. It engages the core questions of right, injustice, and inequality that have manifested in Africa/Nigeria’s underdevelopment since the Union Jack was lowered in 1960. It argues that Fela’s music did have obvious impact on Nigerian youth and the working class who attempted to revise or renegotiate their relationship with the Nigerian state. Yet, it posed hitherto unanswered questions of the changing meaning of social movement in relation to artistic production- an aspect of African studies that scholars have completely overlooked. It concludes that as people reconfigure social relations from one stage to another in their life, their engagement with the State and the social meaning attributed to social justice, which Fela’s music emphasised, also change. Thus, popular consciousness shaped by resistant music is not immutable to nonviolent social protest. Rather, it continued to change as individuals and groups reconstitute their relationship with the society, and as their social status transformed in accordance with the acquisition of better education, wealth/resources, among other significant elements that shape human’s consciousness. Introduction: Understanding Nonviolence Violence involves the use of physical force to achieve and aim. It is the use of physical force may be directed at hurting, damaging, or killing a person or an animal. -
News Release
Brooklyn Peter Jay Sharp Building CommunicationsDepartment Academy 30 Lafayette Avenue Sandy Sawotka of Brooklyn NY 11217-1486 Fatima Kafele Music Telephone: 718.636 .4129 Lucy Walters Fax: 718 .857 .2021 Tamara McCaw Christina Norris [email protected] News Release BAM presents Red Hot+ RIOT LIVE! The Music and Spirit of F ela Kuti featuring an all-star line-up including Amadou & Mariam, Cheikh Lo, dead prez, Keziah Jones, Les Nubians, Meshell Ndegeocello, and Yerba Buena-Dec 1 & Dec 2 Additional events include screenings of the documentary Fela! Fresh from Africa and performances in BAMcafe BAM 2006 Next Wave Festival is sponsored by Altria Group, Inc. Red Hot+ RIOT LIVE! Music director Andres Levin Video design by Jan Hartley Visual curator Trevor Schoonmaker Lighting design by Roma Flowers Produced by Yale Evelev & Paul Heck BAM Howard Gilman Opera House (30 Lafayette A venue) Dec 1 (World AIDS Day) & Dec2 at 7:30pm Tickets: $25, 40, 55, 65 Felal Fresh from Africa Dec 1 at 4:30, 6:50, 9: 15pm BAM Rose Cinemas (30 Lafayette A venue) Tickets: $10 per screening ,·.t\ Brooklyn, NY/October 9, 2006---As part of the 2006 Next Wave Festival, BAM presents Red '. Hot + RIOT LIVE! The Music and Spirit of Fe/a Kuti, a two-night, all-star tribute celebrating the music of the late Afrobeat king, Nigerian musician Fela Kuti. The concerts, opening on World l AIDS Day (Dec 1), will replicate the critically acclaimed CD Red Hot+ RIOT, which was released in 2002 to support the AIDS awareness efforts of The Red Hot Organization. -
Fela Kuti, James Brown and the Invention of Afrobeat
Make It Funky 99 Make It Funky: Fela Kuti, James Brown and the Invention of Afrobeat Alexander Stewart Evoking the image of ships and black sailors navigating the Atlantic, Paul Gilroy’s heuristic stresses dynamic cultural exchange among diverse popula- tions of the African diaspora and the mother continent itself—the “black Atlan- tic.” Gilroy argues for the central role of black musical expression in producing a “distinctive counterculture of modernity” on a basis of shared oppression, common goals, and hybrid cultures (Gilroy, 1993, 36). While the perspective of black Americans’ discovery and cultivation of African cultures and sensibili- ties (both historical and imagined) is more familiar to those on this side of the Atlantic, this process also figured importantly on the African continent. During the early postcolonial years, the interest of African Americans in discovering their African roots stimulated a similar impulse in some Africans. Describing the epiphany brought on by his 1969 trip to the United States, Fela Anikulapo Kuti, the originator of the jazz, funk, and soul-infused genre Afrobeat, recalled: It was incredible how my head was turned. Everything fell into place, man. For the first time, I saw the essence of blackism [black nationalism]. It’s crazy; in the United States people think the black-power movement drew inspiration from Africa. All these Americans come over here looking for awareness. They don’t realize they’re the ones who’ve got it over there. Why we were even ashamed to go around in na- 0026-3079/2013/5204-099$2.50/0 American Studies, 52:4 (2013): 99-118 99 100 Alexander Stewart tional dress until we saw pictures of blacks wearing dashikis on 125th Street. -
Multimedia Suggested List
ANGOLA ARTIST Nastio Mosquito (1981 - ) - Specialty: Contemporary Artist ARUBA ARTIST Frederick Hendrick (Henry) Habibi (1940 - ) - Specialty: Poet, Literary Critic - Most of his poems are written in Papiamento AUSTRALIA ARTIST Gloria Petyarre (aka Gloria Pitjara) (1945 - ) - Specialty: Aboriginal artist. Her works are considered highly collectible; prices range from $2,000 - $30,000. AUTHORS Faith Bandler (1918 – 2015) - Specialty: Writer Mary Carmel Charles - Specialty: Writer Alexis Wright - Specialty: Writer Kate Howarth - Specialty: Writer Glenyse Ward - Specialty: Writer Fifty Shades of Brown: Sources for Building Ethnic-Centered Community Collections for New Americans of Color by Wilma Kakie Glover-Koomson 1 BARBADOS AUTHORS Austin Clarke (A.C.) (1934 - ) - Specialty: Novelist, Short Story, and Essayist - Bibliography: The Polished Hoe; Storm of Fortune; Survivors of the Crossing Kwadwo Agymah Kamau - Specialty: Writer - Bibliography: Pictures of a Dying Man; Flickering Shadows Karen Lord (1968 - ) - Specialty: Writer - Bibliography: Redemption in Indigo; The Best of All Possible Worlds Glenville Lovell (1955 - ) - Specialty: Writer, Dancer, and Playwright - Bibliography: Fire in the Canes; Song of Night; Mango Ripe! Mango Sweet (play) George Lamming (1927 - ) - Specialty: Novelist, Poet, and Essayist - Bibliography: In the Castle of My Skin; Natives of My Person; The Pleasures of Exile – Essays MUSIC/MUSICIANS/LABELS Arturo Tappin Rihanna (aka Robyn Rihanna Fenty) (1988 - ) - Specialty: Singer, Songwriter - Albums: Unapologetic; Talk that Talk; Loud; Good Girl Born Bad; Rated R Shontelle Layne (1985 - ) - Specialty: Singer BENIN ARTISTS Meschach Gaba (1961 - ) - Specialty: Artist (Contemporary African and Cultural), Sculptor - Bibliography: Meschac Gaba by Stephen Muller (August 2010) MUSIC/MUSICIANS/LABELS Angelique Kidjo Wally Badarou Fifty Shades of Brown: Sources for Building Ethnic-Centered Community Collections for New Americans of Color by Wilma Kakie Glover-Koomson 2 BRITAIN AUTHOR V.S. -
Afrobeat, Fela and Beyond: Scenes, Style and Ideology
AFROBEAT, FELA AND BEYOND: SCENES, STYLE AND IDEOLOGY by Oyebade Ajibola Dosunmu BA, Obafemi Awolowo University, Ile-Ife, Nigeria, 2001 MA, University of Pittsburgh, 2005 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2010 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Oyebade Ajibola Dosunmu It was defended on November 12, 2010 and approved by Jean-Jacques Sene, PhD, Department of History, Chatham University Laurence Glasco, PhD, Department of History Mary Lewis, PhD, Department of Music (Emerita) Nathan Davis, PhD, Department of Music Akin Euba, PhD, Department of Music ii Copyright © by Oyebade Dosunmu 2010 iii AFROBEAT, BEYOND FELA: SCENES, STYLE AND IDEOLOGY Oyebade Ajibola Dosunmu, PhD University of Pittsburgh, 2010 Afrobeat first emerged in the late 1960s amid the rapidly changing postcolonial terrain of Lagos, Nigeria. Created by Fela Anikulapo-Kuti (1938-1997), the genre blends scathing anti-establishment lyrics with Yoruba traditional music and Western forms, particularly jazz. Fela’s ideological dictum: “Music is the Weapon of the Future,” encapsulates his view of music as an oppositional tool, his enactment of which led to frequent violent confrontations with the Nigerian state. Throughout his lifetime, Fela held hegemonic sway over afrobeat’s stylistic and ideological trajectories. However, following his death, the genre has witnessed a global upsurge with protégés emerging in New York City, San Francisco, Paris, London and other cultural capitals of the world. In my dissertation, I chronicle afrobeat’s transnational networks and discuss processes of stylistic and ideological affiliation through which such networks have emerged.