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TIDE Salon — Transcript PDF Accessible Text Descriptions and Transcription Produced by Harriet Smith Hughes
1 TIDE Salon — Transcript PDF Accessible text descriptions and transcription produced by Harriet Smith Hughes. Table of Contents Funder’s Introduction Landing Page Introduction to TIDE: by Nandini Das TIDE Salon Introduction Icons and Journey Map Website Footer TIDE Salon Credits Embarkation ‘Alien’ Keyword Alien — Final composition Alien — Keyword essay Alien — Project Archive First project Zoom — all participants Alien — Mid-composition Project WhatsApp Alien — Pre-composition Artist Research Alien — Artist’s experimentation, Zia Ahmed Alien — Post-composition Project Zoom Alien — Steven Savale reflects Alien — Artist Profiles Alien — Fragment by Preti Taneja Alien — Biography of Preti Taneja ‘Traveller’ Keyword Traveller — Final Composition Traveller — Keyword essay Traveller — Project Archive Traveller — Freeplay experiments Traveller — Acoustic live play Traveller — Collaboration WhatsApp 1 Traveller — Collaboration WhatsApp 2 Traveller — Artists’ Project Zoom Part 1 2 Traveller — Artists’ Project Zoom Part 2 Traveller — Post-composition Project Zoom Traveller — Shama Rahman reflects on the project Traveller — Artist Profiles Traveller — Fragment by Preti Taneja ‘Savage’ Keyword Savage — Final composition Savage — Keyword essay Savage — Project archive Savage — Artists’ Project Zoom Part 1 Savage — Ms Mohammed’s Experimentation and Live Takes Savage — Sarathy Korwar’s experimentation Savage — Artists’ Project Zoom Part 2 Savage — WhatsApp / Email Collaborations Savage — Post-composition Project Zoom Savage — Ms. Mohammed reflects on the process Savage — Artist Profiles Savage — Fragment by Preti Taneja Funder’s Introduction [Black background with text, headed by three logos: the TIDE logo; the Oxford University logo; and the ERC, European Research Council logo.] The TIDE project is funded by the European Research Council (ERC) under the European Union’s Horizon 2020 research and innovation programme (grant agreement no. -
Learnenglish Professionals
LearnEnglish Professionals INDIAN POP MUSIC AUDIOSCRIPT Listen to an interview with Mahesh Gupta, tabla player and DJ about his music. Optional exercise: Decide if these statements are true or false. (Answers below). 1. Mahesh thinks that the two styles of music he plays are completely different. 2. Rhythm is something fundamental to all music. 3. Mahesh thinks that live music doesn’t work in clubs. 4. He thinks that it is too early to try Djing at a classical music concert. 5. Indian audiences are far more lively than Western ones. 6. Mahesh is always looking for new experiences. Interviewer (I): Mahesh, you trained as a classical Indian musician, but now you spend most of your time playing records in nightclubs…they’re two very different things! Mahesh (M): Well, yes, they are…the two worlds are very different, but there is something that connects them… I: …and what’s that? M: Rhythm. An interest in rhythm. Rhythm is fundamental to everything that I do. Whether it’s the rhythmic section of a classical Indian raga, or some “Asian Underground” electronic beats in a club… I: And you mix the two things don’t you? M: Yes…I’ve played live tabla to electronic accompaniment in clubs in Europe. I: How has that gone down? M: Really well…I think people are getting bored of ordinary clubs and faceless DJs. Some live music is a great addition. I: And have you tried djing for a classical Indian audience on the other hand? M: No! I’m not quite sure the world’s ready for that yet…still, it’s an interesting idea! I: How are audiences for your music different in India and in Europe? M: Well, the classical audiences are far more sedate in Europe than in India. -
Illegal Immigrants and the Informal Economy: Worker and Employer Experiences in the Asian Underground Economy
ILLEGAL IMMIGRANTS AND THE INFORMAL ECONOMY: WORKER AND EMPLOYER EXPERIENCES IN THE ASIAN UNDERGROUND ECONOMY Trevor Jones and Monder Ram De Montfort University and Paul Edwards University of Warwick Abstract The informal economy and migration in advanced economies are two major political issues. This paper connects them through a study of the concrete experiences of workers, and the firms employing them, in the exemplary case of the clothing and catering sectors in a British city. This experience illustrates, notably through wages as low as £2 per hour, how people live through the tensions of economic pressures for cheap labor and political attempts to regulate its use. Illegal migration was a key reason for the survival of these firms, in supplying cheap and flexible labor. It was not, however, organized in any way by the firms, and they disliked it in principle while having little option but to employ illegals. Workers largely had to accept their lot. An approach to managing the issue through encouragement, rather than strict enforcement, is suggested. Introduction In 2003, we carried out research on behalf of the DTI into the use of illegal immigrant workers by Asian-owned firms in Birmingham and the West Midlands (Ram et al 2002a). Using trusted intermediaries, we were able to conduct twenty in-depth interviews with undocumented workers and a further twenty with their employers. Ten cases were drawn from the International Journal of Economic Development Volume Six, Number 2, pp. 98-119 2004 99 clothing sector, and ten from catering (embracing mainly curry houses and similar low-price restaurants). -
The Appropriation of Commodified African-American Culture by South Asian Youth in Britain
Performing 'Blackness': The Appropriation of Commodified African-American Culture by South Asian youth in Britain By Tilusha Ghelani An MPhil thesis submitted to Department of Cultural Studies and Sociology School of Social Sciences The University of Birmingham University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. «WI& &\*^ Jj r° 5 c .9 K> -* O -O ^o' X OD Abstract In recent years, African-American popular culture has been marketed for mass global consumption through music, film, television and fashion. Hip-hop culture and rap music has been at the forefront of this commodification process. The proliferation of these mass marketed forms coincided with the growing up of a generation of British Asian youth who lacked presence in the British media. In this thesis the global sell of 'blackness' is examined alongside the structural position and visibility of South Asian youth in Britain. The cultural moment when the appropriation of African-American culture (and particularly hip-hop) by South Asian youth proliferated, is researched through in-depth interviews with participants who were growing up at the time. The ways in which 'black' codes were used, their investment in these and the effect on their identities at a subjective level is also examined. -
Diasporic Music in a Time of War”: Pantomime Terrors
“Diasporic Music in a Time of War”: Pantomime Terrors John Hutnyk1 Centre for Cultural Studies at Goldsmiths, University of London I increasingly find it problematic to write analytically about “diaspora and music” at a time of war. It seems inconsequential; the culture industry is not much more than a distraction; a fairy tale diversion to make us forget a more sinister amnesia behind the stories we tell. This paper nonetheless takes up debates about cultural expression in the field of diasporic musics in Britain. It examines instances of creative engagement with, and destabilisation of, music genres by Fun^da^mental and Asian Dub Foundation, and it takes a broadly culture critique perspective on diasporic creativity as a guide to thinking about the politics of hip- hop in a time of war. Examples from music industry and media reportage of the work of these two bands pose both political provocation and a challenge to the seemingly unruffled facade of British civil society, particularly insofar as musical work might still be relevant to struggles around race and war. Here, at a time of what conservative critics call a ‘clash of civilizations’, I examine how music and authenticity become the core parameters for a limited and largely one-sided argument that seems to side-step political context in favour of sensationalised – entrenched – identities and a mythic, perhaps unworkable, ideal of cultural harmony that praises the most asinine versions of multiculturalism while demonizing those most able to bring it about. Here the idea that musical cultures are variously authentic, possessive or coherent must be questioned when issues of death and destruction are central, but ignored. -
Multi-Cultural. Dinner" Feast Prez: Search Firm Gauges'baruch
::- ~.--.-.;::::-:-u•._,. _._ ., ,... ~---:---__---,-- --,.--, ---------- - --, '- ... ' . ' ,. ........ .. , - . ,. -Barueh:-Graduate.. -.'. .:~. Alumni give career advice to Baruch Students.· Story· pg.17 VOL. 74, NUMBER 8 www.scsu.baruch.cuny.edu DECEM·HER 9, 1998 Multi-Cultural. Dinner" Feast Prez: Search Firm Gauges'Baruch. Opinion By Bryan Fleck Representatives from Isaacson Miller, a national search firm based in -Boston and San Francisco, has been hired by the Presidential Search Committee, chaired by Kathleen M. Pesile, to search for candidates for a permanent presi dent at Baruch College. The open forum on December 7 was held in order for the search firm to field questions and get the pulse of the Baruch community. Interim president Lois Cronholm is _not a candidate, as it is against CUNY regulations for an interim --------- president to become a full-time pres- ident. The search firm will gather the initial candidates, who will be . further screened by the Presidential " Search Committee, but the final choice lies with the CUNY Board of Trustees.' According to David Bellshow, an ......-.. ~.. Isaacson-Miller representative, the '"J'", average search takes approximately ; six months. Among the search firm's experience in the field of education ----~- - ..... -._......... *- -_. - -- -- _._- ...... -_40_. '_"__ - _~ - f __•••-. __..... _ •• ~. _• in NY are Columbia University and ... --- -. ~ . --. .. - -. -~ -.. New York University. In ~additi6n,, , New plan calls'for total re'structuririg the search fum also works with GovernDlents small and large foundations and cor ofStudent porations. By Bryan Fleck at large, would be selected from any The purpose ofthe open forum was In an attempt to strengthen undergraduate candidate. for the representatives of Isaacson . -
Asian Creative Ind Report Text
Play it right Asian Creative Industries in London February 2003 Play it right Asian Creative Industries in London February 2003 copyright Greater London Authority February 2003 Published by Greater London Authority City Hall The Queen’s Walk London SE1 2AA www.london.gov.uk enquiries 020 7983 4000 minicom 020 7983 4458 ISBN 1 85261 443 9 Cover photography Aimimage Productions Aimimage Camera Company This document is printed on 75 per cent recycled paper, 25 per cent from sustainable forest management Research team Centre for Enterprise and Economic Development Research Middlesex University Business School Middlesex University Editorial services Eastbury Partnership Commissioned by GLA Economics Play it right Asian Creative Industries in London Mayor of London contents foreword by Ken Livingstone, Mayor of London v overview 1 introduction 5 Asian potential 5 Background and methodology 5 context 7 London’s creative industries 7 London’s Asian communities 7 London’s creative Asians 10 radio and television broadcasting 11 Key characteristics, trends and potential 11 Barriers and constraints 11 The London dimension 11 The Asian contribution 12 Development issues 13 film and video 14 Key characteristics, trends and potential 14 Barriers and constraints 14 The London dimension 15 The Asian contribution 15 Development issues 16 publishing 17 Key characteristics, trends and potential 17 Barriers and constraints 17 The London dimension 17 The Asian contribution 18 Development issues 20 music and performing arts 21 Key characteristics, trends and -
Ragamala World Music 2017 Program Book
RAGAMALA 2017: WELCOME SCHEDULE Ragamala 2017 A CELEBRATION OF INDIAN CLASSICAL MUSIC + DANCE For the 5th year, spanning 15 hours and featuring dozens of performers, Ragamala offers a FRIDAY, SEPTEMBER 8 - SATURDAY, SEPTEMBER 9 Presented in collaboration with Kalapriya Foundation, Center for Indian Performing Arts jaw-dropping assortment of Indian classical music from some of its greatest and emerging Ragamala: A Celebration of Indian Classical Music + Dance A CELEBRATION OF INDIAN CLASSICAL MUSIC + DANCE practitioners. Ragamala functions as the perfect, immersive introduction to the classical music Chicago Cultural Center, Preston Bradley Hall FRIDAY, SEPTEMBER 8 - SATURDAY, SEPTEMBER 9 of India. Not only are both the music of the north (Hindustani) and the south (Carnatic) + Millennium Park, Great Lawn FRIDAY, SEPTEMBER 8 - SATURDAY, SEPTEMBER 9 - 6:30PM-10AM Chicago Cultural Center represented, but listeners will also get the rare chance to hear ragas performed at the time of 78 E. Washington Street, 3rd Floor Preston Bradley Hall, 3rd Floor day they were originally composed for—a facet of the tradition lost in the west. 6:30pm-10am 78 E Washington Street Presented in collaboration with Kalapriya Foundation, Center for Indian Performing Arts 6:30pm-6:30am The word “raga” has a Sanskrit origin, meaning "coloring or dyeing". The term also connotes an Evolution of Songs from Indian Films: 1930-2017 emotional state referring to a "feeling, affection, desire, interest, joy or delight", particularly 6:30-7:30pm SATURDAY, SEPTEMBER 9 related to passion, love, or sympathy for a subject or something. In the context of ancient Anjali Ray, vocals with Rishi Thakkar, tabla and Anis Chandnani, harmonium Yoga + Gong Meditation Indian music it is often devotional and used as a prayer. -
394 GLOSSARY Acid Jazz Late 1980S and 1990S
GLOSSARY Acid Jazz Late 1980s and 1990s trend where “London fashion victims created their own early seventies-infatuated bohemia by copying jazz-funk records of the era note by note.”1 Associated with DJ Giles Peterson, acid jazz combined jazz and funk influence with electronica to produce a “danceable” version of jazz. Some of the most prominent British artists associated with acid jazz include are the band 4Hero, producer Ronny Jordan, and the James Taylor Quartet (the last of which at one point included Nitin Sawhney.) Ambient Music intended to create a particular atmosphere. Brian Eno, considered a pioneer of the genre, notes, “One of the most important differences between ambient music and nearly any other kind of pop music is that it doesn’t have a narrative structure at all, there are no words, and there isn’t an attempt to make a story of some kind.”2 Ambient music often substitutes distinct melodies and rhythmic patterns for a wash of sound. Some prominent British artists during the 1990s include The Orb, KLF, Mixmaster Morris and Aphex Twin. Bhangra Bhangra originated as a male folk dance in Punjab to accompany the harvest festival, Baisakhi. It is still performed as a folk dance and may be identified by its characteristic swinging rhythm played on the dhol and dholki, double-sided barrel drums. From the late 1970s onwards, Punjabi immigrants in Britain began to fuse with electronic dance styles including house music and later hip-hop.3 These styles produced a distinct genre of music that was recognized as one of the first prominent examples of British Asian youth culture. -
Playnetwork Business Mixes
PlayNetwork Business Mixes 50s to Early 60s Marketing Strategy: Period themes, burgers and brews and pizza, bars, happy hour Era: Classic Compatible Music Styles: Fun-Time Oldies, Classic Description: All tempos and styles that had hits Rock, 70s Mix during the heyday of the 50s and into the early 60s, including some country as well Representative Artists: Elvis, Fats Domino, Steve 70s Mix Lawrence, Brenda Lee, Dinah Washington, Frankie Era: 70s Valli and the Four Seasons, Chubby Checker, The Impressions Description: An 8-track flashback of great music Appeal: People who can remember and appreciate from the 70s designed to inspire memories for the major musical moments from this era everyone. Featuring hits and historically significant album cuts from the “Far Out!,” Bob Newhart, Sanford Feel: All tempos and Son era Marketing Strategy: Hamburger/soda fountain– Representative Artists: The Eagles, Elton John, themed cafes, period-themed establishments, bars, Stevie Wonder, Jackson Brown, Gerry Rafferty, pizza establishments and clothing stores Chicago, Doobie Brothers, Brothers Johnson, Alan Parsons Project, Jim Croce, Joni Mitchell, Sugarloaf, Compatible Music Styles: Jukebox classics, Donut Steely Dan, Earth Wind & Fire, Paul Simon, Crosby, House Jukebox, Fun-Time Oldies, Innocent 40s, 50s, Stills, and Nash, Creedence Clearwater Revival, 60s Average White Band, Bachman-Turner Overdrive, Electric Light Orchestra, Fleetwood Mac, Guess Who, 60s to Early 70s Billy Joel, Jefferson Starship, Steve Miller Band, Carly Simon, KC & the Sunshine Band, Van Morrison Era: Classic Feel: A warm blanket of familiar music that helped Description: Good-time pop and rock legends from define the analog sound of the 70s—including the the mid-60s through the early-to-mid-70s that marked one-hit wonders and the best known singer- the end of an era. -
Keyfinder V2 Dataset © Ibrahim Sha'ath 2014
KeyFinder v2 dataset © Ibrahim Sha'ath 2014 ARTIST TITLE KEY 10CC Dreadlock Holiday Gm 187 Lockdown Gunman (Natural Born Chillers Remix) Ebm 4hero Star Chasers (Masters At Work Main Mix) Am 50 Cent In Da Club C#m 808 State Pacifc State Ebm A Guy Called Gerald Voodoo Ray A A Tribe Called Quest Can I Kick It? (Boilerhouse Mix) Em A Tribe Called Quest Find A Way Ebm A Tribe Called Quest Vivrant Thing (feat Violator) Bbm A-Skillz Drop The Funk Em Aaliyah Are You That Somebody? Dm AC-DC Back In Black Em AC-DC You Shook Me All Night Long G Acid District Keep On Searching G#m Adam F Aromatherapy (Edit) Am Adam F Circles (Album Edit) Dm Adam F Dirty Harry's Revenge (feat Beenie Man and Siamese) G#m Adam F Metropolis Fm Adam F Smash Sumthin (feat Redman) Cm Adam F Stand Clear (feat M.O.P.) (Origin Unknown Remix) F#m Adam F Where's My (feat Lil' Mo) Fm Adam K & Soha Question Gm Adamski Killer (feat Seal) Bbm Adana Twins Anymore (Manik Remix) Ebm Afrika Bambaataa Mind Control (The Danmass Instrumental) Ebm Agent Sumo Mayhem Fm Air Sexy Boy Dm Aktarv8r Afterwrath Am Aktarv8r Shinkirou A Alexis Raphael Kitchens & Bedrooms Fm Algol Callisto's Warm Oceans Am Alison Limerick Where Love Lives (Original 7" Radio Edit) Em Alix Perez Forsaken (feat Peven Everett and Spectrasoul) Cm Alphabet Pony Atoms Em Alphabet Pony Clones Am Alter Ego Rocker Am Althea & Donna Uptown Top Ranking (2001 digital remaster) Am Alton Ellis Black Man's Pride F Aluna George Your Drums, Your Love (Duke Dumont Remix) G# Amerie 1 Thing Ebm Amira My Desire (Dreem Teem Remix) Fm Amirali -
10,000 Maniacs Beth Orton Cowboy Junkies Dar Williams Indigo Girls
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