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Xango Music Distribution Release #10 – 2021 Pagina | 1
Xango Music celebrating 24 years distributing local music from all over the world Office: Singelstraat 1, 3513 BL Utrecht, NL www.xmd.nl - [email protected] - +31 6 260 263 60 Warehouse: Berenkoog 53 C, 1822 BN, Alkmaar (NL) e: [email protected] t: +31 (0)72 - 567 3030 NEW RELEASES NO. 10 – 2021 BLK JKS: Abantu / Before Humans GBCD 108 / € 10,45 / 4030433610824 / label: Glitterbeat Records / format: CD / South Africa – Popular GBLP 108 / € 13,45 / 4030433610817 / label: Glitterbeat Records / format: LP / South Africa – Popular Monster grooves meet guitar and brass driven afro-rock. Echoes of spiritual jazz, post-apocalyptic funk, renegade dub and kwaito. Features Malian guitarist Vieux Farka Touré and Beastie Boys accomplice Money Mark on the track 'Maiga'. 'Now with Abantu/ Before Humans' this present has a fiercely retro-futuristic fresh moniker: Afropunk. These brothers just want to jam. To say BLK JKS poured gas on the fire down below or lit the flames that created the soundtrack for the nascent Afropunk movement in their home country of South Africa especially... would not be too far off the mark. Listen to a track. Khaira Arby: Live In New York 2010 (LP release June 18th, 2021) CLECD 33 / € 9,95 / 0711574917822 / label: Clermont Music / format: CD / Mali – Popular CLELP 33 / € 17,45 / 0711574917815 / label: Clermont Music / format: LP / Mali – Popular As the lights dim and Malian diva Khaira Arby steps into the spotlight, the audience jumps up with shouts and cheers. People loved the late Khaira Arby for the fire and passion of her voice. Pushing boundaries, Khaira triumphs as this recently restored concert recording testifies. -
Mirror, Mediator, and Prophet: the Music Indaba of Late-Apartheid South Africa
VOL. 42, NO. 1 ETHNOMUSICOLOGY WINTER 1998 Mirror, Mediator, and Prophet: The Music Indaba of Late-Apartheid South Africa INGRID BIANCA BYERLY DUKE UNIVERSITY his article explores a movement of creative initiative, from 1960 to T 1990, that greatly influenced the course of history in South Africa.1 It is a movement which holds a deep affiliation for me, not merely through an extended submersion and profound interest in it, but also because of the co-incidence of its timing with my life in South Africa. On the fateful day of the bloody Sharpeville march on 21 March 1960, I was celebrating my first birthday in a peaceful coastal town in the Cape Province. Three decades later, on the weekend of Nelson Mandela’s release from prison in February 1990, I was preparing to leave for the United States to further my studies in the social theories that lay at the base of the remarkable musical movement that had long engaged me. This musical phenomenon therefore spans exactly the three decades of my early life in South Africa. I feel privi- leged to have experienced its development—not only through growing up in the center of this musical moment, but particularly through a deepen- ing interest, and consequently, an active participation in its peak during the mid-1980s. I call this movement the Music Indaba, for it involved all sec- tors of the complex South African society, and provided a leading site within which the dilemmas of the late-apartheid era could be explored and re- solved, particularly issues concerning identity, communication and social change. -
Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin
Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin To cite this version: Denis-Constant Martin. Sounding the Cape, Music, Identity and Politics in South Africa. African Minds, Somerset West, pp.472, 2013, 9781920489823. halshs-00875502 HAL Id: halshs-00875502 https://halshs.archives-ouvertes.fr/halshs-00875502 Submitted on 25 May 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Sounding the Cape Music, Identity and Politics in South Africa Denis-Constant Martin AFRICAN MINDS Published by African Minds 4 Eccleston Place, Somerset West, 7130, South Africa [email protected] www.africanminds.co.za 2013 African Minds ISBN: 978-1-920489-82-3 The text publication is available as a PDF on www.africanminds.co.za and other websites under a Creative Commons licence that allows copying and distributing the publication, as long as it is attributed to African Minds and used for noncommercial, educational or public policy purposes. The illustrations are subject to copyright as indicated below. Photograph page iv © Denis-Constant -
Fête De La Musique Media Pack
FÊTE DE LA MUSIQUE MEDIA PACK MEDIA CONTACTS Prisca Cerneaux Claire Metais Lance McCormack Communication Coordinator Communication Officer Director - Marketing and New Business Alliance française of Johannesburg French Institute of South Africa Bassline E: [email protected] E: [email protected] E:[email protected] T: 011 646 1169 T: 011 403 0458 T: 011 838 9145 Caroline Hillary Thato Tholo Artist PR Artist PR E: [email protected] E: [email protected] T : 011 447 8283 T : 011 447 8283 FÊTE DE LA MUSIQUE MEDIA PACK The 5th edition of Fête de La Musique in Newtown Junction is presented by the Alliance Francaise of Johannesburg, the French Institute of South Africa and the Bassline with the support of Total South Africa. FÊTE DE LA MUSIQUE MEDIA PACK PRESENTATION The Alliance Française of Johannesburg, the French Institute of South Africa and Bassline are proud to announce the 5th edition of the Fête de La Musique, taking place on Saturday June 18th 2016. Last year over 6,000 people gathered in Newtown Junction to enjoy this celebration of music in all its forms as well as dance and street performance. With its previous success, Newtown Junction confirmed its position as the ideal location for this festive day. In 2016, 6 stages will be set up to offer a wide panel of free shows. This edition represents a new opportunity to encourage local musicians and discover new ones from around the world. The Johannesburg general public – families, visitors, tourists, professionals – will enjoy ideal conditions in terms of security, parking and food to make the most of this festival. -
Music to Move the Masses: Protest Music Of
The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town Music to Move the Masses: Protest Music of the 1980s as a Facilitator for Social Change in South Africa. Town Cape of Claudia Mohr University Dissertation submitted in partial fulfilment of the requirements for the degree of Masters of Music, University of Cape Town. P a g e | 1 A project such as this is a singular undertaking, not for the faint hearted, and would surely not be achieved without help. Having said this I must express my sincere gratitude to those that have helped me. To the University of Cape Town and the National Research Foundation, as Benjamin Franklin would say ‘time is money’, and indeed I would not have been able to spend the time writing this had I not been able to pay for it, so thank you for your contribution. To my supervisor, Sylvia Bruinders. Thank you for your patience and guidance, without which I would not have been able to curb my lyrical writing style into the semblance of academic writing. To Dr. Michael Drewett and Dr. Ingrid Byerly: although I haven’t met you personally, your work has served as an inspiration to me, and ITown thank you. -
Earwax Final.Indd
page 22 the paper november 18, 2009 it shrugs its shoulders.” Easing the acerbity, she repeats these lines to end the record peace- fully, its storm having passed. With this consistent mix of tur- bulence and sweetness, Holy Ghost! sustains a simple rich- ness throughout, seamlessly meandering between folk and soul, fast and slow, and melan- choly and playful. LIL’ WAYNE No Ceilings by Alex Blalock “Okay! No ceilings! Moth- er fucker good mornin’! Dick in your mouth while you’re yawnin’, I’m goin’ in!” These opening lines off the track Namaste. We’re back to 33 unreleased tracks by artists of course, the timeless 3/4-4/4 of strings culminate as Laura “Watch My Shoes” set the normal here at the ‘Wax, and (some famous, others not so polyrhythm. This is cultural ap- tests her larynx’s limits by the mood for Lil’ Wayne’s newest because Fearwax had no new much) primarily in the Highlife propriation done right: a blend- chorus. Punctuated pauses dra- mixtape, No Ceilings. Sched- releases, we have a backlog of genre. Highlife is a combination ing of all of the best bits of the matize her voice as it trills up- uled to drop on Halloween, the new material to get to. Yours of traditional African music and popular musical lexicon of the wards, and violins whine with mixtape was leaked on sites truly staked claim to the lead American funk with a distinctly time rolled up into one neat and a guitar riff that seems to tell such as Datpiff and Biggy Jiggy article this time around, re- Afro-Cuban sentimentality. -
BLKJKS Are Still Soldierng On
Publication: Mail & Guardian - Friday Page: 34 Title: BLK JKS are still soldiering on Publish Date: 19 June 2020 AVE: 143293.75 Author: Kwanele Sosibo as.“ Blistering energy: The long—awaited album from the BLK JKS (pictured above with collaborator Morena Leraba), was recorded in three days at Downtown Studios Photo: Brett Rubin BLKJKS are still soldierng on Abantu: Bty‘breHumans captures the band’s are well versed in the world of push like this quietly for a long tirrre, right with Downtown Studios as the con- ing through. From Linda taking a up until our hard drives were stolen trol tower. It is an adult relearning strengths, weaknesses and sonic vision walk, to the hard drives being stolen .. It took us a year to recover from how to walk; that huge cipher in the at the Soweto Theatre [in 2018]. We that.“ middle nally being accounted for. part of that resided in that ver'tig'i- had a thing at some point at Market Alter a year of letting the setback You could bear with the dudes as K—wanoleSo norls feeling of the future suddenly Theatre where We were working on sink in, Mcata says he and bandmate they literally nd their voices, grunt- o—ldieringon." That' catching up with you. The sensa» a musical [which was being directed Tshepang Ramoba took a trip to ing, chanting and exchanging long- was the phrase It tiou that perhaps the sound you had by Lindiwe Matshikiza]. We were Mpurnalanga to reflect and conduct winded lyrics for declamatious, but was uttered nrid-set, been searching for your Whole life building this show and suddenly a series of spiritual interventions. -
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The e-journal of analog and digital sound. no.23 2009 Ladies and gentlemen, the Beatles. Bob Gendron Reviews the Beatles Remasters TONE A 1 NO.23 2 0 0 9 PUBLISHER Jeff Dorgay EDITOR Bob Golfen ART DIRECTOR Jean Dorgay r MUSIC EDITOR Ben Fong-Torres ASSISTANT Bob Gendron MUSIC EDITOR M USIC VISIONARY Terry Currier STYLE EDITOR Scott Tetzlaff C O N T R I B U T I N G Tom Caselli WRITERS Kurt Doslu Anne Farnsworth Joe Golfen Jesse Hamlin Rich Kent Ken Kessler Hood McTiernan Rick Moore Jerold O’Brien Michele Rundgren Todd Sageser Richard Simmons Jaan Uhelszki Randy Wells UBER CARTOONIST Liza Donnelly ADVERTISING Jeff Dorgay WEBSITE bloodymonster.com tonepublications.com Editor Questions and Comments: [email protected] 800.432.4569 © 2009 Tone MAGAZIne, LLC All rights reserved. TONE A 2 NO.23 2 0 0 9 features Old School: Love Those LED’s 10 The SAE 2200 By Jerold O’Brien Please Please Me: 21 The Beatles Remasters Reviewed By Bob Gendron 104 Simon Drake Talks About 40 Naim’s Music Label: Embracing Past and Future Technologies By Jeff Dorgay Dealers That Mean Business: 21 85 We visit Nuts About HiFi (on the cover) By Jeff Dorgay Budget Gear: 90 Rotel RA-1520 Integrated Amplifier and RDC-1520 CD Player By Mark Marcantonio A Visit to Rega: 104 Roy Gandy’s Model of Efficiency By Jeff Dorgay 7. NEW CONTRIBUTORS 8. PUBLISHER’S LETTER 9. TONE TOON By Liza Donnelly TONE A 3 NO.23 2 0 0 9 tone style An Afternoon With the Focal 67 Grande Utopia EM By Jeff Dorgay The B&W Panorama 71 The Fantastic Soundbar By Jeff Dorgay The Olympus E-P1 74 DSLR Performance, Compact Size By Jeff Dorgay TomTom for the iPhone 78 Let Your iPhone be Your Guide By Jeff Dorgay 67 The Sound of the Future 79 of Radio: WiFi Is Here By Ben Fong-Torres RedEye’s Remote System 81 Grab This All In One By Jeff Dorgay Little City Coffee: 82 Austin’s Best Roast. -
Collins Chabane
TRIBUTE EDITION May 2010 New Copyright Laws Owen Dean & others explain Kippie Moeketsi Remembered Nkosi sikelel’ iAfrika Unleashing the Power of Song Collins Chabane His Musical Journey Message from the CEO to ensure that the juristic form of simply: we propose a separate law companies limited by guarantee, an that is designed, from start to finish, to old but important form of a not-for- protect traditional knowledge. profit public company, is appropriately Furthermore, it is our contention that translated and/or accommodated in copyright legislation is fast becoming the new Companies Act. The effect of a “suitcase” of things that are loosely not having that done would have been related but are not necessarily a complete paralysis of entities such as coherent. Needless to say, that this kind eadership as a concept is SAMRO in that they would not have a of approach is dangerous in that the one of the most debated and legal mechanism to distribute income law, by its nature, has to be interpreted probably one of the most by way of royalties and other forms to as a whole and not as a conglomeration written-about subjects. Since their members. That would have gone Ltimewis for that reason that we have of stand-alone concepts and principles. to the heart of collective administration Forcing the protection of traditional dedicated this issue of SAMRO Notes as we know it. to celebrate the leadership success of knowledge into the existing copyright one of our own, the Minister in the Other examples of such active legislation, disjointed as it already is, is Presidency, Collins Chabane. -
Lifestyle 05.05.2019 Lifestyle 29.12.2019 Lifestyle 21.07.2019 Lifestyle 03.03.2019
Sunday Times Combined Metros 1 - 30/04/2019 06:17:59 PM - Plate: Sunday Times Combined Metros 1 - 17/07/2019 07:09:50 PM - Plate: Sunday Times Combined Metros 1 - 27/12/2019 12:34:33 PM - Plate: Sunday Times Combined Metros 1 - 27/02/2019 05:51:45 PM - Plate: Sunday Times Sunday Times Sunday Times Sunday Times LifeStyle 05.05.2019 LifeStyle 29.12.2019 LifeStyle 21.07.2019 LifeStyle 03.03.2019 IT’S 2020 GET YOUR THE GLITTER ON TALENTED THE MAIN DRAG MR MALEK BADLY-BEHAVED BROADS Find out what’s under the wig Three women disrupting their industries MEDIA KIT 2020 2020 Media Kit Media Kit CONTENTS Note from the Editor 1 Lifestyle Audience 2 Digital Audience 3 Content Breakdown 4 Lifestyle Sections: Fashion & Beauty 5 Lifestyle Sections: Food & Drink 6 Lifestyle Sections: Travel 7 Lifestyle Sections: Home 8 Lifestyle Sections: Books 9 Lifestyle Sections: Reviews 10 Lifestyle Sections: Motoring 11 2020 Special Editions 12 Special Editions 14 Special Projects 15 Rates & Specifications 16 Advertising Opportunities & Events 17 Sunday Times Lifestyle Contacts 20 2 Media kit 2020 | NOTE FROM THE EDITOR ED’s noteunday Times Lifestyle is an established, much-loved, Sunday supplement that provides an upbeat, intelligent and insightful break from the main body of the newspaper. Aimed at a wide demographic that includes all South Africans, Lifestyle speaks to a range of readers whoS love the variety of fun and in-depth stories in our pages. We give our readers backstage access to the best entertainment stories and offer them great book reviews as well as series and movie reviews, the inside track on the art world, a quirky take on pop culture and profiles of interesting humans from all walks of life. -
Just Like Hendrix: Whiteness and the Online Critical and Consumer Reception of Rock Music in the United States, 2003–2013
Popular Communication The International Journal of Media and Culture ISSN: 1540-5702 (Print) 1540-5710 (Online) Journal homepage: http://www.tandfonline.com/loi/hppc20 Just Like Hendrix: Whiteness and the Online Critical and Consumer Reception of Rock Music in the United States, 2003–2013 Julian Schaap To cite this article: Julian Schaap (2015) Just Like Hendrix: Whiteness and the Online Critical and Consumer Reception of Rock Music in the United States, 2003–2013, Popular Communication, 13:4, 272-287, DOI: 10.1080/15405702.2014.914519 To link to this article: http://dx.doi.org/10.1080/15405702.2014.914519 Published online: 10 Nov 2015. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=hppc20 Download by: [Erasmus University] Date: 19 November 2015, At: 04:15 Popular Communication, 13: 272–287, 2015 Copyright © Taylor & Francis Group, LLC ISSN: 1540-5702 print / 1540-5710 online DOI: 10.1080/15405702.2014.914519 Just Like Hendrix: Whiteness and the Online Critical and Consumer Reception of Rock Music in the United States, 2003–2013 Julian Schaap Erasmus University Rotterdam Based on a quantitative and qualitative analysis of 385 rock album reviews, this article investi- gates (i) to what extent ethno-racial boundaries are (re)produced and/or contested in the critical and consumer reception of rock music in the United States between 2003 and 2013 and (ii) to what extent (semi-)professional reviewers and consumer-reviewers differ from each other regard- ing ethno-racial classifications in their reception of rock music. -
Quarterly Programming Report the Current October-December, 2009
QUARTERLY PROGRAMMING REPORT THE CURRENT OCTOBER-DECEMBER, 2009 In studio performances on The Current from October 1 to December 31, 2009 Peter Wolf Crier performs in The Current studios Peter Wolf Crier is a new two-piece rooted in the Twin Cities music scene. Peter Pisano formerly of The Wars of 1812 and Brian Moen of the Laarks join forces in this gritty, folk-rock masterpiece.December 24, 2009 Romantica performs in The Current studios Romantica's latest EP Control Alt Country Delete, was recorded on March 23rd 2009 in Austin Texas one day after the chaos of South by Southwest.December 18, 2009 Pictures of Then perform in The Current studios Indie quintet Pictures of Then has commanded a lot of attention in '09 including a new album, extensive touring, and heaps of press.December 11, 2009 Curtiss A performs in The Current studios Tried and true Twin Cities rocker Curtiss A stopped by the Current studios in support of his annual John Lennon Tribute Show. December 11, 2009 Doomtree performs live in The Current studios The local hip-hop collective and record label Doomtree have been combining beats and MCs for the last five years. In addition to the collaborative EPs, several members including P.O.S., Dessa, Sims, and Cecil Otter have released solo albums. December 3, 2009 The XX performs in The Current studios The XX have accomplished something few other groups have: critical raves, a sellout worldwide tour, and unexpectedly stellar album sales. The best part? They're all 20 years old. November 30, 2009 The Big Pink performs live in The Current studios Electronic-rock duo The Big Pink celebrated their second birthday earlier this year with quite a bash: the release of their new album, "A Brief History of Love," charted on thousands of radio stations, and its lead single, "Velvet," was added to Pitchfork Media's "Top 500 Songs of the 2000s" list.