Shorter Version of Interview with Sunil Perera for Serendipity
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Borderlands E-Journal
borderlands e-journal www.borderlands.net.au VOLUME 11 NUMBER 1, 2012 Missing In Action By all media necessary Suvendrini Perera School of Media, Culture & Creative Arts, Curtin University This essay weaves itself around the figure of the hip-hop artist M.I.A. Its driving questions are about the impossible choices and willed identifications of a dirty war and the forms of media, cultural politics and creativity they engender; their inescapable traces and unaccountable hauntings and returns in diasporic lives. In particular, the essay focuses on M.I.A.’s practice of an embodied poetics that expresses the contradictory affective and political investments, shifting positionalities and conflicting solidarities of diaspora lives enmeshed in war. In 2009, as the military war in Sri Lanka was nearing its grim conclusion, with what we now know was the cold-blooded killing of thousands of Tamil civilians inside an official no-fire zone, entrapped between two forms of deadly violence, a report in the New York Times described Mathangi ‘Maya’ Arulpragasam as the ‘most famous member of the Tamil diaspora’ (Mackey 2009). Mathangi Arulpragasam had become familiar to millions across the globe in her persona as the hip-hop performer M.I.A., for Missing in Action. In the last weeks of the war, she made a number of public appeals on behalf of those trapped by the fighting, including a last-minute tweet to Oprah Winfrey to save the Tamils. Her appeal, which went unheeded, was ill- judged and inspired in equal parts. It suggests the uncertain, precarious terrain that M.I.A. -
The DIY Careers of Techno and Drum 'N' Bass Djs in Vienna
Cross-Dressing to Backbeats: The Status of the Electroclash Producer and the Politics of Electronic Music Feature Article David Madden Concordia University (Canada) Abstract Addressing the international emergence of electroclash at the turn of the millenium, this article investigates the distinct character of the genre and its related production practices, both in and out of the studio. Electroclash combines the extended pulsing sections of techno, house and other dance musics with the trashier energy of rock and new wave. The genre signals an attempt to reinvigorate dance music with a sense of sexuality, personality and irony. Electroclash also emphasizes, rather than hides, the European, trashy elements of electronic dance music. The coming together of rock and electro is examined vis-à-vis the ongoing changing sociality of music production/ distribution and the changing role of the producer. Numerous women, whether as solo producers, or in the context of collaborative groups, significantly contributed to shaping the aesthetics and production practices of electroclash, an anomaly in the history of popular music and electronic music, where the role of the producer has typically been associated with men. These changes are discussed in relation to the way electroclash producers Peaches, Le Tigre, Chicks on Speed, and Miss Kittin and the Hacker often used a hybrid approach to production that involves the integration of new(er) technologies, such as laptops containing various audio production softwares with older, inexpensive keyboards, microphones, samplers and drum machines to achieve the ironic backbeat laden hybrid electro-rock sound. Keywords: electroclash; music producers; studio production; gender; electro; electronic dance music Dancecult: Journal of Electronic Dance Music Culture 4(2): 27–47 ISSN 1947-5403 ©2011 Dancecult http://dj.dancecult.net DOI: 10.12801/1947-5403.2012.04.02.02 28 Dancecult 4(2) David Madden is a PhD Candidate (A.B.D.) in Communications at Concordia University (Montreal, QC). -
Sound Matters: Postcolonial Critique for a Viral Age
Philosophische Fakultät Lars Eckstein Sound matters: postcolonial critique for a viral age Suggested citation referring to the original publication: Atlantic studies 13 (2016) 4, pp. 445–456 DOI http://dx.doi.org/10.1080/14788810.2016.1216222 ISSN (online) 1740-4649 ISBN (print) 1478-8810 Postprint archived at the Institutional Repository of the Potsdam University in: Postprints der Universität Potsdam Philosophische Reihe ; 119 ISSN 1866-8380 http://nbn-resolving.de/urn:nbn:de:kobv:517-opus4-98393 ATLANTIC STUDIES, 2016 VOL. 13, NO. 4, 445–456 http://dx.doi.org/10.1080/14788810.2016.1216222 Sound matters: postcolonial critique for a viral age Lars Eckstein Department of English and American Studies, University of Potsdam, Potsdam, Germany ABSTRACT KEYWORDS This essay proposes a reorientation in postcolonial studies that takes Sound; M.I.A.; Galang; music; account of the transcultural realities of the viral twenty-first century. postcolonial critique; This reorientation entails close attention to actual performances, transculturality; pirate their specific medial embeddedness, and their entanglement in modernity; Great Britain; South Asian diaspora concrete formal or informal material conditions. It suggests that rather than a focus on print and writing favoured by theories in the wake of the linguistic turn, performed lyrics and sounds may be better suited to guide the conceptual work. Accordingly, the essay chooses a classic of early twentieth-century digital music – M.I.A.’s 2003/2005 single “Galang”–as its guiding example. It ultimately leads up to a reflection on what Ravi Sundaram coined as “pirate modernity,” which challenges us to rethink notions of artistic authorship and authority, hegemony and subversion, culture and theory in the postcolonial world of today. -
MIA Matangi Mp3, Flac
M.I.A. Matangi mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Hip hop / Rock Album: Matangi Country: UK Released: 2013 Style: Electroclash MP3 version RAR size: 1750 mb FLAC version RAR size: 1155 mb WMA version RAR size: 1983 mb Rating: 4.7 Votes: 637 Other Formats: WMA VQF RA ADX FLAC AU MP4 Tracklist Hide Credits Karmageddon Engineer – Neil ComberMastered By – Geoff PescheMixed By – M.I.A. , Neil 1 1:34 ComberProducer – M.I.A. , Doc McKinney*, Switch Written-By – Dave Taylor, Martin "Doc" McKinney*, Maya Arulpragasam, Sugu Arulpragasam Matangi 2 Engineer – Neil ComberMastered By – Geoff PescheMixed By – Neil Comber, Switch 5:12 Producer – Switch Written-By – Dave Taylor, Maya Arulpragasam Only 1 U Engineer – Neil ComberMastered By – Geoff PescheMixed By – Surkin, Switch Producer – 3 3:12 M.I.A. , So Japan, Surkin, Switch Written-By – Dave Taylor, Kyle Edwards, Maya Arulpragasam Warriors 4 Engineer – Haze BangaMastered By – Mazen MuradMixed By – Hit-Boy, M.I.A. Producer – 3:41 Hit-Boy, K. Roosevelt*Written-By – Chauncey Hollis, Maya Arulpragasam Come Walk With Me 5 Engineer, Guitar, Mixed By – Neil ComberMastered By – Geoff PescheMixed By – Switch 4:43 Producer – M.I.A. , Switch Written-By – Dave Taylor, Maya Arulpragasam aTENTion 6 Engineer – Neil ComberMastered By – Mazen MuradMixed By – M.I.A. , Switch Producer – 3:40 Switch Written-By – Dave Taylor, Maya Arulpragasam Exodus Engineer – Neil ComberFeaturing – The WeekndMastered By – Geoff PescheMixed By – 7 5:08 M.I.A. , Switch Producer – Illangelo, M.I.A. , Doc McKinney*, The WeekndWritten-By – Abel Tesfaye, C. Montagnese*, Martin "Doc" McKinney*, Maya Arulpragasam Bad Girls Engineer – Marcella "Incredible Lago" Araica*Mastered By – Geoff PescheMixed By – 8 3:47 Marcella "Ms. -
Deutsche Nationalbibliografie 2015 T 09
Deutsche Nationalbibliografie Reihe T Musiktonträgerverzeichnis Monatliches Verzeichnis Jahrgang: 2015 T 09 Stand: 23. September 2015 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main) 2015 ISSN 1613-8945 urn:nbn:de:101-ReiheT09_2015-6 2 Hinweise Die Deutsche Nationalbibliografie erfasst eingesandte Pflichtexemplare in Deutschland veröffentlichter Medienwerke, aber auch im Ausland veröffentlichte deutschsprachige Medienwerke, Übersetzungen deutschsprachiger Medienwerke in andere Sprachen und fremdsprachige Medienwerke über Deutschland im Original. Grundlage für die Anzeige ist das Gesetz über die Deutsche Nationalbibliothek (DNBG) vom 22. Juni 2006 (BGBl. I, S. 1338). Monografien und Periodika (Zeitschriften, zeitschriftenartige Reihen und Loseblattausgaben) werden in ihren unterschiedlichen Erscheinungsformen (z.B. Papierausgabe, Mikroform, Diaserie, AV-Medium, elektronische Offline-Publikationen, Arbeitstransparentsammlung oder Tonträger) angezeigt. Alle verzeichneten Titel enthalten einen Link zur Anzeige im Portalkatalog der Deutschen Nationalbibliothek und alle vorhandenen URLs z.B. von Inhaltsverzeichnissen sind als Link hinterlegt. Die Titelanzeigen der Musiktonträger in Reihe T sind, wie sche Katalogisierung von Ausgaben musikalischer Wer- auf der Sachgruppenübersicht angegeben, entsprechend ke (RAK-Musik)“ unter Einbeziehung der „International der Dewey-Dezimalklassifikation (DDC) gegliedert, wo- Standard Bibliographic Description for Printed Music – bei tiefere Ebenen mit bis zu sechs Stellen berücksichtigt ISBD (PM)“ zugrunde. -
Cyclic Defrost Magazine Issue 11
SUSPEND YOUR DISBELIEF! UPDATE ##### “Guaranteed to turn heads” FLUX “Caribou’s new album is fan-fucking-tastic" RIP & BURN #### “It still sounds like nothing else on Featuring members of: the planet” MODEST MOUSE,THE BETA BAND MUSIC WEEK BLOOD BROTHERS, BUILT TO SPILL “Fresh and groundbreaking... FREE ASSOCIATION,AIRBORN AUDIO a welcome PITCHFORKMEDIA PRETTY GIRLS MAKE GRAVES return from the 8.4/10 influential artist” “A highly ANTI-POP CONSORTIUM organic blend of MURDER CITY DEVILS underground hip-hop and and indie-rock” ROOTS MANUVA STYLUS B+ FORMERLY DAN SNAITH’S “Short, blunt and skitless, AGCT seethes with everything post-aught genre-fucking needs” NEW ALBUM OUT NOW ON SELF-TITLED DEBUT OUT NOW ON ISSUE 11 CONTENTS CDITORIAL 4 COVER DESIGNER: JOE SCERRI/LAKE LUSTRE Hola! Welcome to issue eleven. This issue is our first mass assault on Europe with by Bim Ricketson two thousand copies touching down at Sonar 2005 in Barcelona along with a double CD sampler of Australian music courtesy of Austrade and the Australia Council. Perhaps 8 VELURE you are one of the lucky folk sitting back in the Catalunyan sun sipping on cava sud- We welcome your contributions and contact: by Anna Burns denly discovering that there is some great music on the other side of the world, or PO Box a2073 10 MONKFLY/FREQUENCY LAB alternately you are sitting snug and warm on a couch under a doona in share house- Sydney South by Angela Stengel hold in wintery St Kilda or Newtown wondering ‘where can I get a copy of this CD?’. -
Table of Contents
TABLE OF CONTENTS Video Summary & Related Content 3 Video Review 4 Before Viewing 5 While Viewing 6 Talk Prompts 8 After Viewing 11 The Story 13 Activity #1: Analyzing World Issues in M.I.A.’s Music 23 Activity #2: Silenced Political Bands Campaign 24 Sources 26 CREDITS News in Review is produced by Visit www.curio.ca/newsinreview for an archive of all CBC NEWS and curio.ca previous News In Review seasons. As a companion resource, go to www.cbc.ca/news for additional GUIDE articles. Writer: Chris Coates Editor: Sean Dolan CBC authorizes reproduction of material contained VIDEO in this guide for educational purposes. Please Host: Michael Serapio identify source. Senior Producer: Jordanna Lake News In Review is distributed by: Packaging Producer: Marie-Hélène Savard curio.ca | CBC Media Solutions Associate Producer: Francine Laprotte Supervising Manager: Laraine Bone © 2019 Canadian Broadcasting Corporation MAYA/MATHANGI/M.I.A. – The Making of a Political Pop Star Video duration – 9:06 Mathangi Maya Arulpragasam — known simply now as M.I.A. — is an acclaimed Sri Lankan-Tamil rapper pop star from England. Always controversial, she is an outspoken activist, who uses her fame as a platform to express her political views, particularly about the Tamil crisis in Sri Lanka. Film director Stephen Loveridge put together a documentary of the artist’s life which includes a slew of footage shot by Maya herself over the past 22 years. It follows her from her early years in Sri Lanka, growing up in London and her rise to fame. The National’s host Adrienne Arsenault takes a look at the life of this controversial music artist at the release of her documentary in North America. -
Tourist Drivers / Assistants Who Obtained the Covid-19 Tourism
Tourist Drivers / Assistants who Obtained the Covid-19 Tourism Operational Guidelines Awareness and Knowledge under the Supervision of Sri Lanka Tourism Development Authority Published by Sri Lanka Tourism Development Authority Serial No. Name. Category Contact Number 1 SLTDA/CAS/1427 W.Prabagaran Tourist Driver O77 6 676 338 2 SLTDA/CAS/2308 G.H.Janaka Saman Tourist Driver 0785 947 538 3 SLTDA/CAS/2053 S D Gamini Senarath Tourist Driver 078 9 568 862 4 SLTDA/CAS/1296 S.M.J.N.Suriyagoda Tourist Driver 078 8 882 727 5 SLTDA/CAS/2482 Weerasingha Arachchige Ranesh Lakmal Tourist Driver 078 8 765 392 6 SLTDA/CAS/2498 W.K.S.Fernando Tourist Driver 078 8 015 003 7 SLTDA/CAS/2395 M.P.champika Janadara Van Driver 078 7 064 026 8 SLTDA/CAS/1615 R.M.C.T.Ratnayake Tourist Driver 078 7 050 777 9 SLTDA/CAS/3387 M.F.M.Ruhaib Tourist Driver 078 6 432 303 10 SLTDA/CAS/2256 S.V.L Senavirathna. Tourist Driver 078 6 293 632 11 SLTDA/CAS/2655 W.W.Prasanna Pathmakumara Mendis Tourist Driver 078 5 701 701 12 SLTDA/CAS/3247 Mohamed Riyas Tourist Driver 078 5 628 648 13 SLTDA/CAS/2667 Ross Pereira Tourist Driver 078 5 624 327 14 SLTDA/CAS/3038 P.P.E.Wijayaweera Tourist Driver 078 5 365 827 15 SLTDA/CAS/2010 Anthonidura Prasal Nilujpriya De Silva Tourist Driver 078 5 014 088 16 SLTDA/CAS/2798 A.W.R.S.D.M.R. Upali Baminiwatta Tourist Driver 078 4 977 373 17 SLTDA/CAS/2169 D.V.Dewin De Silva Tourist Driver 078 4 451396 18 SLTDA/CAS/1125 R.P.S.Priyantha Tourist Driver 078 3 565 371 19 SLTDA/CAS/1382 B.G.S.Jayatissa Tourist Driver 078 1 784 651 20 SLTDA/CAS/3141 -
Lesbian News August 2018
LESBIAN NEWS VOL. 44 ∙ NO. 03 ∙ October 2018 MELISSA MCCARTHY OSCAR-WORTHY IN “CAN YOU EVER FORGIVE ME?” NIK KACY: EQUALITY FASHION WEEK ALEXANDER RODRIGUEZ: GLITTERBOMB ARIANA GRANDE: SWEETENER LN Contributors Anne Laure Pineau At 32, Anne Laure is a Parisian journalist working for national magazines (ELLE, Paris-Match, Liberation) on many subjects, from the far-right and conservative movements in France, to the Angola Prison Rodeo in Louisiana. She has the absolute conviction that her job is political and can enlighten the human complexity. As a feminist, as an anti-racist and as a lesbian, she is working daily to give a space to the untold stories. (Photo: Juliette Robert). Beth Shipp is the first Executive Director of LPAC, the lesbian Super PAC that builds the political power of lesbian, queer, bisexual and transgender women by electing candidates who champion LGBTQ rights, women’s equality and social justice. She is a political strategist with more than 20 years of experience working for women’s reproductive rights, Democratic candidates and progressive causes. Prior to joining LPAC, Ms. Shipp was the political director for NARAL Pro- Choice and worked on a variety of federal and state campaigns throughout the nation. Carl Matthes is the current president of UGLA, Uptown Gay and Lesbian Alliance, an organization providing a support system for gay men, lesbians and education for individuals and the community He is a columnist on the Lesbian News, owned and published by his sister, Ella and her wife, Gladi. He was editor of the GLAAD/newsletter, and a GLAAD/LA representative on the Board. -
M.I.A. Singing the Subaltern Voice in the Euro-American Soundscape
Bowling Green State University ScholarWorks@BGSU Ray Browne Conference on Cultural and Critical Studies 2018: Borders and Borderlands Apr 6th, 3:00 PM - 3:50 PM “The real spice girl, hot girl power”: M.I.A. Singing the Subaltern Voice in the Euro-American Soundscape Emma Niehaus Bowling Green State University, [email protected] Follow this and additional works at: https://scholarworks.bgsu.edu/rbc Part of the Ethnic Studies Commons, Ethnomusicology Commons, Music Performance Commons, Other American Studies Commons, and the Other Music Commons Niehaus, Emma, "“The real spice girl, hot girl power”: M.I.A. Singing the Subaltern Voice in the Euro- American Soundscape" (2018). Ray Browne Conference on Cultural and Critical Studies. 10. https://scholarworks.bgsu.edu/rbc/2018conference/005/10 This Event is brought to you for free and open access by the Conferences and Events at ScholarWorks@BGSU. It has been accepted for inclusion in Ray Browne Conference on Cultural and Critical Studies by an authorized administrator of ScholarWorks@BGSU. Niehaus 1 Elizabeth Niehaus July 17, 2017 ACS 6820 Dr. Radhika Gajjala “The real spice girl, hot girl power”: M.I.A. singing the subaltern voice in the Euro-American Soundscape Every year the International Federation of the Phonographic Industry (IFPI) publishes its yearly Global Music Report. The report examines several of the significant economic ins and outs of the industry including most popular recording artists, positive and negative growth for various platform revenues, countries of industrial growth, and most successful record companies. 2016’s most successful artists included Drake (first place), Adele, Beyoncé, Justin Bieber, Prince, David Bowie, and Rihanna among others. -
Feat. Eminen) (4:48) 77
01. 50 Cent - Intro (0:06) 75. Ace Of Base - Life Is A Flower (3:44) 02. 50 Cent - What Up Gangsta? (2:59) 76. Ace Of Base - C'est La Vie (3:27) 03. 50 Cent - Patiently Waiting (feat. Eminen) (4:48) 77. Ace Of Base - Lucky Love (Frankie Knuckles Mix) 04. 50 Cent - Many Men (Wish Death) (4:16) (3:42) 05. 50 Cent - In Da Club (3:13) 78. Ace Of Base - Beautiful Life (Junior Vasquez Mix) 06. 50 Cent - High All the Time (4:29) (8:24) 07. 50 Cent - Heat (4:14) 79. Acoustic Guitars - 5 Eiffel (5:12) 08. 50 Cent - If I Can't (3:16) 80. Acoustic Guitars - Stafet (4:22) 09. 50 Cent - Blood Hound (feat. Young Buc) (4:00) 81. Acoustic Guitars - Palosanto (5:16) 10. 50 Cent - Back Down (4:03) 82. Acoustic Guitars - Straits Of Gibraltar (5:11) 11. 50 Cent - P.I.M.P. (4:09) 83. Acoustic Guitars - Guinga (3:21) 12. 50 Cent - Like My Style (feat. Tony Yayo (3:13) 84. Acoustic Guitars - Arabesque (4:42) 13. 50 Cent - Poor Lil' Rich (3:19) 85. Acoustic Guitars - Radiator (2:37) 14. 50 Cent - 21 Questions (feat. Nate Dogg) (3:44) 86. Acoustic Guitars - Through The Mist (5:02) 15. 50 Cent - Don't Push Me (feat. Eminem) (4:08) 87. Acoustic Guitars - Lines Of Cause (5:57) 16. 50 Cent - Gotta Get (4:00) 88. Acoustic Guitars - Time Flourish (6:02) 17. 50 Cent - Wanksta (Bonus) (3:39) 89. Aerosmith - Walk on Water (4:55) 18. -
Bye, Bye, Miss American Pie? the Supply of New Recorded Music Since Napster
NBER WORKING PAPER SERIES BYE, BYE, MISS AMERICAN PIE? THE SUPPLY OF NEW RECORDED MUSIC SINCE NAPSTER Joel Waldfogel Working Paper 16882 http://www.nber.org/papers/w16882 NATIONAL BUREAU OF ECONOMIC RESEARCH 1050 Massachusetts Avenue Cambridge, MA 02138 March 2011 The title refers to Don McLean’s song, American Pie, which chronicled a catastrophic music supply shock, the 1959 crash of the plane carrying Buddly Holly, Richie Valens, and Jiles Perry “The Big Bopper” Richardson, Jr. The song’s lyrics include, “I saw Satan laughing with delight/The day the music died.” I am grateful to seminar participants at the Carlson School of Management and the WISE conference in St. Louis for questions and comments on a presentation related to an earlier version of this paper. The views expressed in this paper are my own and do not reflect the positions of the National Academy of Sciences’ Committee on the Impact of Copyright Policy on Innovation in the Digital Era or those of the National Bureau of Economic Research. NBER working papers are circulated for discussion and comment purposes. They have not been peer- reviewed or been subject to the review by the NBER Board of Directors that accompanies official NBER publications. © 2011 by Joel Waldfogel. All rights reserved. Short sections of text, not to exceed two paragraphs, may be quoted without explicit permission provided that full credit, including © notice, is given to the source. Bye, Bye, Miss American Pie? The Supply of New Recorded Music Since Napster Joel Waldfogel NBER Working Paper No. 16882 March 2011 JEL No.