DOCSLIB.ORG

Treasure the Nuttiness Introduction Art and Music Critic Kevin Le Gendre

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Treasure the Nuttiness Introduction Art and Music Critic Kevin Le Gendre Treasure the Nuttiness Introduction Art and music critic Kevin Le Gendre discusses the creative case for diversity in music. How hard have black and multi‐ ethnic British artists had to struggle to be recognized over the years, in order to break through in the mainstream on their own terms? For decades, they were seen as inferior to Americans, particularly if they were doing soul‐funk or jazz, and the very idea of a ‘homegrown’ talent with, crucially, its own specific vernacular and modes of expression had little currency. Was there a turning point? Have things really changed? Are there still enough black powerbrokers in the music industry and media to ensure that original black voices are given a platform to do what they feel is progressive without pandering to expectations from ‘inside’ and outside their own community? Along with guests, Sheila Chandra and Kwame Kwaten, Kevin Le Gendre also considered both the diversity within black and multi‐ethnic music and the influence of the images that have derived from its legacy. What were the implications of a British‐Asian appearing on Top Of The Pops in a sari in the 80s way before anybody had coined the term ‘Asian Underground’ – or even coined the term British‐Asian for that matter? The panel will investigate this and the creativity shown by multi‐ethnic musicians in the field of sartorial and visual style, and debate on the cultural and political ramifications of the evolution from Errol Brown’s baldhead to Jazzie B’s funki dreds. Kevin Le Gendre: I want to start off with a general picture; we’re going to go into a bit of history and talk about how things may have developed for Black British artists over the last 20 years or so, or maybe the last 30 years and take us right back to the 70’s and 60’s which is the time when Black British artists have been contributing to the music industry. But I’d like to start by asking the panellists how they feel about where they are today in the year 2009 where we have the likes of Dizzee Rascal or Tinchy Stryder or Taio Cruz enjoying phenomenal success with number one records? They are headlining at major festivals; Speech Debelle just won the Mercury Music Prize, Bat for Lashes is doing really well; she is critically acclaimed, so on the one hand we have all of this success and I would like to just, without too much prompting or leading, just throw it open to the two panellists. How do you feel about where we are in the music industry for black and Asian artists? Are we in a good place? Sheila Chandra: We’re definitely in a better place than we were. When I started at 16 (I’m part of the older edge of the second generation),there were very few Asian people in the media. Now it’s common to have reporters and journalists and presenters who are Asian as well. We’re being represented as part of the mainstream much more, just in terms of personnel. Back in those days we weren’t and with the likes of Jay Sean and the huge success that he has had, Chucky D and Rishi Rich, it’s great that these people are making inroads to mainstream charts and mainstream music and not entirely in a diluted form. I mean originally, I thought it would be much easier for artists to get through who completely denied anything of their culture to the point almost of changing their name and not really referring to it, but that’s not the case. KLG: Having to compromise basically. SC: Yeah, having to compromise. In fact, those are artists that experimented with our own forms, whether when they do, they are accepted by a wider listening public as making music that belongs to and represents that wider listening public, is the question. I think the question with pop music is that you always want it to be ‘ours’; you want it to represent something that is ‘us’. And the difficulty with artists that are working in diverse music forms, whatever their ethnic origin, is that those musical forms appear as ‘other’ to the mainstream audience. So there is always this question of, “Are we going to sit down at the end of a hard day and put on something that is a little bit mentally challenging?” Because we didn’t grow up with it. So now it’s much, much better than it was. It’s very, very encouraging to see that, but I would have liked to have seen the stuff that Nitin Sawhney and Talvin Singh were doing [in the 1990’s], get a little bit further. I felt that was more intellectually challenging stuff. KLG: Okay well, there are some great points that you made there, several issues that you raised there. I particularly like the point about representation and ‘the other’ and how that plays out in the longer term, so there’s already some food for thought, if you can just keep those things in mind, because this is just the opening salvo at the moment and we will come back to those in greater detail. Kwame, let me hand over to you, hear you bounce off that idea of where we are today, that kind of premise with the success of the artists that I mentioned and all that kind of stuff and maybe if you could react to some of Sheila’s comments. Kwame Kwaten: Where we are today? I guess in order to look at where we are today, if I take it that in probably 1988/89 when D‐Influence started, it was thought of as a very special occasion when a black artist got a video or a budget for a video on any form of TV to where we are now. I think to me, if you’re looking at it in general terms, that kind of shows you where we are, looking at a channel like Channel U or AKA which is almost predominantly black music video and from this country as well, so that shows you a kind of leap from where we were to where we are now. KLG: So the importance of a video, I take it in pop terms, that’s a pre‐requisite to sell a song? So having a video in the first place puts you in the game. KK: You’re talking about a time – I can recall being told back then –“Oh, no, no, no, black acts don’t get videos,” I mean it was a standard. We at the time were guilty of saying, “Oh yes we do, we do get videos,” it’s easy to put it in those terms, but once you actually look at the kind of thought pattern that goes into someone presuming that that’s okay to say, it kind of lets you know where things were. KLG: It’s an outright form of discrimination to say that black acts don’t have videos. KK: Well, that was then. KLG: And where did that come from specifically? KK: You’re looking at the fact that someone like CBS had to threaten MTV with pulling most of their rock acts from MTV viewership in order to get Michael Jackson, one of the biggest entertainers in the world at that time, on to MTV. It was as simple as that; it was leverage, it was, “if you want this, MTV, then you have to do this.” And they played ball and some of the walls came crashing down. And then through that, other stuff happened and then other stuff happened and obviously people like Soul II Soul being in the frame and them having the huge success they had, meant other people could then go through as well, of which I think we were one of a few. KLG: So we are talking about a good 17, 18 years; I mean Soul II Soul was the early nineties, 1990 thereabouts, D‐ Influence, for those that don’t know, had major success in the early nineties as well with tracks like ‘Good Lover’ and by the mid‐nineties they were kind of peaking commercially, selling out venues like the Jazz Café; you guys played the Shepherds Bush Empire and venues like that, as well as The Forum. So you know, fairly substantial venues, so D‐ Influence wound up ... KK: Really about ’98, ‘99. KLG: So that would take us to a good ten years. Think about what you’ve seen change in that time, ‘98 to 2009. KK: Again – 1998 – this is quantum leap stuff, this really is. I’m lucky because ... I’ve got to write a book, haven’t I? KLG: Absolutely. KK: I had first hand knowledge on a lot of the things that went on, so for instance, Jazzie B I still count as a friend; I still know the Young Disciples; Galliano’s people, if I see them on the tube we’re chatting about then; – Stuart Zender from Jamiroquai – all of that is wrapped up in UK music Brit. history and soul and funk and everything else that goes into it, so it’s hard for me to talk about it because in a way, the battles that people have had to go through have been that severe in order to get to where we are now, which is weird. Okay, let me go the other way – if I go Dizzee, Tinchy, Chipmunk, Wiley, Kano, Tinie Tempah, Wretch 32 – these are the new kind of pack of rappers that have all of a sudden come and gone, “Okay, we are going to blend and incorporate the mainstream sound and actually take that and add our music to it.” So, what they are doing is likened to what happened with rap in America in the early 90’s is what they are doing now in the UK, so that is what is going on.
Load more

Recommended publications
  • RHYTHM & BLUES...63 Order Terms
    5 COUNTRY .......................6 BEAT, 60s/70s ..................71 AMERICANA/ROOTS/ALT. .............22 SURF .............................83 OUTLAWS/SINGER-SONGWRITER .......23 REVIVAL/NEO ROCKABILLY ............85 WESTERN..........................27 PSYCHOBILLY ......................89 WESTERN SWING....................30 BRITISH R&R ........................90 TRUCKS & TRAINS ...................30 SKIFFLE ...........................94 C&W SOUNDTRACKS.................31 AUSTRALIAN R&R ....................95 C&W SPECIAL COLLECTIONS...........31 INSTRUMENTAL R&R/BEAT .............96 COUNTRY AUSTRALIA/NEW ZEALAND....31 COUNTRY DEUTSCHLAND/EUROPE......32 POP.............................103 COUNTRY CHRISTMAS................33 POP INSTRUMENTAL .................136 BLUEGRASS ........................33 LATIN ............................148 NEWGRASS ........................35 JAZZ .............................150 INSTRUMENTAL .....................36 SOUNDTRACKS .....................157 OLDTIME ..........................37 EISENBAHNROMANTIK ...............161 HAWAII ...........................38 CAJUN/ZYDECO ....................39 DEUTSCHE OLDIES ..............162 TEX-MEX ..........................39 KLEINKUNST / KABARETT ..............167 FOLK .............................39 Deutschland - Special Interest ..........167 WORLD ...........................41 BOOKS .........................168 ROCK & ROLL ...................43 BOOKS ...........................168 REGIONAL R&R .....................56 DISCOGRAPHIES ....................174 LABEL R&R
    [Show full text]
  • 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.
    [Show full text]
  • Een Greep Uit De Cd-Releases 2012
    Een greep uit de cd-releases 2012 Artiest/groep Titel 1 Aborted Global flatline 2 Allah -las Allah -las 3 Absynthe Minded As it ever was 4 Accept Stalingrad 5 Adrenaline Mob (Russel Allen & Mike Portnoy) Omerta 6 After All Dawn of the enforcer 7 Aimee Mann Charmer 8 Air La voyage dans la lune 9 Alabama Shakes Boys & girls 10 Alanis Morissette Havoc and bright lights 11 Alberta Cross Songs of Patience 12 Alicia Keys Girl on fire 13 Alt J An AwsoME Wave 14 Amadou & Mariam Folila 15 Amenra Mass V 16 Amos Lee As the crow flies -6 track EP- 17 Amy MacDonald Life in a beautiful light 18 Anathema Weather systems 19 Andrei Lugovski Incanto 20 Andy Burrows (Razorlight) Company 21 Angus Stone Broken brights 22 Animal Collective Centipede Hz 23 Anneke Van Giersbergen Everything is changing 24 Antony & The Johnsons Cut the world 25 Architects Daybreaker 26 Ariel Pink Haunted Graffitti 27 Arjen Anthony Lucassen Lost in the new real (2cd) 28 Arno Future vintage 29 Aroma Di Amore Samizdat 30 As I Lay Dying Awakened 31 Balthazar Rats 32 Band Of Horses Mirage rock 33 Band Of Skulls Sweet sour 34 Baroness Yellow & green 35 Bat For Lashes Haunted man 36 Beach Boys That's why god made the radio 37 Beach House Bloom 38 Believo ! Hard to Find 39 Ben Harper By my side 40 Berlaen De loatste man 41 Billy Talent Dead silence 42 Biohazard Reborn in defiance 43 Black Country Communion Afterglow 44 Blaudzun Heavy Flowers 45 Bloc Party Four 46 Blood Red Shoes In time to voices 47 Bob Dylan Tempest (cd/cd deluxe+book) 48 Bob Mould Silver age 49 Bobby Womack The Bravest
    [Show full text]
  • New Audiobooks 1/1/05 - 5/31/05
    NEW AUDIOBOOKS 1/1/05 - 5/31/05 AVRCU = AUDIOBOOK ON CASSETTE AVRDU = AUDIOBOOK ON COMPACT DISC [ 1] Shepherds abiding :with Esther's gift and the Mitford snowmen /by Jan Karon. AVRCU3876 Karon, Jan,1937- [ 2] Kill the messenger /by Tami Hoag. AVRCU3889 Hoag, Tami. [ 3] Voices of the Shoah :remembrances of the Holocaust /[written by David Notowitz]. AVRDU0352 [ 4] We're just like you, only prettier :confessions of a tarnished southern belle /Celia Rivenbark. AVRCU4020 Rivenbark, Celia. [ 5] A mighty heart /by Mariane Pearl with Sarah Crichton ; narrated by Suzanne Toren. AVRCU4025 Pearl, Mariane. [ 6] The happiest toddler on the block :the new way to stop the daily battle of wills and raise a secure and well-behaved one- to four-year-old /Harvey Karp with Paula Spencer. AVRCU4026 Karp, Harvey. [ 7] Black water /T.J. MacGregor. AVRCU4027 MacGregor, T. J. [ 8] A rage for glory :the life of Commodore Stephen Decatur, USN /James Tertius de Kay. AVRCU4028 De Kay, James T. [ 9] Affinity /Sarah Waters. AVRCU4029 Waters, Sarah,1966- [ 10] Dirty laundry /Paul Thomas. AVRCU4030 Thomas, Paul,1951- [ 11] Horizon storms /Kevin J. Anderson. AVRCU4031 Anderson, Kevin J.,1962- [ 12] Blue blood /Edward Conlon. AVRCU4032 Conlon, Edward,1965- [ 13] Washington's crossing /by David Hackett Fischer. AVRCU4033 Fischer, David Hackett,1935- [ 14] Little children /Tom Perrotta. AVRCU4035 Perrotta, Tom,1961- [ 15] Above and beyond /Sandra Brown. AVRCU4036 Brown, Sandra,1948- [ 16] Reading Lolita in Tehran /by Azar Nafisi. AVRCU4037 Nafisi, Azar. [ 17] Thunder run :the armored strike to capture Baghdad /David Zucchino. AVRCU4038 Zucchino, David. [ 18] The Sunday philosophy club /Alexander McCall Smith.
    [Show full text]
  • 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).
    [Show full text]
  • 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.
    [Show full text]
  • Cover Next Page > Cover Next Page >
    cover next page > title: Indian Music and the West : Gerry Farrell author: Farrell, Gerry. publisher: Oxford University Press isbn10 | asin: 0198167172 print isbn13: 9780198167174 ebook isbn13: 9780585163727 language: English subject Music--India--History and criticism, Music--Indic influences, Civilization, Western--Indic influences, Ethnomusicology. publication date: 1999 lcc: ML338.F37 1999eb ddc: 780.954 subject: Music--India--History and criticism, Music--Indic influences, Civilization, Western--Indic influences, Ethnomusicology. cover next page > < previous page page_i next page > Page i Indian Music and the West < previous page page_i next page > < previous page page_ii next page > Page ii To Jane < previous page page_ii next page > < previous page page_iii next page > Page iii Indian Music and the West Gerry Farrell OXFORD UNIVERSITY PRESS < previous page page_iii next page > < previous page page_iv next page > Page iv OXFORD UNIVERSITY PRESS Great Clarendon Street, Oxford OX2 6DP Oxford University Press is a department of the University of Oxford. It furthers the University's objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogotá Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris São Paulo Singapore Taipei Tokyo Toronto Warsaw and associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © Gerry Farrell 1997 First published 1997 New as paperback edition 1999 The moral rights of the author have been asserted Database right Oxford University Press (maker) All rights reserved.
    [Show full text]
  • Connecticut College Alumni Magazine, Fall 1974 Connecticut College
    Connecticut College Digital Commons @ Connecticut College Linda Lear Center for Special Collections & Alumni News Archives Fall 1974 Connecticut College Alumni Magazine, Fall 1974 Connecticut College Follow this and additional works at: http://digitalcommons.conncoll.edu/alumnews Recommended Citation Connecticut College, "Connecticut College Alumni Magazine, Fall 1974" (1974). Alumni News. Paper 188. http://digitalcommons.conncoll.edu/alumnews/188 This Magazine is brought to you for free and open access by the Linda Lear Center for Special Collections & Archives at Digital Commons @ Connecticut College. It has been accepted for inclusion in Alumni News by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. .. .,..... ... ' ... .,-..... '"' .. .~. ' . ..... .' " ~.. - .,- ~il -,'; .. .- - • , -; " ... Connecticut College Alumni Magazine VOLUME 51, NUMBER 4, FALL 1974 The Ames Way: Introducing Our New President by Allen Carroll '73 2 At Home With Power Helen F. Mulvey 7 Home: Love Is All You Need David Case II History in Your Own Backyard: A Study of Homes Carol Broggini Catlin '60 12 The House You Call Home Sarah W. Wing '53 14 Homes For Sale-Real Estate, Everyone's Career Lotta Hess Ackerman '28 17 Sharing the Experience Katherine Meili Anderton '40 18 ROUND&ABOUT 22 In the Mailbox 25 What Do the Following Occupations Have in Common? 25 Class Notes Marion Vibert Clark '24 28 List of Class Correspondents 44 COVER: Rita Daly M.A. '71 PHOTOGRAPHS AND ILLUSTRATIONS: pp. 1,2 Constance Avery-Clark '75: pp. 3, 4, 5, 6 the Oakes Ames family: pp. [4, 15 Rita Daly '71: p.
    [Show full text]
  • Tinie Tempah Junk Food Torrent Download ALBUM: Tinie Tempah – Junk Food
    tinie tempah junk food torrent download ALBUM: Tinie Tempah – Junk Food. Stream And “Listen to ALBUM: Tinie Tempah – Junk Food” “Fakaza Mp3“ 320kbps flexyjams cdq Fakaza download datafilehost torrent download Song Below. Release Date: December 14, 2015. Copyright: ℗ 2015 Disturbing London Records. Tracklist 1. Junk Food 2. Been the Man (feat. Jme, Stormzy & Ms Banks) 3. Autogas (feat. Big Narstie & Mostack) 4. We Don’t Play No Games (feat. Sneakbo & Mostack) 5. All You (feat. G Frsh & Wretch 32) 6. Mileage (feat. J Avalanche & M Dargg) 7. I Could Do This Every Night (feat. Yungen, Bonkaz & LIV) 8. Might Flip (feat. Cadet & Youngs Teflon) 9. Look at Me (feat. Giggs) 10. 100 Friends (feat. J Hus) Best Tinie Tempah Songs. Written in the stars. Million miles away. Message to the main ooh. Season come and go but I will never change. And I am on my way. This song is awe some and famous and hit. I like this meaning. Tinie tempah voice is good. Eric turner sound is beautiful. My favourite singer is eric turner and tinie. Just awesome. Listening 50 times a day. I like this singer. And Obviously Erik Turner. Both of their chemistry. Was excellent. I loved this song very much. Please. Request to. Compose this type of song. I think this song probably has the most meaning and makes the most sense. Maybe people don't know that this is the original so that's why they voted for the other. So now you know, vote for this one. Why is the remix version of this song in the number one spot I rekon that this is a lot better than the remix version but I think Pass Out should be number one because that is an epic song.
    [Show full text]
  • Confessions of a Black Female Rapper: an Autoethnographic Study on Navigating Selfhood and the Music Industry
    Georgia State University ScholarWorks @ Georgia State University African-American Studies Theses Department of African-American Studies 5-8-2020 Confessions Of A Black Female Rapper: An Autoethnographic Study On Navigating Selfhood And The Music Industry Chinwe Salisa Maponya-Cook Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/aas_theses Recommended Citation Maponya-Cook, Chinwe Salisa, "Confessions Of A Black Female Rapper: An Autoethnographic Study On Navigating Selfhood And The Music Industry." Thesis, Georgia State University, 2020. https://scholarworks.gsu.edu/aas_theses/66 This Thesis is brought to you for free and open access by the Department of African-American Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in African-American Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. CONFESSIONS OF A BLACK FEMALE RAPPER: AN AUTOETHNOGRAPHIC STUDY ON NAVIGATING SELFHOOD AND THE MUSIC INDUSTRY by CHINWE MAPONYA-COOK Under the DireCtion of Jonathan Gayles, PhD ABSTRACT The following research explores the ways in whiCh a BlaCk female rapper navigates her selfhood and traditional expeCtations of the musiC industry. By examining four overarching themes in the literature review - Hip-Hop, raCe, gender and agency - the author used observations of prominent BlaCk female rappers spanning over five deCades, as well as personal experiences, to detail an autoethnographiC aCCount of self-development alongside pursuing a musiC career. MethodologiCally, the author wrote journal entries to detail her experiences, as well as wrote and performed an aCCompanying original mixtape entitled The Thesis (available on all streaming platforms), as a creative addition to the research.
    [Show full text]
  • Capturing Hip Hop Histories
    capturing hip hop histories SOUTH-WEST HEADZ Master Blast Roadshow poster by Raz (Kilo), 1986. Photograph: Kilo. First published 2021 2021 Adam de Paor-Evans Cover graff by Remser Remser started writing in 1997 after seeing dubs and pieces by Sceo, Fixer, Teach, and G-Sane at the M5 pillar spot in Exeter. His school bus used to loop around Sannerville Way and the pieces could be seen from the road as well as the train. A couple of years prior to this, Remser’s mum randomly bought him a copy of Spraycan Art, and he knew straight away that it was something he wanted to be part of. In early 2000 he moved to London and hooked up with the DNK/CWR boys, they were way better than him and super-active but this experience pushed him to develop his style and learn about all aspects of graffiti writing. Respect and love to all of the South-West writers and hip hop headz, too many to mention but you know who you are! DNK CWR Waxnerds forever... Approved for free Cultural Works Creative Commons Licence Attribution 4.0 International Published by Squagle House, United Kingdom Printed in Great Britain Although every precaution has been taken in the preparation of this publication, the publisher and author assume no responsibility for errors or omissions. Neither is any liability assumed for damages resulting from the use of information contained herein. RHYTHM•obscura: revealing hidden histories through ethnomusicology and cultural theory is a long-term research venture that explores the relationships of the non-obvious and regional-rural phenomena within music cultures.
    [Show full text]
  • November 2009 Newsletter
    November 09 Newsletter ------------------------------ Yesterday & Today Records PO Box 54 Miranda NSW 2228 Phone/fax: (02)95311710 Email:[email protected] Web: www.yesterdayandtoday.com.au ------------------------------------------------ Postage: 1cd $2/ 2cds 3-4 cds $6.50 ------------------------------------------------ Loudon Wainwright III “High Wide & Handsome – The Charlie Poole Project” 2cds $35. If you have any passion at all for bluegrass or old timey music then this will be (hands down) your album of the year. Loudon Wainwright is an artist I have long admired since I heard a song called “Samson and the Warden” (a wonderfully witty tale of a guy who doesn’t mind being in gaol so long as the warden doesn’t cut his hair) on an ABC radio show called “Room to Move” many years ago. A few years later he had his one and only “hit” with the novelty “Dead Skunk”. Now Loudon pundits will compare the instrumentation on this album with that on that song, and if a real pundit with that of his “The Swimming Song”. The backing is restrained. Banjo (Poole’s own instrument of choice), with guitar, some great mandolin (from Chris Thile) some fiddle (multi instrumentalist David Mansfield), some piano and harmonica and on a couple of tracks some horns. Now, Charlie Poole to the uninitiated was a major star in the very early days of country music. He is said to have pursued a musical career so he wouldn’t have to work and at the same time he could ensure his primary source of income, bootleg liquor, was properly distilled. He was no writer and adapted songs he had heard to his style.
    [Show full text]