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Music Video As Black Art
IN FOCUS: Modes of Black Liquidity: Music Video as Black Art The Unruly Archives of Black Music Videos by ALESSANDRA RAENGO and LAUREN MCLEOD CRAMER, editors idway through Kahlil Joseph’s short fi lm Music Is My Mis- tress (2017), the cellist and singer Kelsey Lu turns to Ishmael Butler, a rapper and member of the hip-hop duo Shabazz Palaces, to ask a question. The dialogue is inaudible, but an intertitle appears on screen: “HER: Who is your favorite fi lm- Mmaker?” “HIM: Miles Davis.” This moment of Black audiovisual appreciation anticipates a conversation between Black popular cul- ture scholars Uri McMillan and Mark Anthony Neal that inspires the subtitle for this In Focus dossier: “Music Video as Black Art.”1 McMillan and Neal interpret the complexity of contemporary Black music video production as a “return” to its status as “art”— and specifi cally as Black art—that self-consciously uses visual and sonic citations from various realms of Black expressive culture in- cluding the visual and performing arts, fashion, design, and, obvi- ously, the rich history of Black music and Black music production. McMillan and Neal implicitly refer to an earlier, more recogniz- able moment in Black music video history, the mid-1990s and early 2000s, when Hype Williams defi ned music video aesthetics as one of the single most important innovators of the form. Although it is rarely addressed in the literature on music videos, the glare of the prolifi c fi lmmaker’s infl uence extends beyond his signature lumi- nous visual style; Williams distinguished the Black music video as a creative laboratory for a new generation of artists such as Arthur Jafa, Kahlil Joseph, Bradford Young, and Jenn Nkiru. -
Präsentation Doc Forum Jan15
Kapverdische Musik. Künstlerische Ausdrucksform und Identitätsvermittler einer transkulturellen Gesellschaft Denise Schubert BetreuerInnen: Gerd Grupe, Helmut Brenner, Regine Allgayer-Kaufmann (Universität Wien) Gliederung 1. Kap Verden 1.1 Einführung 1.2 Kapverdische Migration 2. Orlando Pantera – Ein „Komet“ oder ein Mythos? 3. Theoretische Überlegungen 4. Methoden 5. Quellen 2/21 1.1 Einführung Die Republik Kap Verde befindet sich 450 km westlich des afrikanischen Kontinents. Graz, 17.01.2015 3/21 1.1 Einführung Von den 10 Inseln des Archipels sind 9 bewohnt. Einwohnerzahl: 500.000 Graz, 17.01.2015 4/21 Graz, 17.01.2015 5/21 1.1 Einführung Von den 10 Inseln des Archipels sind 9 bewohnt. Einwohnerzahl: 500.000 Kapverdier in der Diaspora: 700.000 Graz, 17.01.2015 6/21 1.1 Einführung Wirtschaft „Fuelled by strong external demand, tourism export receipts grew from USD 40 million in 2000 to USD 360 million in 2012 (an annual growth rate of 19%) [...].“ 7/21 1.2 Kapverdische Migration Die Migrationsprozesse der Insulaner unterteilen sich in drei Hauptzyklen. Portugal, Niederlande, Italien, Frankreich Senegal, Gambia USA,Niederlande, Spanien, Italien Argentinien Brasilien, São Tomé und Príncipé, Portugal, Mosambik, Guinea-Bissau, Angola, Timor 1600 1700 1800 1900 2000 Góis Pedro (2006) Graz, 17.01.2015 8/21 Graz, 17.01.2015 9/21 3. Orlando Pantera - Ein „Komet“ oder ein Mythos? Orlando Monteiro Barreto (1967-2001) Musikstile: Kinderlieder*, Batuku, Funaná, Tabanka, (Morna) Hörbeispiel A: traditioneller Batuku (Cidade Velha, 2014) Hörbeispiel B: Orlando Pantera „Dispedida“ (2000) (aus „Mais Alma“, Dokumentarfilm: Catarina Alves Costa, 2001) Graz, 17.01.2015 10/21 3. Orlando Pantera - Ein „Komet“ oder ein Mythos? ● Preis für junge Musiker „Orlando Pantera – Discoberta de talento Jovem“ ●Soziale Bildungseinrichtung „Centro Educativo de Orlando Pantera“ ● Generation Pantera (Mayra Andrade, Princezito, Mario Rui, Lura Criola u.a.) Graz, 17.01.2015 11/21 4. -
X E D I Z I O
X EDIZIONE NORAJAZZ.IT comunicato stampa X EDIZIONE Pula, Teatro Romano di Nora 1-3-8-10 agosto Ultimi preparativi per l’INTERNATIONAL NORA JAZZ FESTIVAL che quest’anno festeggia i suoi primi dieci anni brindando assieme a quattro artiste di fama mondiale. Sul palcoscenico del teatro antico di Nora, dall’1 al 10 agosto, andranno in scena: ROBERTA GAMBARINI, una delle poche vocalist non americane per due volte candidata ai Grammy. CATHERINE RUSSELL, una delle più importanti jazz singers della scena internazionale. MAYRA ANDRADE, protagonista di uno stile che unisce afrobeat, jazz, folk, tradizione capoverdiana. CYRILLE AIMÉE, tra le più apprezzate vocalist europee in terra d’America. C’è una contagiosa gioia di vivere nelle voci di Roberta Gambarini, Catherine Russell, Mayra Andrade e Cyrille Aimée, le quattro artiste protagoniste del nuovo cartellone di concerti chiamate a festeggiare, dall’1 al 10 agosto, la decima edizione dell’International Nora Jazz Festival. Voci grintose, abbaglianti, dai forti vibrati, che fondono blues, pop, morna e afrobeat per poi sciogliersi ineluttabilmente nel jazz. Un’edizione come sempre organizzata dall’Associazione Enti Locali per lo Spettacolo e dal Comune di Pula, che si terrà nella straordinaria atmosfera del teatro antico di Nora. Un appuntamento che si affida al fascino e al mistero dell’universo femminile per invitare il suo affezionato pubblico a quattro serate di gran classe. Palcoscenico tra i più potenti e suggestivi dell’Europa festivaliera, nato sotto il segno della ricerca e della qualità, nella prima decade di agosto Nora Jazz propone un calendario di artiste destinate ad arricchire il parterre di ospiti di fama mondiale che, anno dopo anno, sceglie il festival pulese come unica tappa esclusiva dei suoi tour in Sardegna. -
Ninth Periodic Report Submitted by Cabo Verde to CEDAW
CEDAW/C/CPV/9 Distr.: General 9 February 2018 Original: English ADVANCE UNEDITED VERSION Committee on the Elimination of Discrimination against Women Ninth periodic report submitted by Cabo Verde under article 18 of the Convention, due in 2017* [Date received: 9 February 2018] * The present document is being issued without formal editing. Note: The present document is being circulated in English, French and Spanish only. CEDAW/C/CPV/9 Contents Page List of Abbreviations ........................................................................................................................ 3 Introduction ..................................................................................................................................... 5 I. Implementation of recommendations ..................................................................................... 5 Recommendation 1: Parliament ...................................................................................................... 5 Recommendation 2: Visibility of the Convention, the Optional Protocol and the Committee’s General Recommendations ............................................................................................................................ 6 Recommendation 3: National human rights institution .................................................................... 6 Recommendation 4: National machinery for the advancement of women ....................................... 7 Recommendation 5: Temporary special measures .......................................................................... -
Visual Metaphors on Album Covers: an Analysis Into Graphic Design's
Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres by Vivian Le A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems (Honors Scholar) Presented May 29, 2020 Commencement June 2020 AN ABSTRACT OF THE THESIS OF Vivian Le for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems presented on May 29, 2020. Title: Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres. Abstract approved:_____________________________________________________ Ryann Reynolds-McIlnay The rise of digital streaming has largely impacted the way the average listener consumes music. Consequentially, while the role of album art has evolved to meet the changes in music technology, it is hard to measure the effect of digital streaming on modern album art. This research seeks to determine whether or not graphic design still plays a role in marketing information about the music, such as its genre, to the consumer. It does so through two studies: 1. A computer visual analysis that measures color dominance of an image, and 2. A mixed-design lab experiment with volunteer participants who attempt to assess the genre of a given album. Findings from the first study show that color scheme models created from album samples cannot be used to predict the genre of an album. Further findings from the second theory show that consumers pay a significant amount of attention to album covers, enough to be able to correctly assess the genre of an album most of the time. -
Some of CARMEN SOUZA and THEO PASCAL PRESS Quotes Over the Years See the Clipping At
Some of CARMEN SOUZA AND THEO PASCAL PRESS Quotes over the years See the clipping at www.carmensouzapresskit.blogspot.com CD/DVD_LIVE LAGNY JAZZ FESTIVAL (2014) 5 STARS (CD of the week)"Carmen Souza is one of a kind—an original as rare as a throat singer and as exquisite as a vocalist who combines the best of Billie Holiday and Elis Regina—whose time has certainly come. Carmen Souza’s star is certainly on the rise. Her performances are riveting; she has a sensuous manner and her delicate swaying to the music seems to suggest that her body absorbs the melodies and harmonies of her songs that are surely made deep down in her soul." Raul da Gama, Latin Jazz Network, USA 5 STARS "Une artiste impressionnante. Chanteuse charismatique, Carmen Souza scatte à la manière d’Ella Fitzgerald et passe de l’aigu au grave avec une virtuosité certaine. Tantôt suave, tantôt mélancolique dans Live at Lagny Jazz festival, elle s’approprie avec simplicité et malice le fameux « sodade » si cher à la Diva au pieds nus (ndlr Cesaria Evora). Elle joue de la guitare, du piano et utilise sa voix tel un instrument. Dans cet album, ses reprises de My favorite things - John Coltrane - et Donna Lee – standard du jazz composé par Miles Davis – prouvent, s’il en était besoin, tout le talent de cette artiste. Elle réussit la prouesse de s’approprier des classiques du jazz sans les dénaturer." Eva Dréano, AFRICAVIVRE, FR 5STARS "La chanteuse a ainsi trouvé sa voi(e)x dans un métissage réussi des rythmes africains et capverdiens et du jazz contemporain...Piochant dans son répertoire quelques succès, Carmen y présente aussi trois inédits, dont un reprise sublime d’Edith Piaf « Sous le Ciel de Paris ». -
Cape Verde and Brazil Musical Connections
Cape Verde and Brazil Musical Connections Juliana Braz Dias Universidade de Brasília / University of Pretoria Introduction The insertion of Brazilian music in contexts outside of the country is no lon- ger a novelty. Indeed, the media often reports on these musical flows. For instance, newspapers and specialized magazines have played a crucial role in highlighting the presence of Brazil on the international stage through reports on Grammy Awards won by Brazilian musicians (namely, Sérgio Mendes, Milton Nascimento, Gilberto Gil, Caetano Veloso e João Gilberto). Another example is the increased visibility of concerts featuring Brazilian artists in other countries, such as the Brazilian Day in New York, which attracts more than a million people to the streets of that city – above all Brazilians, but also North-Americans and migrants from other countries. However, it should be noted that the presence of Brazilian music outside of the country’s borders is not necessarily related to the global cultural indus- try, neither to the impact of recent migration processes. Musical exchanges involving Brazilian musicians have been going on for some time, in multiple ways, following diverse routes and movements of people. In this article, I focus on a particular trajectory that some forms of Brazilian music have taken. I refer to the Atlantic flows that allowed for the arrival of music and musicians from Brazil to Cape Verde, deeply influencing musical productions in the archipelago. Adopting an anthropological ap- proach, I seek to engage with discourses articulated by Cape Verdeans on the role of “Brazilian music” (as they understand it) and its relationship to the music produced in Cape Verde. -
30 Years Is ENUF!
AIDS30 Years Is ENUF! The History of the AIDS Epidemic in Black America Black AIDS Institute June 2011 AIDS: 30 Years Is Enuf! The History of the AIDS Epidemic in Black America, 2011 is a publication of the Black AIDS Institute, 1833 West Eighth Street, Los Angeles, California 90057-4257, 213-353-3610, 213-989-0181 fax, [email protected], www.BlackAIDS.org. © 2011 Black AIDS Institute. All rights reserved. The slogan “Our People, Our Problem, Our Solution” is a trademark of the Black AIDS Institute. Views and opinions expressed in this publication are not necessarily those of the Black AIDS Institute, its partners or the funders of this publication. Publication of the name or photograph of a person does not indicate the sexual orientation or HIV status of the person or necessarily constitute an en dorse ment of the Institute or its policies. Some photographs in this publication use professional models. AIDS: 30 Years Is Enuf! The History of the AIDS Epidemic in Black America, 2011 is designed for educational purposes only and is not en gaged in rendering medical advice or profession al services. The information provided through this publication should not be used for diagnos ing or treating a health problem or a disease. It is not a sub stitute for profes sional care. This report was made possible, in part, by the generous support of the Elton John AIDS Foundation, Ford Foundation, MAC AIDS Fund, John M. Lloyd Foundation and Broadway Cares/Equity Fights AIDS. Table of Contents 4 From the CEO 8 Forward by Rosalyn Brock and Benjamin Todd Jealous 10 Executive Summary 16 The History of the AIDS Epidemic in Black America What is AIDS? Still Standing After All This Time We Have Survived 34 AIDS Timeline 46 Viral Generation They’ve Got SWAG 72 Leadership Matters The 30 Most Influential Black AIDS Leaders People You Might Not Know, Whom You Should! Leaders to Look Out For 80 We Have the Tools 90 Presidential Report Cards 96 Recommendations 102 Appendix 1: Glossary of Terms 112 Appendix 2: Glossary of Acronyms 116 About the Institute Ver. -
Orquestra Jazz De Matosinhos & Mayra Andrade
12 OUT | 2012 ORQUESTRA JAZZ DE MATOSINHOS & MAYRA ANDRADE 22:00 SALA SUGGIA Mayra Andrade voz Pedro Guedes direcção musical José Luís Nascimento percussão Placa giratória do Atlântico por excelência, o arquipéla‑ complexo em explorar harmonias mais ousadas, em de‑ go de Cabo Verde foi durante séculos um caldo de cultu‑ senhar melodias cheias de lirismo sem morada, em in‑ ras em permanente ebulição. Aí se encontraram as mú‑ corporar guitarras que já não sabemos se vêm de Cabo sicas da Europa e África, apesar dos esforços coloniais Verde ou do Brasil, em importar ritmos afro que saltam e clericais para as apartar; aí se recebeu de braços aber‑ as fronteiras traçadas no ocidente africano. tos as sínteses de um Brasil demasiado vasto para ver a Os textos exploram a caboverdianidade não apenas sua criatividade domada; e nas suas dez ilhas se inventou pela língua, mas também pelos temas abordados: as que‑ as múltiplas formas de expressão que permitiram con‑ zílias familiares em Badiu si…, os alertas sociais em Kon- tornar todos os contratempos e afirmar a identidade do siénsia ou Dimokránsa, a celebração da terra ‑mãe e da sua cabo ‑verdiano. cultura em Stória stória… ou Nha Damáxa, as meditações A morna será o género mais célebre da música de Cabo de amor em Odjus Fitchádu, o quotidiano e as intrigas da Verde, levado para o mundo por vozes como a de Cesá‑ aldeia em Nha Sibitchi, a fuga à pobreza em Mana, a forte ria Évora e passando por sucessivas transformações em ligação à natureza em Lua ou Seu. -
Mayra Andrade, Le Cap-Vert En Itinérance
ASTÉRIOS SPECTACLES PRÉSENTE MAYRA ANDRADE NOUVEL ALBUM PRÉSENTATION Mayra fait entendre des couleurs radieuses à danser, des rythmiques soyeuses, des mélodies enlevées, un chant très délicatement poivré, comme si l’Europe de la pop avait toujours été un archipel des mers chaudes. Des chansons d’été éternel qui effacent les brumes et les froids, et sans jamais faire éclater les flashes de l’exotisme. En créole capverdien, en anglais, en français, en portugais, elle nous entraine dans un mouvement aventureux, tendre, inattendu. Sa pop qui englobe tout le vaste mouvement du monde, entre romantismes occidentaux et sensualités du Sud, reggae d’ici et trois-temps d’Afrique. Une pop tropicale, actuelle, voyageuse. Tout simplement, Mayra voulait « une musique qui soit le reflet de ma vie ». Il est vrai que sa destinée est hautement romanesque : son père est un combattant de l’indépendance du Cap-Vert, cause soutenue par Cuba. Quand sa mère est enceinte, on craint pour sa santé et elle part dans le « pays-frère » terminer sa grossesse. Mayra nait à La Havane et y gagne la nationalité cubaine. Elle grandit à Praia, au Cap-Vert et, à six ans, elle suit sa mère et son beau-père diplomate au Sénégal, en Angola puis en Allemagne. Quand elle rentre au pays, à l’âge de quatorze ans, elle commence à chanter. Et gagne la médaille d’or du concours des Jeux de la Francophonie en 2001, à Ottawa. Cesaria Evora a fait connaitre au monde le nom de son pays (« le Cap Vert, ni cap, ni vert », comme l’écrit joliment Véronique Mortaigne du Monde) et les rythmes mulâtres de l’île de São Vicente, la morna et la coladera. -
Download Idan Raichel Biography
IDAN RAICHEL Biography Brief Idan Raichel – producer, keyboardist, lyricist, composer and performer. During a career spanning a mere 17 years, Idan has become not only one of the most successful artists in Israel but also one of Israel’s leading music ambassadors abroad, with tours which included performances at some of the leading festivals as well as shows in the most prestigious venues, such as New York's Central Park Summer Stage, Apollo Theater, Town Hall and Radio City Music Hall, Los Angeles’s Kodak Theater, the Sydney Opera House, Zenith in Paris, London’s Royal Albert Hall and Vienna’s Musikverein Concert Hall. audiences from a variety of cultures across Europe, in South & Central America, in Hong Kong, Singapore, India, Ethiopia, South Africa, Ghana, and Japan – and the list goes on. In addition, Idan has entered into exciting collaborations with many great artists, including American pop stars India.Arie and Alicia Keys, and artists who are household names in their own countries, such as Portugal's Ana Moura, Celentano, the Iranian singer Golazin, and Mali's Vieux Farka Touré. Over the years, Idan has become an ambassador representing a world of hope in which artistic collaboration breaks down barriers between people of different backgrounds and beliefs. In the albums he has produced to-date with The Project, as well as in the other artistic ventures with combined with lyrics in a variety of languages including Arabic, German, Spanish, Amharic, French and Hebrew, which worked its way into being part of the Israeli mainstream as well as into the hearts of the general public in Israel and overseas. -
The Power of the Hip-Hop Narrative in Mainstream Rap Morgan Klatskin Brigham Young University, Provo, [email protected]
Criterion: A Journal of Literary Criticism Volume 11 Article 7 Issue 1 Volume 11, Issue 1 (Winter 2018) 4-2018 Reclaiming the Black Personhood: the Power of the Hip-Hop Narrative in Mainstream Rap Morgan Klatskin Brigham Young University, Provo, [email protected] Follow this and additional works at: https://scholarsarchive.byu.edu/criterion Part of the African American Studies Commons, American Popular Culture Commons, Civil Rights and Discrimination Commons, English Language and Literature Commons, Law and Race Commons, Other Music Commons, Other Rhetoric and Composition Commons, Race and Ethnicity Commons, and the Social Influence and Political Communication Commons BYU ScholarsArchive Citation Klatskin, Morgan (2018) "Reclaiming the Black Personhood: the Power of the Hip-Hop Narrative in Mainstream Rap," Criterion: A Journal of Literary Criticism: Vol. 11 : Iss. 1 , Article 7. Available at: https://scholarsarchive.byu.edu/criterion/vol11/iss1/7 This Article is brought to you for free and open access by the All Journals at BYU ScholarsArchive. It has been accepted for inclusion in Criterion: A Journal of Literary Criticism by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Reclaiming the Black Personhood: the Power of the Hip-Hop Narrative in Mainstream Rap Cover Page Footnote Thank you to my husband, who helped me through the countless late nights at the library. Thank you to Professor Peter Leman, who encouraged me to follow my passion and be adventurous and unconventional in my research. This article is available in Criterion: A Journal of Literary Criticism: https://scholarsarchive.byu.edu/criterion/vol11/iss1/7 Reclaiming the Black Personhood The Power of the Hip-Hop Narrative in Mainstream Rap Music Morgan Klatskin In response to acutely visible injustice, music has long served as a method of resistance for the Black community.