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Curt Magazin N/F/E
curt Magazin N/F/E #158 - - - OKTOBER 2011 - - - WWW.CURT.DE Vorwort / curt #158 Ich löse vier Aspirin und zwei Alka-Seltzer in meiner Maß Bier auf, da mir das rechte Ohr pfeift. Eigendiagnose: Tinitus. Tinitus durch Ärger mit den curt-Schreiberlingen. Dabei war es von Anfang an klar: Die Besten sind eben auch immer Exzentriker. Dass mich das krank machen NEUERNEUERNEUERNEUER JOB JOBJOB JOB GEFÄLLIG? GEFÄLLIG?GEFÄLLIG? GEFÄLLIG? könnte und von einem Burn-out in den nächsten treiben würde, daran hatte ich nie gedacht. Und: Keine Besserung in Sicht. Dabei führen sie doch ein Leben in Saus und Braus hoch zehn, die curt-Recken. Denn natürlich ist es nicht unangenehm, in Cannes am richtigen Wochenende nur mit einem güldenen String bekleidet und mit einem Starlet im Arm von der Yacht herab ins Blitzlichtgewitter zu schreiten. Oder bei den MTV Awards lasziv von Gwen Stefanie begrapscht zu werden. Auch die richtige Party nach den Oscar-Verleihungen hat was, oder das Abhängen in Boxengassen. Und ebenfalls okay: die eine oder andere Filmpremiere oder Vernissage (Tach, Neo! Servus, Damien!). „Wie kann sich ein curt-Redakteur das alles leisten?“, wird sich ein Naivling jetzt fragen. Haha, Du ahnungsloser Narr! Du unwis- sender Konsument! Das kostet NISCHT! NULLINGER! Wir sind geladene Gäste im Schlaraffenland, so sieht's aus. Der Firmen-Porsche? Ein Geschenk! Der Akquise-Ferrari? Eine Spende. Der Verteiler-Hummer? Eine Leihgabe von einem Scheich, dessen Sohn wir mal zum Kopulieren NEUER JOB GEFÄLLIG? backstage gebracht haben bei der Comedy Lounge. Warum wir gerade alle in Louis Vuitton gekleidet sind? Eine Koop: Der curt-eigene Kaulquappenhund ist Model der aktuellen Kampagne. -
SS05 Naple Full Programme.Pdf
Across the globe the adaptation of Jamaican sound system culture has stimulated an innovative approach to sound technologies deployed to re-configure public spaces as sites for conviviality, celebration, resistance and different ways-of-knowing. In a world of digital social media, the shared, multi-sensory, social and embodied experience of the sound system session becomes ever more important and valuable. Sound System Outernational #5 – “Sounds in the City: Street Technology and Public Space” (4-5-6 April, 2019 - Naples, Italy) is designed as a multi-layered event hosted at Università degli Studi di Napoli L’Orientale with local social movement partners. Over three days and interacting with the city of Naples in its rich academic, social, political and musical dimensions, the event includes talks, roundtables, exhibitions and film screenings. It also features sound system dances hosting local and international performers in some of the city’s most iconic social spaces. The aim of the program is to provide the chance for foreign researchers to experience the local sound system scene in the grassroots venues that constitute this culture’s infrastructure in Naples. This aims to stimulate a fruitful exchange between the academic community and local practitioners, which has always been SSO’s main purpose. Sounds in the City will also provide the occasion for the SSO international research network meeting and the opportunity for a short-term research project on the Napoli sound system scene. Thursday, April 4th the warm-up session Thursday, April 4th “Warm Up Session” (16:30 to midnight) Venue: Palazzo Giusso, Università L’Orientale - Room 3.5 (Largo S. -
Downloaded from Brill.Com10/05/2021 07:53:15AM Via Free Access University of Chicago Press, 1998
Book Reviews -James Sidbury, Peter Linebaugh ,The many-headed Hydra: Sailors, slaves, commoners, and the hidden history of the revolutionary Atlantic. Boston: Beacon Press, 2000. 433 pp., Marcus Rediker (eds) -Ray A. Kea, Herbert S. Klein, The Atlantic slave trade. Cambridge, U.K.: Cambridge University Press, 1999. xxi + 234 pp. -Johannes Postma, P.C. Emmer, De Nederlandse slavenhandel 1500-1850. Amsterdam: De Arbeiderspers, 2000. 259 pp. -Karen Racine, Mimi Sheller, Democracy after slavery: Black publics and peasant radicalism in Haiti and Jamaica. Gainesville: University Press of Florida, 2001. xv + 224 pp. -Clarence V.H. Maxwell, Michael Craton ,Islanders in the stream: A history of the Bahamian people. Volume two: From the ending of slavery to the twenty-first century. Athens: University of Georgia Press, 1998. xv + 562 pp., Gail Saunders (eds) -César J. Ayala, Guillermo A. Baralt, Buena Vista: Life and work on a Puerto Rican hacienda, 1833-1904. Chapel Hill: University of North Carolina Press, 1999. xix + 183 pp. -Elizabeth Deloughrey, Thomas W. Krise, Caribbeana: An anthology of English literature of the West Indies 1657-1777. Chicago: University of Chicago Press, 1999. xii + 358 pp. -Vera M. Kutzinski, John Gilmore, The poetics of empire: A study of James Grainger's The Sugar Cane (1764). London: Athlone Press, 2000. x + 342 pp. -Sue N. Greene, Adele S. Newson ,Winds of change: The transforming voices of Caribbean women writers and scholars. New York: Peter Lang, 1998. viii + 237 pp., Linda Strong-Leek (eds) -Sue N. Greene, Mary Condé ,Caribbean women writers: Fiction in English. New York: St. Martin's Press, 1999. -
Dour Festival
DOUR FESTIVAL GRASPOP / LES ARDENTES / VOX FEMINA MAGAZINE MUSICAL GRATUIT / ILLICO! 3 JUIN 2015 BREF! 4 CONCERTS & FESTIVALS 6 DOUR FESTIVAL 6 VOX FEMINA 10 ZIKOL 12 Y’A PAS L’FEU 14 DOUR FESTIVAL 6 LE FORUM FAIT SON FESTIVAL 15 FAITES DE LA CHANSON 16 GRASPOP FESTIVAL 18 MORIARTY 19 AIRE A LA FETE 20 EARTH WIND & FIRE 21 LES ARDENTES 22 THE HUMAN PLACE 23 MAIN SQUARE 24 WILD / ROCK EN STOCK 25 LENA DELUXE 26 FEAR FACTORY 27 CACTUS FESTIVAL 28 SJOCK 29 LES NUITS SECRETES 30 VOX FEMINA 10 REGGÆ GEEL 31 DRANOUTER 32 ALCATRAZ METAL 34 ESPERANZAH 35 FALL OF MESSIAH 36 LES ECLECTIQUES 37 IEPERFEST 38 GOHELLE FEST 40 RAISMESFEST 41 RETOUR EN PHOTOS 42 CD D’ICI 44 AGENDA 46 INDEX DES SALLES 61 FALL OF MESSIAH 36 Édité par MANICRAC SECRÉTAIRE DE RÉDACTION REDACTEURS Association loi 1901 Bertrand LANCIAUX Nico BIBS, Benjamin BUISINE, Guillaume Dépôt légal : à parution MISE EN PAGE CANTALOUP, Colonel CHABERT, Patrick Samuel SYLARD DALLONGEVILLE, Camille DEMARLE, SIEGE SOCIAL Maryse LALOUX, Bertrand LANCIAUX, 6 rue Wulverick 59160 LOMME PUBLICITÉ Steff LE CHIEN, Raphaël LOUVIAU, Sébas- Samuel SYLARD tien NOWICKI, Olivier PARENTY, Emma- DIRECTEUR DE LA PUBLICATION Tel : 06 62 71 47 38 nuel QUEVA, Romain RICHEZ, SCHNAPS, Samuel SYLARD [email protected] Mathy, Grégory SMETS, Sylvain STRI- [email protected] CANNE, Nicolas SWIERCZEK. IMPRIMERIE CORELIO, Bruxelles (B) RÉDACTION Photo couverture DOUR © Kmeron TEL : 06 62 71 47 38 DIFFUSION C*RED. Tirage : 20 000 exemplaires. [email protected] RÉDACTEUR EN CHEF Merci à Cyr et Benoit ainsi qu’à tous nos Prochain numéro Samedi 13 juin 2015 Charles KRO diffuseurs pour la diffusion en région. -
La Méthode Du Riddim : Esthétique, Pratique Et Propriété Dans Le Dancehall Jamaïcain the Riddim Method: Aesthetics, Practice, and Ownership in Jamaican Dancehall
Volume ! La revue des musiques populaires 13 : 2 | 2017 Inna Jamaican Stylee La méthode du riddim : esthétique, pratique et propriété dans le dancehall jamaïcain The Riddim Method: Aesthetics, Practice, and Ownership in Jamaican Dancehall Peter Manuel et Wayne Marshall Traducteur : Alexandre Tanase Édition électronique URL : http://journals.openedition.org/volume/5288 DOI : 10.4000/volume.5288 ISSN : 1950-568X Éditeur Association Mélanie Seteun Édition imprimée Date de publication : 21 avril 2017 Pagination : 25-59 ISBN : 978-2-913169-42-5 ISSN : 1634-5495 Référence électronique Peter Manuel et Wayne Marshall, « La méthode du riddim : esthétique, pratique et propriété dans le dancehall jamaïcain », Volume ! [En ligne], 13 : 2 | 2017, mis en ligne le 21 avril 2020, consulté le 08 janvier 2021. URL : http://journals.openedition.org/volume/5288 ; DOI : https://doi.org/ERREUR PDO dans /localdata/www-bin/Core/Core/Db/Db.class.php L.34 : SQLSTATE[HY000] [2006] MySQL server has gone away L'auteur & les Éd. Mélanie Seteun 25 ument Doc La méthode du riddim : Esthétique, pratique et propriété dans le dancehall jamaïcain* par Peter Manuel (City University of New York) Wayne Marshall (Berklee College of Music / Harvard University) Traduit de l’anglais (États-Unis) par Alexandre Tanase Résumé : La scène et l’industrie du disque jamaï- Abstract: The Jamaican system of recording caines, des années 1950 jusqu’à nos jours, ont une and performance, from the 1950s to the present, manière bien particulière d’aborder les notions de constitutes a distinctive -
The Riddim Method: Aesthetics, Practice, and Ownership in Jamaican Dancehall1
Popular Music (2006) Volume 25/3. Copyright © 2006 Cambridge University Press, pp. 447–470 doi:10.1017/S0261143006000997 Printed in the United Kingdom The riddim method: aesthetics, practice, and ownership in Jamaican dancehall1 PETER MANUEL† and WAYNE MARSHALL‡ †127 Park Ave, Leonia, NJ 07605, USA ‡88 Holworthy Street, Cambridge, MA 02138, USA Abstract The Jamaican system of recording and performance, from the 1950s to the present, constitutes a distinctive approach to notions of composition, originality and ownership. Emerging from a tradition of live performance practice mediated by (and informing) sound recordings, the relative autonomy of riddims and voicings in the Jamaican system challenges conventional ideas about the integrity of a song and the degree to which international copyright law applies to local conceptions, as enshrined in decades of practice, of musical materials as public domain. With the spread of the ‘riddim method’ to the sites of Jamaican mass migration, as evidenced by similar approaches in hip hop, reggaeton, drum’n’bass and bhangra, reggae’s aesthetic system has found adherents among artists and audiences outside of Jamaica. This paper maps out, through historical description, ethnographic data, and musical analysis, the Jamaican system as a unique and increasingly influential approach to music-making in the digital age. The advent of commercial, mass-mediated popular music genres in the twentieth century has contributed to the spread, in many music cultures worldwide, of a certain conventional ‘mainstream’ form of song, comprising an original, autonomous and reproducible entity with a relatively unique integration of lyrics, melody and chordal accompaniment. In mainstream Western music culture, the thirty-two-bar AABA structure, perhaps repeated twice or thrice with some sort of variation, constituted a quintessential type of this conventional song form. -
Three the Hard Way Wilfred Limonious: in Fine Style Alex Bartsch: Covers Maxine Walters: Serious Things a Go Happen
HVW8 BERLIN — HVW8 Gallery Berlin in collaboration with One Love Books presents THREE THE HARD WAY WILFRED LIMONIOUS: IN FINE STYLE ALEX BARTSCH: COVERS MAXINE WALTERS: SERIOUS THINGS A GO HAPPEN Cover illustration from the LP Dance Hall Time by Various Artistes (Scar Face Music, 1986) In Fine Style: The Dancehall Art of Wilfred Limonious, is the first solo exhibition of work by prolific Jamaican illustrator Wilfred Limonious (1949–99) in Germany, and includes reproductions of work from the early 1970s through the mid-1990s, spanning three key phases in his career: his comic strips for the Jamaican newspapers, his illustrations for the publications of JAMAL (the Jamaican Movement for the Advancement of Literacy), and his distinctive artwork for the burgeoning dancehall scene coming out of 1980s Jamaica. The exhibition is curated by Al “Fingers” Newman and Christopher Bateman and is produced by One Love Books with the support of the Limonious Estate, to accompany their book, In Fine Style: The Dancehall Art of Wilfred Limonious, the first study into the artist’s life and work. London-based photographer Alex Bartsch makes his debut at HVW8 Gallery Berlin with photographs from his book, Covers: Retracing Reggae Record Sleeves in London, forthcoming on One Love Books. After researching various reggae LPs and twelve-inches from his record collection, Bartsch has re-photographed fifty sleeves in their original London locations, holding them up at arm’s-length so that they blend in with their surroundings, decades later. Presented in this way, the photographs document the transition of time, with the album cover serving as a window into the past, juxtaposed against today’s backdrop. -
Dancehall: Orígenes, Historia, Y Futuro, Hope Y Aponte
Dancehall: Orígenes, historia, y futuro, Hope Y Aponte Dancehall: Orígenes, historia, y futuro Donna P. Hope (Autor) y Jose Miguel Aponte (Traductor) Nota: Este artículo fue publicado originalmente en inglés – Hope, Donna P. “Dancehall: Origins, History, Future” en Groundings, Issue 26, July 2011, pp. 7-28. Esta traducción es un proyecto colaborativo de The Dancehall Archive and Research Initiative - [email protected] www.dancehallarchive.org 0 Dancehall: Orígenes, historia, y futuro, Hope Y Aponte Dancehall: Orígenes, historia, y futuro Donna P. Hope (Autor) y Jose Miguel Aponte (Traductor) Introducción. Este trabajo es una sinopsis de la cultura de la música dancehall, de donde viene, algunos de sus temáticas más importantes y como estas resuenan en la sociedad y cultura jamaicana. Dancehall es percibido por muchos como un fuerte ruido y un espacio molesto cargado de temas que son problemáticos. Para otros, es un lugar de muchos sonidos, canciones y temas que cuentan muchisimo acerca de la vida de los jamaiquinos de la clase trabajadora quienes están luchando para crear una imagen fantasiosa de ellos mismos que puedan articular y utilizar para proyectarse. Antecedentes tempranos del dancehall Dancehall es un componente de una trayectoria de culturas musicales en Jamaica que irrumpe en las primigenias actividades de toques de tambor y de pífano en las sociedades esclavas de las plantaciones, y luego toma prestado de todas las formas de musica jamaiquinas que precedieron su desarrollo incluyendo al mento, ska, bluebeat, dub, rocksteady y su antecedente primario, reggae. Los primeros sound systems jamaiquinos de los años 50's y 60's son un antecedente primario y directo de la cultura dancehall. -
Sentinel Bio 2017 German.Indd
SENTINEL – THE EVERLASTING SOUND Biografie, deutsch, Stand 12/16 VON STUTTGART IN DIE GANZE WELT gewählt, um als deutscher Vertreter beim Riddim Clash in München gegen drei schwergewichtige, internationale Die Geschichte von Sentinel ist durch Leute Soundsystems anzutreten. Obwohl Sentinel hinter dem Welt- geprägt, welche äußerste Liebe und Leidenschaft für Sound Killamanjaro (JAM) den zweiten Platz belegten gelang jamaikanischen Reggae und Dancehall verbindet. Sentinel es ihnen immerhin den dreimaligen World Clash Gewinner stiegen von den kleinsten Locations mit zehn Besuchern Blackkat (JAM) und den allseits respektierten Veteranen- zu den größten Dancehalls - vollgepackt mit ein paar tau- Sound Downbeat the Ruler aus New York City in Schach zu send Reggae-Fans - auf. Sentinel bieten ein einzigartiges halten. Danach gab es für Sentinel kein Halten mehr und musikalisches Erlebnis und professionelles Entertainment nur zwei Wochen später gelang es den Stuttgartern, Turbo als Soundsystem. Ende 1998 in Stuttgart gegründet, Force Sound aus der jamaikanischen Hauptstadt Kingston durchlief das Soundsystem mehrere Entwicklungsstufen. in einem Soundclash auf deren Heimatinsel zu schlagen. Durch ihre vielfältigen Erfahrungen im internationalen Damit sollten sie der erste kontinental-europäische Sound Soundystem-Biz haben sie sich hervorragende Qualitäten sein, der auf der Insel clashte und sie schafften, was kaum in Sachen Entertainment erworben und wurden so zu jemand für möglich gehalten hatte: Sentinel killten Turbo einem gewichtigen Soundsystem internationaler Güte. Force, einen waschechten Jamaica-Sound, in musikalischem Yard-Style vor einem rein jamaikanischen Publikum! Ein NACHHALTIGER ERFOLG ÜBER JAHRE HINWEG Jahr später hatte Sentinel erneut die Chance ihre musika- lische Tödlichkeit auf heimischem Boden unter Beweis zu Zum jetzigen Zeitpunkt wird Sentinel jedes Wo- stellen. -
Bunny Lion Red -Lp/Cd
BUNNY LION RED -LP/CD • Recently unearthed and available for the first time on vinyl! • Includes LP Insert with unreleased photos and interviews with Puddy Lion and LInval Thompson • First 300 copies pressed on red vinyl. Although his lack of touring kept him from being established as a major figure in overground reggae circles, Linval Thompson’s work as a singer, songwriter and producer is essential to Jamaican music. Between 1977 and 1979, he released five solo albums and produced countless artists on the side. Thompson acted as a mentor to many up-and-comers, including Junjo Lawes, Scientist, and Eek-A- Mouse. FM-003 As dancehall became more prominent in the late 1970s, Thompson began to offer up his rhythms to sound system deejays. The mysterious deejay LP, Bunny 01. Natty Rise and Shine Lion Red was originally released on London’s Starlight records in 1979. Little was 02. Jubilation written about the album at the time; however, we have uncovered that Bunny 03. Bunny Lion at the Control Lion is in fact the legendary Puddy Roots of Killamanjaro Soundsystem fame. 04. Go Rockers 05. Blackman Kingdom 06. Mont Zion Red features ten grooving Thompson Sound rhythms voiced by Puddy. This is 07. Rat Trap the earliest documented work of the criminally under-recorded Puddy Roots. It’s 08. Bubbling Dub also the perfect gateway record for anyone curious about dub, roots reggae, or 09. Ilie dancehall. 10. Heart and Soul RELEASE DATE: FEBRUARY 17th, 2015 GENRE: REGGAE / DUB/ DANCEHALL LP UPC: 817949010287 LP FORMAT: 12” LP + MP3s LP BOXLOT: 45 EXPORT: WORLD VINYL NON-RETURNABLE CD UPC: 817949010362 CD FORMAT: JEWEL CASE CD BOXLOT: 30 EXPORT: WORLD Omnian Music Group 195 Calyer St. -
Sonic Modernities of Our Present By
Remixing Relationality: ‘Other/ed’ Sonic Modernities of our Present by Mark V. Campbell A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Sociology and Equity Studies Ontario Institute for Studies in Education University of Toronto © Copyright by Mark V. Campbell 2010 Remixing Relationality: ‘Other/ed’ Sonic Modernities of our Present Doctor of Philosophy 2010 Mark V. Campbell Sociology and Equity Studies University of Toronto Abstract Far from simply playing music, the turntable has, in recent decades, been transformed into a musical instrument. Those that play these new instruments, called Turntablists, alter existing sounds to produce new sonic arrangements, exceeding the assumed use value of the turntable. The turntable’s transformation from record player to instrument captures one of the ways in which Afrosonic sound making activities refuse to conform to existing paradigms of music making in the western world. Throughout the African diaspora, it has been the musics from various regions and nations that continually capture the attention of the world’s music connoisseurs. This dissertation examines the ways in which careful consideration of the sonic innovations in Afrodiasporic cultures produce alternative paradigms through which we might analyze contemporary life. The following chapters interrogate turntablism, remix culture and hip hop music as subtexts that elaborate a foundational narrative of Afrodiasporic life. These subtexts are used as tools to examine the various ethnoscapes of Black Canadian life, official multiculturalism and notions of home within the African diaspora in Canada. The dominant narrative of the African diaspora explored in this work, housed within the sonic, elaborates a relational conception of freedom and modernity born out of the ii particularities of Afrodiasporic life in the west. -
October 10,2001 Warning: Yo Are Bein G Videotapd for by Isaac Pflaum Byisc Ur Own Safy the Founding Fathers of This Nation Rights
I i------ -Ils~·a~-~-·~8~·l·rs~~rr~F~r~--~·~~~B~L· ~·s~·IL-~n~3~+mCB8s~3~1~a~ZCSI·-~·~*FZ- b(~L·~P~·I~BI~XIB···~-_·~-L~·~~ Vol. XXIII, Issue 3 "United we stand, we shall not fall, thebacon mushroom melt is BACK!" October 10,2001 Warning: Yo Are Bein g Videotapd For By Isaac Pflaum ByIsc ur Own Safy The founding fathers of this nation rights. Revolution had freed America from the If anything, the government will contin- knew the peril of a national government. A gov- British. The first battle of the war, Lexington- ue on this trend of gradual deconstruction of ernment of a state, like that of Athens, would Concord, broke out when the British attempted individual rights. The government has killed remain accountable to its citizens, but a national to cease the weapons stockpiles the rebels had members extremist groups, by accident or by government took a vast amount of power much procured. motive to insure its stability, and dispel all farther away. Our nation is a republic like Rome, As the State grew in its Executive threats foreign and domestic. Their blood is the not a democracy. The separation of the national duties,it also grew larger and more buerocratic. blood of Patriots. I call them this because they government from the States has widened with The Post Office was one of the first Federal agen- died for freedom. It is easy to support the actions bueracracy over the past 2until the Power seems cies. I happen to like the Post Office.