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• WHO Says Spread of the Pandemic Slowing in Africa • Warns Against Hasty Re-Opening of Schools 2 Echo Report Echo Newspaper 24 - 30 August 2020
West African Mediators In THE AFRICAN STORY Mali Seeking Reversal Of Coup page 3 Princess Marina Hospital ISSUE NUMBER 734 VOLUME 2 24 - 30 AUGUST 2020 records over 30 cases amid Covid-19 surge page 4 ‘CORONAVIRUS PANDEMIC MAY LAST LESS THAN 2 YEARS’ • WHO says spread of the pandemic slowing in Africa • Warns against hasty re-opening of schools 2 Echo Report Echo Newspaper 24 - 30 August 2020 THE AFRICAN STORY News, Finance, Travel and Sport Telephone: (267) 391 2305 E-mail: newsdesk@echo. co.bw Advertising Telephone: (267) 3922 655 E-mail: [email protected] Sales & Marketing Manager Ruele Ramoeng [email protected] Editor Bright Kholi [email protected] Head of Design Ame Kolobetso [email protected] Distribution & Circulation Mogapi Ketletseng [email protected] Echo is published by YMH Publishing YMH Publishing, Unit 3, Kgale Court, Plot 128, GIFP, Gaborone Postal address: P O BOX 840, Gaborone, Botswana ‘Coronavirus pandemic Telephone: (267) 3922 655 E-mail: [email protected] www.echo.co.bw DISCLAIMER: may last less than 2 Echo Newspaper welcomes concise letters from readers. Letters must carry the full name and address of the sender. Letters must conform to the laws of years’ Botswana and to the Press Council of Botswana’s Code The World Heatlh Organisation course with more connectiveness, stages of the pandemic, the rate Although pressure was building Of Ethics. Letters will also be Chief Tedros Adhanom the virus has a better chance of infection gradually accelerated in some countries to open up edited for length, libel and Ghebreyesus has for the first of spreading, it can move fast especially in South Africa, which schools, Nkengasong said it was language. -
Exploring How Digitalisation Has Influenced Entertainment and Lifestyle Journalism at Tiso Blackstar Group
Exploring how digitalisation has influenced entertainment and lifestyle journalism at Tiso Blackstar Group Jessica Farah Dissertation presented for the degree Master of Journalism in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Dr Gabriël J. Botma March 2020 Stellenbosch University https://scholar.sun.ac.za Declaration I, the undersigned, hereby declare that the work contained in this thesis is my own original work and that I have not previously in its entirety or in part submitted it at any university for a degree. Jessica Farah March 2020 Copyright © 2020 Stellenbosch University All rights reserved i Stellenbosch University https://scholar.sun.ac.za Abstract This study explores how entertainment and lifestyle journalists have been influenced by digitalisation within the broader Tiso Blackstar Group newsroom. Presented within the field of journalism studies, the study analyses how digital tools have influenced the news gathering processes. These processes, including the selection and publication of content, are described by theories such as the news net, gate-keeping and news values, while concepts from Pierre Bourdieu’s field theory aid the understanding of a specialised field in the newsroom . A literature review showed the introduction of digital tools has been met with mixed reaction from journalists and media professionals as online journalism faces a myriad of criticism including fake news, sensationalist reporting, a lack of investigative stories and bowing down to the needs of the reader. This study is timeous as South African media houses, including Tiso Blackstar Group, are under fire for the publishing of alleged false stories and reported chequebook journalism. -
Halifu Osumare, the Hiplife in Ghana: West Africa Indigenization of Hip-Hop, New York, NY: Palgrave Macmillan, 2012, 219 Pp., $85.00 (Hardcover)
International Journal of Communication 7 (2013), Book Review 1501–1504 1932–8036/2013BKR0009 Halifu Osumare, The Hiplife in Ghana: West Africa Indigenization of Hip-Hop, New York, NY: Palgrave Macmillan, 2012, 219 pp., $85.00 (hardcover). Reviewed by Angela Anima-Korang Southern Illinois University Carbondale Ghana’s music industry can be described as a thriving one, much like its film industry. The West African sovereign state is well on its way to becoming a force to reckon with on the international music market. With such contemporary rap artists as Sarkodie, Fuse ODG (Azonto), Reggie Rockstone, R2Bs, and Edem in its fold, Ghana’s music is transcending borders and penetrating international markets. Historically, Ghana’s varying ethnic groups, as well as its interaction with countries on the continent, greatly influences the genres of music that the country has created over the years. Traditionally, Ghana’s music is geographically categorized by the types of musical instruments used: Music originating from the North uses stringed instruments and high-pitched voices; and music emanating from the Coast features drums and relatively low-pitched voice intermissions. Up until the 1990s, “highlife” was the most popular form of music in Ghana, borrowing from jazz, swing, rock, soukous, and mostly music to which the colonizers had listened. Highlife switched from the traditional form with drums to a music genre characterized by the electric guitar. “Burger-highlife” then erupted as a form of highlife generated by artists who had settled out of Ghana (primarily in Germany), but who still felt connected to the motherland through music, such as Ben Brako, George Darko, and Pat Thomas. -
We're Taking Africa to the World
“We’re Taking Africa to the World”: Commercial Self- fashioning as a Vehicle for Collective Aspirations in the 21st Century JAANA SERRES “It’s finally cool to be an ‘African’” (Kaumbutho). This 2017 blog post by Kenyan poet Kimathi Kaumbutho echoed the performative claims heard throughout the African middle class in the wake of the changing narrative about “Africa,” from “The hopeless continent” (The Economist 2000) to “Africa rising” (The Economist 2011). Elements and signs of “Africanness” have indeed been increasingly featured in “global” popular culture, from clothing lines to films, and even the practice of capitalism is rebranded with “African traditional principles” through the Africapitalist and Ubuntu “economic philosophies.” But as suggested by Kaumbutho’s list of achievements “Africans can take pride in,” one cultural medium has proven particularly instrumental to this new wave of positive identification with “Africa”: Nigerian music. As Nigeria was arguably entering a post-oil era in the 2010s (Burns and Owen), its renewed popular music industry benefitted from the development of digital technology and the expression of corporate interest by telecom companies, retail brands, and foreign-educated young professionals, making it an exemplary manifestation of a new pan-Africanism founded on neoliberal aspirations (Shipley Living the Hiplife). Global professional services firm PwC announced that total revenue for Nigeria’s entertainment and media industry was expected to grow to US$8.1 billion in 2019, calling it the “fastest-expanding major market globally” (Oxford Business Group). However, only a very small share of this revenue occurs from the actual sale of cultural products (PwC 22). -
Imagination and the Practice of Rapping in Dar Es Salaam
David Kerr THUGS AND GANGSTERS: IMAGINAtiON AND THE PRACtiCE OF RAppiNG IN DAR ES SALAAM abstract Since the arrival of hip hop in Tanzania in the 1980s, a diverse and vibrant range of musical genres has developed in Tanzania’s commercial capital, Dar es Salaam. Incorporating rapping, these new musical genres and their associated practices have produced new imaginative spaces, social practices, and identities. In this paper, I argue that rappers have appropriated signs and symbols from the transnational image of hip hop to cast themselves as ‘thugs’ or ‘gangsters’, simultaneously imbuing these symbols with distinctly Tanzanian political conceptions of hard work (kazi ya jasho), justice (haki) and self-reliance (kujitegemea). This article examines how the persona of the rapper acts as a nexus for transnational and local moral and ethical conceptions such as self-reliance, strength, and struggle. Exploring the complicated, ambiguous, and contradictory nature of cultural production in contemporary Tanzania, I argue that rappers use the practice of rapping to negotiate both the socialist past and neo-liberal present. Drawing on the work of De Certeau and Graeber, I argue that rappers use these circulating signs, symbols, and concepts both tactically and strategically to generate value, shape social reality and inscribe themselves into the social and political fabric of everyday life. Keywords: hip hop, popular music, Tanzania, Ujamaa, value INTRODUCTION as well as our individual hopes and ambitions. Octavian and Richard, who as rappers adopt It is mid-morning in June 2011 and I am sat with the names O-Key and Kizito, are both students two ‘underground’ rappers, Octavian Thomas and live close to where we meet. -
Soundtrack of the Townships: Gqom | Norient.Com 27 Sep 2021 03:45:07
Soundtrack of the Townships: Gqom | norient.com 27 Sep 2021 03:45:07 Soundtrack of the Townships: Gqom by Philipp Weichenrieder Some call it a hybrid of breakbeat and house, some call it «apocalyptic riot music». But for the producers from the townships of Durban, South Africa, Gqom is more than a clubmusic style. It feels like being dragged into a black hole. A single low-pitched string sound is steadily, ominously and threatening hovering in the background. It is creating an eerie atmosphere, a thick and somewhat physical perceptible veil that is set swinging by stumbling kick drums and develops a strangely light and floating movement which at the same time is raw and fiercely pushing. This contradictory dynamic is characteristic and special about a yet young genre of electronic dance music evolving out of the townships of Durban which is also causing a stir in Europe: Gqom. The Zulu word «Gqom», the combination of g and q articulated with a click made with the tongue (can be heard here), means either «drum», «noise», «bucket» or «music». Sometimes the term is also explained as an onomatopoeic equivalence to the noise of a stone falling on a floor tile. This stands for the raw sound with its repetitive and hypnotizing drum rhythm in its centre. Gqom music is not about feel-good harmonies, it is about trance. Pioneering producers like 21-years-old DJ Lag or 26-years-old Sbucardo also https://norient.com/index.php/stories/soundtrack-of-the-townships-gqom-from-durban Page 1 of 5 Soundtrack of the Townships: Gqom | norient.com 27 Sep 2021 03:45:07 describe Gqom as «3-Step». -
Alternate African Reality. Electronic, Electroacoustic and Experimental Music from Africa and the Diaspora
Alternate African Reality, cover for the digital release by Cedrik Fermont, 2020. Alternate African Reality. Electronic, electroacoustic and experimental music from Africa and the diaspora. Introduction and critique. "Always use the word ‘Africa’ or ‘Darkness’ or ‘Safari’ in your title. Subtitles may include the words ‘Zanzibar’, ‘Masai’, ‘Zulu’, ‘Zambezi’, ‘Congo’, ‘Nile’, ‘Big’, ‘Sky’, ‘Shadow’, ‘Drum’, ‘Sun’ or ‘Bygone’. Also useful are words such as ‘Guerrillas’, ‘Timeless’, ‘Primordial’ and ‘Tribal’. Note that ‘People’ means Africans who are not black, while ‘The People’ means black Africans. Never have a picture of a well-adjusted African on the cover of your book, or in it, unless that African has won the Nobel Prize. An AK-47, prominent ribs, naked breasts: use these. If you must include an African, make sure you get one in Masai or Zulu or Dogon dress." – Binyavanga Wainaina (1971-2019). © Binyavanga Wainaina, 2005. Originally published in Granta 92, 2005. Photo taken in the streets of Maputo, Mozambique by Cedrik Fermont, 2018. "Africa – the dark continent of the tyrants, the beautiful girls, the bizarre rituals, the tropical fruits, the pygmies, the guns, the mercenaries, the tribal wars, the unusual diseases, the abject poverty, the sumptuous riches, the widespread executions, the praetorian colonialists, the exotic wildlife - and the music." (extract from the booklet of Extreme Music from Africa (Susan Lawly, 1997). Whether intended as prank, provocation or patronisation or, who knows, all of these at once, producer William Bennett's fake African compilation Extreme Music from Africa perfectly fits the African clichés that Binyavanga Wainaina described in his essay How To Write About Africa : the concept, the cover, the lame references, the stereotypical drawing made by Trevor Brown.. -
Melahuset Og Melafestivalen 2020
rsrapport Å 2020 • Melafestivalen • Melahuset Bugge Wesseltoft, Nick Hatch, Lotus og Droolian, Melafestivalen 24. september 2 Innhold Kunstformidling gjennom en krisetid 5 Året på Melahuset og Melafestivalen 9 Koronahåndteringen på Melahuset 10 og Melafestivalen Kommunikasjon og synlighet 12 Årsrapport Melafestivalen 15 Konserter på Melafestivalen 2020 17 Stab og styre 2020 / Økonomi 23 Årsrapport Melahuset 25 Våren på Melahuset 26 Høsten på Melahuset 27 Melahusets egne produksjoner i 2020 31 Stab og styre 2020 / Økonomi 39 Tabeller / oversikt over arrangementer 40 på Melafestivalen 3 Queendom på Melahusets 8. mars-markering 4 unstformidling K gjennom en krisetid Mye har skjedd siden mars da pandemien traff verden, og kulturelle begivenheter, særlig fysiske møteplasser, ble truet med nedstengning. Melafestivalen på Rådhusplassen ble avlyst. rilufts- og utendørsfestivaler av alder og etnisitet som skiller stemninger, dekorasjoner, leker Fble et opplagt mål for denne byens befolkning. og andre typer uttrykk som er krisen fordi det ble fokus på Som kjent har Oslo Mela blitt til på tvers av tradisjonelle større menneskeansamlinger. utviklet seg til å være live, så vel som utradisjonelle Utendørsfestivaler har mer sjangeroverskridende, skillelinjer. enn noe annet vært arenaer uforpliktende, en fysisk for det som også skjer på møteplass, et slags rendezvous, Alle typer mennesker, alle plassen, arenaen i seg selv er for byens mangfoldige generasjoner, store og like interessant som det som befolkning, en smeltedigel der små, har gjennom fysisk skjer på scenen. Arenaen gir en man kan oppleve kunst- og og intim tilstedeværelse på spennende og friere ramme for kulturuttrykk fra flere deler av Rådhusplassen fått ta del i publikum og bidrar derfor også verden – uttrykk som både er denne berikelsen av samfunnet, til økte opplevelser. -
Upcoming-Mag-17
A FAST-GROWING ONLINE MAGAZINE 17TH ISSUE #AUGUST 2020 MODEL FOCUS: BONTLE MASOABATHI UPCOMING MAG 1 PAGE 2: INDEX PAGE 3: EDITORS CORNER PAGE 4: KAY - DERSH PAGE 7: SAINT.VILLIAN PAGE 11: ELTEE RSA PAGE 14: HLONI#M PAGE 17: PRINCEEURO89 PAGE 20: VINTAGE BOYS PAGE 23: DAVID MOKOENA PAGE 26: NEFTHALI LANGA PAGE 28: DREAM BEYOND PAGE 29: MARCH AGAINST GBV PAGE 32: GBV POSTERS CREDIT PAGE 33: INTERVIEW WITH BOITUMELO PAGE 38: THANDO DLAMINI PAGE 39: THANDO’S WORK PAGE 41: BREE MOKWADI PAGE 45: TEBOGO TSHEHLA PAGE 50: MARTHA KHUMALO PAGE 54: INTERVIEW WITH CHUMANDE PAGE 58: INTERVIEW WITH ZINGO LINGO PAGE 61: COVER MODEL: NONTANDO PAGE 65: LEADING SA AGENCIES PAGE 67: MODEL FOCUS UPCOMING MAG 2 Hey Upcoming Mag Supporters when the Covid19 pandemic started most people thought it was a lie and now that people know a person or people who past away from Covid19 people are frightened, our I was Supposed to Shoot our cover Model winner: Charmaine on Sunday for our 17th Cover but her parents didn’t allow her to come in fear that if she contracts the virus she will bring it home with her, honestly people are scared, they cancelling paid shoots, even when I offer free shoots no one comes, so our Cover Model Competition is on hold, we were suppose be shooting our 18th Cover Model Winner: Thandeka Masuku on the 10th of August, But she say she also can’t make it, to be on our Cover you have to send your best professional pictures to 0749023257 and the person with the best looking pictures will be on our cover. -
African Union Calls on Countries to Join Peer
THE AFRICAN STORY ADVERTISE WITH US DON’T BE LEFT BEHIND ISSUE NUMBER 762 VOLUME 2 29 MAR - 08 APRI 2021 Botswana Makes Strides Towards Cybersecurity Preparedness page 5 Giant hip blocking the Suez Canal could be freed by start this week AFRICAN UNION page 7 Botswana’s Women in CALLS ON COUNTRIES Tourism wrap Women’s Month with a high tea TO JOIN PEER REVIEW symposium MECHANISM -DRC becomes newest member -Membership currently stands at 41 page 13 2 Echo Report Echo Newspaper 29 Mar - 08 April 2021 THE AFRICAN STORY News, Finance, Travel and Sport Telephone: (267) 3933 805/6. E-mail: newsdesk@echo. co.bw Advertising Telephone: (267) 3933 805/6 E-mail: [email protected] Sales & Marketing Manager Ruele Ramoeng [email protected] Editor Bright Kholi [email protected] Head of Design Ame Kolobetso [email protected] African Union calls on countries Distribution & Circulation Mogapi Ketletseng [email protected] Echo is published by to join Peer Review Mechanism YMH Publishing YMH Publishing, Unit 3, Kgale Court, Plot 128, GIFP, Gaborone Postal address: The Democratic Republic of members to provide and submit and Mozambique. support project, the African P O BOX 840, Congo has become the newest to evaluation at local, national African Development Bank Development Bank will continue Gaborone, member to join the African and continental levels. President Akinwumi A. Adesina to very strongly back efforts Botswana Telephone: (267) 3933 805/6. Union’s African Peer Review Improving governance, tackling joined heads of state at the to enhance the efficiency, E-mail: [email protected] Mechanism. -
Upcoming-Mag-5
---- Do forget to share with all your whatsapp contacts. For more info: 074 902 3257 All about Up comers June 5, 2019 [UPCOMING MAG JUNE ISSUE , Cover: #The struggle just began. Page 2 Interview with Samantha our June Viewer’s Choice Page 26 Model Focus: Dlani Page 28 – 32 Report on Event Page 33 – 34 Number one on our Upcoming SoundCloud Chart: Ginky 35 Features: Intuthuko community development Page 3 5ways to break into the music industry without a record lebal Page 4 Productions. Page 5 Beat makers: Troy Vee Page 6 Dancer: Ryan Page 8 Biographies Page 9 – 18 Poetrty Page 20 – 21 Artist interview Page 23 – 24 Model interview: Fortunate Page 27 Events Page 36 - 44 Don’t forget to share with all your whatsapp contacts Page 1 June 5, 2019 [UPCOMING MAG JUNE ISSUE , I am sorry to announce that Lauren has personal problems therefore she could not Edited this issue sorry for the inconvenience I am still working alone, I am not sure if she will have her things sorted to edit our issue this month, but anyone who would like to be part of team Upcoming Mag please contact me on 0749023257. Today Jozi of CJM9 asked me who do I work with on Upcoming Mag my answer was I work alone but that is not the truth, I work with up comers: models, artists, dancers, producers, actors/actresses, etc, that is why Upcoming mag is such a success on that note I would like to thank everyone working with me, some of the ideas we get from you guys, therefore thank you. -
Upcoming-Mag-4
---- Do forget to share with all your whatsapp contacts. For more info: 074 902 3257 All about Up comers May 1, 2019 [UPCOMING MAG MAY ISSUE , Cover: Biographies Page 4 - 13 The Story behind the song: Black Maipatie Page 14 Interviews Page 17 - 20 As fans Demanded: Hustla Reubz Page 23 Freelance Models Page 25 - 26 Our Viewer’s Choice Asemahle Myezo Page 27 Identity Theft Page 34 Features: Beat makers: Page 3 Productions. Page 15 Studios. Page 16 Songwriters Page 30 African Beauty Page 26 Poetrty Page 31 Events Page 35 - 53 Black Clique Musiq Entertainment Page 21 - 22 Top 30 Upcoming Soundcloud Charts Page 47 Advertisements Don’t forget to share with all your whatsapp contacts Page 1 May 1, 2019 [UPCOMING MAG MAY ISSUE , I am sorry to announce that Lauren has personal problems therefore she could not Edited this issue sorry for the inconvenience I am still working alone, I am not sure if she will have her things sorted to edit our issue this month, but anyone who would like to be part of team Upcoming Mag please contact me on 0749023257. Today Jozi of CJM9 asked me who do I work with on Upcoming Mag my answer was I work alone but that is not the truth, I work with up comers: models, artists, dancers, producers, actors/actresses, etc, that is why Upcoming mag is such a success on that note I would like to thank everyone working with me, some of the ideas we get from you guys, therefore thank you. I would like to thank all our viewers who take their time going through Upcoming Mag Reading everything, thank you.