The News Review:
- ThugLifeArmy.com – A Total News Source for Tupac (2Pac) & Hip-Hop…
- Netflix takes movies on location again
- Tuareg nomads sing desert blues
- Brass Band to tackle jazz program
- Keepin’ It Real n and ff the Charts
- He’s got rhythm. And for someone his age plenty of soul too.
ThugLifeArmy.com – A Total News Source for Tupac (2Pac) & Hip-Hop…
thuglifearmy.com – Apr 11, 2007
From the Latin words “urbs” which means “city” marketing term used to hide the fact that they are focusing on a racial group” “Black people or other minority” “downtown area” amongst similar definitions. The latter few seem to provide a much more cultural definition. The Milestone website defines their vision of urban radio as “diverse cosmopolitan music format based on rhythm and blues music and related genres. This format is a modern-day reflection of the rich musical traditions of black musicians and the black-influenced music over the past century. Indeed it is the influences of American hip-hop and African oral culture that shaped Canada’s perceptions of hip-hop. But Canadians are responsible for the telephone the Wonderbra electronic music synthesizers and caulking guns and why should it end there? Discovering our identities as citizens of Canada and citizens of the world can only propel Canadian hip-hop artists forward with wide eyes and inspirations that are unique to Canadians. It may be a combination of “urban-ness” and emulation of American hip-hop that created Canadian hip-hop but the evolution is only a few years old and the face of Canadian hip-hop no longer has wool pulled over its eyes.
Netflix takes movies on location again
Video Business – Video Business (subscription) – Apr 11, 2007
For the Armageddon screening Willis’ band will play a set of original blues music in the center’s Rocket Garden. Part of Armageddon was filmed at the space center.
Tuareg nomads sing desert blues
Kuwait Times – Apr 11, 2007
"At the training camp in Libya they called themselves "imazighen" meaning "free men" in Tamashek and in 1990 they joined a rebellion against the government of Mali to defend the rights and identity of the Tuareg people. After a ceasefire and accord the members of the band handed in their weapons and turned to music to fight for the Tuareg side. "We call our music 'asouf' which stands for the nostalgia that runs deep in our culture" said the musicians who live in the northern Mali town of Kidal not far from the Algerian border. Magnetic on stage the band members strum their electric guitars with their faces shrouded by keffiyehs. A documentary entitled "Teshumara the guitars of the revolution" recently played in European theatres and their previous album "Amassakoul" ("The Traveller") released in 2004 sold 70000 copies. The group-which sings mostly in French and Tamashek-will be touring France through April and in early May will make stops in Britain and Belgium. For many years the only Tuareg group known internationally Tinariwen which has been acclaimed by both Carlos Santana and Radiohead is no longer the only Tuareg group to sing the loss of their people's identity… Last ctober another group Toumast or "Identity" released their first album "Ishoumar" derived from a French word for the unemployed a problem faced by many of the Tuareg people who have settled in towns. They too will play dates in France through April. The group's leader the guitarist and singer Moussa Ag Kenya who expresses a sadness reminiscent of the blues was also a member of the resistance. Desert Rebel's music on the other hand is more militant and anti-globalisation. Born from a meeting between the Nigerian Abdallah Ag umbadougou and musicians from Gnawa Diffusion Mano Solo Tryo IAM Desert Rebel also released its first hip-hop inspired album in ctober. Tartit or "Union" is a largely female group. In Tuareg society men must cover their faces but women not and it is one of the few people in Africa where women have the power to choose and divorce their husbands.
Brass Band to tackle jazz program
Pittsburgh Post-Gazette – Pittsburgh Post Gazette – Apr 11, 2007
“That’s a very historical solo” said Hawk. “I’m going to do the opening cadenza. After Armstrong the concert will progress through the music of Bobby Hackett and Clyde McCoy’s “Sugar Blues” to many songs associated with Harry James. Hawk said at least two pieces of music will shine a spotlight on Eldridge songs like “Rockin’ Chair” which Eldridge made famous with drummer Gene Krupa and “Little Jazz. When the music turns to Gillespie Hawk said the band will focus on “Salt Peanuts” “Manteca” and “A Night in Tunisia. ” “These tunes will be performed as a medley” he said. The concert will close with music associated with Ferguson who is one of Hawk’s greatest influences.
Keepin’ It Real n and ff the Charts
Washington Post – Apr 11, 2007
Largely drawing on examples from popular music of the 20th century their analysis begins in the 1920s and comes up to contemporary times. The authors skillfully navigate a complicated musical past emphasizing that rigid distinctions between “authentic” and “inauthentic” music have always been a slippery contradictory business. Early folklorists and record labels often segregated musicians along racial lines but the musicians themselves often created music from a melange of influences. Early record labels marketed accomplished country and blues artists as rustic primitives deemed all the more authentic because of their perceived lack of commercial aspirations. From Mississippi John Hurt to John Lennon’s primal-therapy-inspired songs to the Replacements’ “cult of failure” and Kurt Cobain’s cover of an old Leadbelly tune Barker and Taylor tackle the many-headed Hydra of the authenticity question: the chasm between public persona and private reality; the triumphs and debacles that occur when artists attempt to reinvent themselves; the shaping of myths to fit audience conceptions. Barker and Taylor note that although the desire to make heartfelt music has produced important work great and lasting music also has come from such critically dismissed genres such as disco and bubblegum pop. When it comes to determining whether a piece of music is authentic the authors conclude that it’s ultimately an impossible task: “Every performance is to some degree ‘faked’ — nobody goes out on stage and sings about exactly what they did and felt that day.
He’s got rhythm. And for someone his age plenty of soul too.
San Francisco Chronicle – Apr 11, 2007
He works them over every day after school in all 12 keys at ever-faster tempos. Reider will play a range of music — his original tunes Charlie Parker numbers blues perhaps the Hebrew song “Eli Eli” and some of mandolin master David Grisman’s “Dawg” music — Thursday night at the Great American Music Hall at a benefit concert he cooked up raised the money for and is producing. A fundraiser for the San Francisco Child Abuse Prevention Center (SFCAPC) where Reider has volunteered for many years the “Next Generation” concert is the culmination of his final year of community service required of all Urban students. Reider got a $7500 grant from the local Youth Funding Youth Ideas to produce the show. He lined up an impressive cast of musicians to perform with him: Grisman (whose bass-playing son Sam also attends Urban) saxophonist John Handy drummer George Marsh and a combo from the San Francisco Jazz All-Star Big Band of which Reider is a member. “You just have to shoot high I guess” says Reider a lanky young man with dark curly hair and an appealing mix of modesty and confidence.