#fernandes basses

[heidismagblog]

[markpickardlife]

It's a #Fernandes #Burny BRB-60 4-string electric #bass #guitar. I love that royal blue finish and that Rickenbacker sort of design, but it's a bolt-on neck instead of a neck-through. Fernandes doesn't make this medium scale (32 inch) model anymore. Based on the serial number I think it was made in 2009. I bought it used from #Hardoff in #Naha for ¥22,000 which is about US$150. It's in decent condition, but a control knob is missing and the previous owner didn't out the strings on properly. No problem because I'm going take good care of this baby. #electricbass #bassguitar #エレキベース #ベース https://www.instagram.com/p/CkCdyweS6St/?igshid=NGJjMDIxMWI=

[doedipus]

improve your jazz season with this secret ingredient

put that shit in cranberry sauce

credits under break

Ryo Kawasaki lead guitar, synthesizer, arranger, writer

Mike Lipskin synthesizer, percussion, remixer, liner notes

Tom Coster keyboards, synthesizer

Hugh McCracken rhythm guitar

Stu Woods bass

Jimmy Young drums

Muhammad Abdullah percussion

Sam Morrison tenor saxophone, soprano saxophone, flute

Bob Simpson recording engineer, remixer

Howie Lindeman mix engineer

Mike Lindeman mix engineer

Stanislaw Fernandes design

Andy LaVerne piano

Al Stillman writer

Casado Lecuona writer

[thekingofgear]

Thom Yorke’s Gear for The Smile’s NPR Tiny Desk Show

Thom at the piano during Panavision.

For The Smile’s Tiny Desk performance, Thom played his Fender Mustang bass on The Smoke and his vintage Guild Starfire II bass on Skirting On The Surface. Although we don’t get to hear the song, we can see that Thom played his 1964 Fender Jazzmaster when they performed We Don’t Know What Tomorrow Brings. The upright piano on Panavision belongs to Tiny Desk, as do the amps and microphones (we also explained this our last post). In an Instagram post, Bob Boilen mentioned that the band rehearsed for more than an hour before deciding which songs to play. This explains the range of guitars and basses that Thom brought along, only three of which would appear in the final video. Thom also brought a small pedalboard with a selection of his pedals for the show, and some of them went unused too — notably the Death By Audio Echo Dream 2, which he uses on You Will Never Work In Television Again.

Thom’s Instruments

Upright Piano

Fender EOB Stratocaster guitar

Fender Jazzmaster guitar in Olympic White (1964)

Martin 00-18 acoustic guitar (with Fishman Rare Earth pickup)

Fender Mustang bass in Olympic White

Guild Starfire II hollowbody bass in Cherry-Red (late-60s)

Thom’s Amplifiers (shared with Jonny):

Tiny Desk’s Fender ’68 Custom Deluxe Reverb combo amplifier

Tiny Desk’s Ampeg RB-110 combo amplifier

Thom’s Effects Pedals:

Guitar/Bass->

Boss TU-2 tuner

Death By Audio Echo Dream 2

Death By Audio Interstellar Overdriver

Earthquaker Devices Plumes overdrive

Telenordia TK-23 Kompressor

-> Amplifier

GigRig Generator and Distributor power supply

A photo of Thom’s mini bass and guitar pedalboard for the Tiny Desk show (joshrogosin). Looks like it’s just a plank with some velcro, almost certainly put together just for Tiny Desk.

Thom’s array of guitars (joshrogosin).

We can see Thom’s EOB Stratocaster with black covers on the Fernandes pickups. This was probably one of Fender’s original prototypes for Ed, before they sourced white pickup covers for the final version.

The Martin acoustic the newer one which Thom acquired around 2015, likely to save his older Martin from touring wear. It’s easiest to identify by the wear in the finish near the soundhole. Thom used his older Martin acoustic to performance Free In The Knowledge at the Royal Albert Hall in 2021. But for The Smile shows this year, he played this newer Martin, as can be seen in video from the Montreux Jazz Festival.

The headstock of Thom’s vintage Guild Starfire II bass (joshrogosin).

[dustedmagazine]

Listed: Immaterial Possession

Photo by Jessica Gratigny

Immaterial Possession puts the viscerality of bass-driven rock, the hypnotic drone of East European folk and the dippy energy of art punk into a blender lets it whirr.  The Athens, Georgia band—comprised of Cooper Holmes, Madeline Polites, John Spiegel and Elephant 6 scion Kiran Fernandes—met at an arts commune.  Their self-titled debut came out in 2020, and the follow-up, Mercy of the Crane Folk, this year. Reviewing it, Jennifer Kelly noted that, “If you’ve ever wondered what the B-52s might sound like on a serious Incredible String Band bender, well, possibly a lot like Mercy of the Crane Folk.”

Selda “Gitme”

Selda is the queen, a 1970s Turkish songwriter, political activist and cultural icon. This song has such great energy. You immediately blast off on the Turkish spaceship to the cosmic love song.. the desperation in Selda's powerful voice steers you.  (Madeline)

The Stranglers, “Hanging Around”

Love this track and whole record Rattus Norvegicus for its up-front, guttural driving bass lines and menacing vocals. The keyboard runs ascending into the air counter the low earthiness. The record cover is also a perfect fit for the music, classy yet dingy, calm but aggressive, mysterious but mundane. (Cooper)

Isaan style street music from Bangkok 

Isaan music from Northeastern Thailand is some of the coolest music ever.. it's got the perfect blend of psychedelia, folk, improvisation, and party rhythm. And it's for all occasions. (Madeline)

The players are effortlessly cool too. Almost anything we find in this genre gets us going. (Cooper)

Bizunesh Bekele, “Debdabe Lakibign”

This video is one of my favorite tracks lately. I love the shuffle beat with the overdriven krar, a six-stringed harp, and the sweet synth licks mixed with the vocal. (Kiran Fernandes)

Hany Mehannah, “Shahr Al Assal”

Super groovy 1970s Egyptian music, scored for film. This is one of my faves from Hany Mehanna, a wonderful composer and keyboardist. His flourishing expressiveness of the Farfisa organ is a great influence on my organ playing in Immaterial. (Kiran)

The B52s, “Give Me Back My Man”

A big favorite from the B-52s catalogue. Cindy Wilson's vocals are so raw and glorious.. her swing from chill to scream is a cathartic explosion. And the beat and bass line is everlasting in electric spirit.  I listen to this one when I need a jump. It’s also a favorite karaoke number. (Madeline)

Buffy Sainte-Marie, “God Is Alive Magick Is Afoot”

A friend shared this with us after one of our shows. Buffy Sainte-Marie is a radical badass woman. It's “experimental” (as implied by a traditional pop sense) in the way that you are partaking in her hypnotic spell work. Just found out Leonard Cohen wrote the lyrics. That explains my gravitation to this one; Cohen is a favorite lyricist. (Madeline)

Barış Manço, “Dere Boyu Kavaklar”

Another groovy 1970s Turkish funk master. That mustache is its own instrument. I sit patiently, although in starving anticipation, for that delicious lead riff.. for that, we'll go to wherever he's luring us..(Madeline)

Aphrodites Child, “End of the World”

A 1968 Grecian epic banger. Appropriately, in the Greek mythological tradition, it's both deeply romantic and ominous in nature. Very incredible, shapeshifting vocals. Sometimes the visions of the werewolf come into my head with this one. Other times, it just feels like an apocalyptic fury of love. You could probably use this song as an easy Rorschach-ian test to see what's going on in your brain today. (Madeline)

The Bats, “Smoking Her Wings”

A friend put this on a mix tape. I love this sweet song! A driving tune with a perfectly soft and floating nostalgic melody. When I listen, I feel like I am falling in love in the summer of 1987 and want to cry over something yet I know not exactly what. (Madeline)

Velly Joonas, “Stopp, Seisku Aeg!”

A 1970s Estonian songwriter and artist. This funkadelic, melancholic, song has got a viola(?) line that cuts through like you're swimming up to the shimmering surface of the Baltic sea to take a breath. I love the rhythm in the vocal lines. I've listened to this song on repeat many times. Thank you Velly! (Madeline)

[focusmonumentum]

Le Théâtre des Champs-Élysées

Le Théâtre des Champs-Elysées ne se situe pas à proprement parlement sur le célèbre axe éponyme, mais sur la non distante avenue Montaigne, proche de la place de l’Alma. Construit en 1913 dans un style sobre et rigoureux, le bâtiment est considéré comme l’un des premiers représentants du style Art déco en architecture. Il abrite actuellement trois salles de spectacle et un restaurant au sommet, aligné sur les immeubles voisins.

Il était initialement prévu que la structure soit en acier, ce qui avait poussé son premier directeur, Gabriel Astruc, à choisir les architectes Henry Fivaz et Roger Bouvard. En 1910, Henry Van de Velde est « appuyé » à Bouvard. Van de Velde fait la connaissance d'Auguste Perret un an après ; c'est alors que la structure est envisagée en béton. Ayant fait appel à l'entreprise Perret pour l'ossature en béton, Van de Velde est finalement évincé du projet. Auguste Perret transige un peu avec ses principes : s'il affirme ultérieurement que le « béton se suffit à lui-même », il habille ici la façade de plaques de travertin et le cadre de scène de plaques de marbre de l'Allier, où sont intégrés plusieurs bas-reliefs en partie basse de l’édifice, de gauche à droite, cinq allégories des arts : La Sculpture et l’Architecture, La Musique, La Tragédie, La Comédie et La Danse, en marbre blanc sculpté par Antoine Bourdelle. Les quatre groupes de poteaux intérieurs sont quant à eux laissés visibles.

Il fut inauguré le 31 mars 1913 par un concert de musique française avec la participation de Camille Saint-Saëns : La Mer de Claude Debussy, L'Apprenti Sorcier de Paul Dukas et le Prélude de Fervaal de Vincent d'Indy (toutes les œuvres étant dirigées par les compositeurs eux-mêmes), ainsi que la création de l’Ode à la musique d’Emmanuel Chabrier. À cette occasion, le faisceau de la tour Eiffel éclaire exceptionnellement la façade du théâtre. C'est dans cette salle qu'eurent lieu en particulier deux créations mondiales qui firent scandale : la première fut la création du Sacré du Printemps d'Igor Stravinsky le 29 mai 1913 (sous la direction de Pierre Monteux), qui suscita un formidable tollé où détracteurs et adjuvants en vinrent aux mains ; la deuxième, le 2 décembre 1954, fut la création de la véritable première œuvre musicale « mixte » (à savoir une œuvre pour instruments de musique et dispositif électroacoustique): Déserts d'Edgar Varèse, avec Pierre Henry à la bande magnétique et Hermann Scherchen à la baguette. Le choc inspiré par les interpolations provoqua huées, rires et quolibets. Le scandale qui en résulta fut comparable à celui du Sacre quelques 40 années plus tôt. À la suite de problèmes financiers, le directeur Jacques Hébertot se brouille avec son associé Rolf de Maré (également impresario des ballets suédois) et quitte le théâtre en 1925, abandonnant la direction de la Comédie à Louis Jouvet, et celle du Studio à Gaston Baty. De Maré fait de la grande salle un music-hall et programme une nouvelle attraction : les Black Birds et les danseurs de la Revue nègre. Parmi eux, une jeune femme noire, à peine couverte d’une jupette de plumes verte, les cheveux courts plaqués sur la tête, fait sensation. Il s’agit de la danseuse Joséphine Baker. Sa façon de se mouvoir dans l’espace, d’emprunter des gestes animaliers ou de faire des grands écarts désarticulés bouscule tous les canons de la danse, dans ces "années folles" empruntes de Charleston. Pour certains, cette impudeur est un scandale. Le journaliste Robert de Flers écrit même : « Nous sommes en train de remonter au singe plus vite que nous en étions descendus. » [...] Mais Baker a ses fans. Parmi eux, les peintres Pablo Picasso (qui la fait connaître dans toute l’Europe), Fernand Léger et Kees Van Dongen, les écrivains René Crevel (qui revient chaque soir pendant un mois), Colette ou encore Jean Cocteau. Née à Saint-Louis, dans le Missouri, d’une mère blanche et d’un père noir, Joséphine Baker échappe par la danse à sa condition. Avec la Revue nègre, elle débarque à Paris, qui deviendra sa terre d’accueil, son fameux « deuxième amour », avec son pays. Elle triomphera aux Folies Bergère quelques années plus tard, mais nous y reviendrons à l’occasion. 

De 1949 à 1978, le Théâtre des Champs-Élysées a accueilli les Musigrains, des cycles de concerts-conférences pédagogiques, axés sur la musique classique, avec des incursions dans la musique contemporaine, la danse classique ou moderne, le folk et le jazz. En 1986, à l’initiative de Georges Francois Hirsch, alors directeur général, une rénovation intégrale de la cage de scène de la grande salle est opérée, remettant en valeur les dorures de l'écran de fond de scène en acier, conçu à l'origine comme un monumental coupe-feu en cas d'incendie, leçon tirée des tragiques incendies de l'Opéra Comique et du Bazar de la Charité à la fin du XIXème siècle. 

Le bâtiment comporte de nos jours trois salles de spectacle, ordonnées comme suit : une grande salle à l'italienne de 1 905 places, destinée à l'opéra et à la musique ; une salle moyenne de 601 places (la Comédie) et une petite de 230 places (le Studio), toutes deux consacrées au théâtre. Haut lieu de la musique classique à Paris (avec la salle Pleyel, la Cité de la Musique et la salle Gaveau), le Théâtre des Champs-Élysées a accueilli de nombreux orchestres symphoniques tels les orchestres philharmoniques de Vienne, de Munich, de New York, l'orchestre symphonique de la Radiodiffusion bavaroise ou l'orchestre royal du Concertgebouw d'Amsterdam. L’Orchestre national de France y est actuellement en résidence.

Le toit-terrasse du théâtre accueillit en 1924 le tournage d’Entr’acte, le moyen-métrage expérimental de René Clair, à l'occasion de l'entracte du ballet bien nommé Relâche, orchestré par Francis Picabia. Représentant la première intervention du cinéma dans un spectacle de danse, Entr'acte est aujourd'hui considéré comme le film précurseur du mouvement surréaliste au cinéma.

[polytherian]

(had this ready for a lil bit lmao also sorry its long, ivory liked the spacing) (this was also done like a few weeks ago)

ghost | cloudy - chon

red miso | gestaltzerfall - animals as leaders

scotty scotty | stab - moray pringle

stormy | birdsong - nyu.

5-HTP | libra - intervals

lune | bond - anomalie

farewell | patterns - syncatto

origami | self spiral - the surrealist

firebird | falkor - covet

third | clown - manuel gardner fernandes

of bliss | mbinguni amina - david maxim micic

ukyio | sol - oceans ate alaska

metal zone | mirage - i build the sky

why we fight | lunar - sungazer

battlestar nostalgica | daybreak - arch echo

three basses | signed sealed delivered - the fearless fliers

welcome to the jungle | rise and coffee grinds - stage kids

james? | enemy - ichikoro

antecedent | objets de vertu - the omnific

yamí obi | favela - vitalism

reverie | genesis - polyphia

made by ivory

best wishes from us

enjoy

(honourable mention: stomach book)

(castor likes it)

OKAY IM BOUTTA GO TO BED SO I CANT LISTEN RN HUT THIS LOOKS SO GOOD I WILL LYK WHAT I THIBK WHEN I GET AROUND TO LISTNENJNF !!!!

[ohc-and-the-music-tapes-archive]

Review of the Circulatory System’s show, Flagpole, 14 July 2004

[source]

transcript:

CIRCULATORY SYSTEM, THE LAY ALL OVER ITS Flicker Theatre & Bar Wednesday. June 30

I woke from a hard late afternoon sleep and a spy dream; spies that cling to the ceiling and under floorboards. It was blustery and I was to head to Flicker for "acoustic" Circulatory System. Good thing I got there in time, as the night would sell out. Even the outdoor seating was retracted. Even a woman who'd flown from Boston for just this concert was turned away I felt an out-of-season "Christmas Carol" window scene on my back as dozens of hopefuls did their best Tiny Tims, hoping to get a crumb off the feast inside. The dimly lit theatre lengthened my awake/ asleep fog as the opening act readied.

The Lay All Over Its were down from Chicago, with Jason Ajemian on double bass and vocals, and Nori Tanaka on drums. Ajemian plays in free- jazz trio Triage, though he’s no stranger to the rootsier approach; his Born Heller duo with Josephine Foster is a new kind of Americana, highly idiosyncratic with an eye towards the past. Tanaka, originally from Fukuoka, Japan, now calls Illinois home. He plays in various configurations with the likes of Jett Parker and Tatsu Aoki. demonstrating remarkable flexibility and spontaneous adaptations. And so it began. Washes of cymbals and toms and strumming and singing in perpetual motion arched like Gorecki's “Third.’ Harmonics, drones, displacement of rhythms, headbobbing throughout. Circular sheets of pulse modestly dispatched (from Tanaka's kit. from his heart

Taps to end, like the rain.

Then bowing—sad, multivoiced broken folk—beautiful, as drums entered again, but it took a while to notice their intermittent punctuations. More frenetic, this kind of heavy still had forward momentum with no obvious subdivisions. The audience was quiet. A major key explosion and the drums dropped out. It was a train what kept rollin’ in the brushes and a hard-formed triplets. Ajemian in his upper reaches sang what I couldn't understand—but didn't need to— overtop “No. no. no, no, no, no. no.' his intonation like on a Smithsonian Folkways recording. Patter of snare, scratch of bow. it sounded timeless. Plucked pointillist ghost notes, pizzicato expressionism, continue drum creating rapid call and response. Busy with high flourishes like Little Richard slowing and starting. Deep African groove book-ended by knotty swing jazz vamps to a sparer rat-a-tat percussion solo Drums front and center, just as they've been the whole way, though now we focus on the undercurrent. A chance to stretch, to fixate on cells of rhythmic exchange. Bass entry on cue in seamless integration. More raw singing, like a field song, and it stopped.

I was still that (good) groggy, maybe more so; my spy dream seemed reality as people may well have hung from the ratters and snuck through doorways, in expectation. (And I'd love to check out Circulatory System's record collections; the in-between band music was cool-headed.) We waited in this calm... Finally, with spare sustained tones, Will Hart sang “been such a long time" (if it had. all was forgiven) over a gentle propulsion. Julian Koster sawed away his echo chamber opera. This continued until drummers Hannah Jones and Derek Almstead kicked in with the big beat; it was Pink Floyd planetarium. King Crimson angularity and classic-rock catharsis as John Fernandes' bass clarinet bottomed out. Soon traditional instruments were traded for two pitchers of water, pouring from one to the other as Lay All Over Its’ Ajemian added high sparkle and low bow. There was even kissing of the microphone, close up.

On to Pete Erchick’s keyboard bass pulse and a big stadium sound, a nice slurry clarinet break all mellowed out in staccato rhythm through the changes, an expanded sense of time. As Hart chanted “one by one" all stopped and resumed together, an Arnold Dreyblatt insistence and calm. The System shifted from jazzy to straightforward rock and back. A living cross-fade to slow dirges into Beatles-disco speedup-hushed freakout. The last suite: a mid-tempo shuttle, a guitar and voice reduction, some trading bass. “Now is the only time." Easy waves as Fernandes walked backwards down the center aisle with some sort of noisemaker. I slept well, spies be damned.

Erik Hinds

[kenzonet]

WE MOVE AS ONE - Six Invitational 2024 from Histeria! on Vimeo.

Six Invitational is coming to São Paulo for the FIRST time in history! As the diehard fan runs through the streets of São Paulo, Rainbow Six legends breach reality itself, bringing the best memories and histories of SI to life until all converges at the iconic Ginásio Ibirapuera!

We were thrilled to be invited by Ubisoft, BLAST, and Rainbow Six Esports to create this INSANE animated film! High-tech visuals, grunge urban vibes, a mix of action and motion, and the best of São Paulo's street culture - it's all packed with the best track "We Move as One" by Ego Kill Talent (ft. Andreas Kisser and Rob Damiani)!

RB6 2024 - Six Invitational Theme Song “We Move as One” Ego Kill Talent (ft. Andreas Kisser and Rob Damiani)

Client: Ubisoft / BLAST Game: Rainbow 6 Event: Six Invitational 2024 Clients: Marcio Soares, Nelson Garcia, Lucas Reis, Leandro Estevam, Victor Niergue, Faye Marlborough, Chrystina Martel, Stig Debois, Matt Bundy

Produced by Histeria!

Director: Jan Xavier Story by: Jan Xavier and Ubisoft Executive Producer: Marcelo Moreno Producers: Tatiana Sato and Lívia Quintanilha Social Media: Sibelle Lobo

Art Directors: Igor Muniz, Victor Tchaba Art Supervisors: Igor Muniz, Victor Tchaba Concept Art: Igor Muniz, Victor Tchaba, Gabriel dos Anjos, Guilherme Lascasas Storyboard/Animatic: Tony Neto Concept Character: Victor Tchaba, Jeff Biglia, PJ Kaiowá, Shun Izumi e Flávia Passos (Estúdio Casa Locomotiva) Layout Character: Victor Tchaba, Jeff Biglia, Fábio Perez, Guilherme Olivieri, Marcos Kenji Uchima, Rodrigo Yokota Layout FX: Jeff Biglia, Mateus Pitta Design: Igor Muniz, Jeff Biglia, Rafael Nascimento (Escaphandro), Victor Tchaba Layout 3D: Jan Xavier, Igor Muniz 3D Generalist: Carol Fiorito, Cláudio Marques, Igor Muniz 3D Lookdev, Light and Comp: Cláudio Marques, Igor Muniz Background Simulation: Cláudio Marques Matte Painting: Gabriel dos Anjos, Guilherme Lascasas, Igor Muniz, Jeff Biglia

Animation Directors: Jan Xavier, Felipe Simões Rough/Tiedown/FX Supervisor: Felipe Simões Clean Up/Color Supervisor: Mila Queiroz 2D Rough/Tiedown: Breno Licursi, Bruna Santana, Catarina Niéro, Geovani Angelo, Lena Franzz, Lucas Franci, Matheus Fernandes, Robb Reis, Rodrigo Yokota, Thiago Geremias, Ton Presley, Viviane Guimarães 2D Clean Up/Color: Carol Caporrino, Denis Bargos, Francine Gonzales, Giovanna Jahjah, Juliana Gouvêa, Louise Bonne, Lucas Franci, Luiz Alvares, Mila Queiroz, Pedro Spaolonzi, Ton Presley, Viviane Guimarães 2D FX: Lucas Franci, Natália Faria Cardoso, Mateus Pitta

Post Production Director: Gabriela Zaneti Motion Graphics Supervisor: Gabriela Zaneti Compositing Supervisors: Gabriela Zaneti, Renato Montoro Motion Graphics: Gabriela Zaneti, Samantha Oda, Vinícius Ricardo, Ricardo La Bella Simonetti Compositing and Post Production: Gabriela Zaneti, Renato Montoro, Samantha Oda, Vinícius Ricardo, Ricardo La Bella Simonetti, Saulo de Castro, Tamires Campos

Audio

Musical Director: Samuel Ferrari Music Producer: Samuel Ferrari Original Music by Ego Kill Talent, Rob Damiani & Andreas Kisser Electric Guitars: Theo Van Der Loo, Niper Boaventura Electric Bass: Raphael Miranda Drums: Raphael Miranda Surdos: Raphael Miranda Vocals: Emmily Barreto, Rob Damiani Synths: Samuel Ferrari, Niper Boaventura Music Programming & Beats: Samuel Ferrari Alfaias: Samuel Ferrari Electric Guitar Solo: Andreas Kisser Anvil: Glauber Coelho Choir As One: Lucas Reis Pereira, Maria Paula Bonino, Jeniffer L. Ramlov, Mayara Abou Jaoude, Maite Fernanda Lorente Henrique, Lucas Miguel Cunha Silva, Diego Chagas Corrêa, Heitor Augusto Coelho Galceron, Maria Eduarda Maccagnan Avella Recording Engineers: Hugo Silva, Otavio Bonazzi and Cauê Del Grande at Dissenso Studio PreProduction: Clovis Vilela, Samuel Ferrari Vocal Production: Steve Evetts Mix: Steve Evetts Master: Maurício Gargel Executive Production: Samuel Ferrari, Glauber Coelho SFX Film: Glauber Coelho Produced at mdois Studios (mdois.tv)

Making of

Making of Produced by: Rockfilmes Production: Lucas Rocha Director: Lucas Rocha Director of Photography: Felipe Bezerra Audio operator: Willian Sassano

[keynewssuriname]

Cultural Conscious African Edition

Op 13 april, tijdens Cultural Conscious African Edition op het terras van Theater Thalia, gaan we samen op een mooie culturele reis naar Afrika met diverse Afrikaanse snacks en gerechten, heerlijke Zuid-Afrikaanse wijnen en muziek in de stijlen Makossa, Bongo Flava, Funaná, African Jazz, Afrobeat, Afropop, Amapiano, Bolero en meer. Cultureel bewustzijn beslecht barrières en brengt begrip en waardering voor onszelf en anderen. Het doel van de serie Cultural Conscious is om met verschillende edities het culturele bewustzijn te vergroten middels (podium-) kunsten, eten en drinken. Cultural Conscious African Edition heeft Afrika als focus. Afrika is 185 maal groter dan Suriname, ongeveer even groot als Verenigde Staten + Europa + China + India + Japan! Afrika bestaat uit 54 landen en er worden in totaal meer dan 2000 talen gesproken. Suriname is geworteld met Afrikaanse roots! Vanaf het moment dat dit gebied een Engelse kolonie werd in het midden van de 17e eeuw, zijn er geroofde Afrikanen ingevoerd en dit heeft ongeveer 150 jaar lang geduurd. Er zijn naar schatting 300.000 personen naar Suriname getransporteerd vanuit Ghana en de personen kwamen uit onder andere uit Senegal, Gambia, Guinee, Guinee-Bissau, Sierra Leone, Liberia, Ghana, Benin, Togo, Nigeria en Kameroen. Het event is een reservation-only event en bij registratie kunnen verschillende Afrikaanse snacks en gerechten besteld worden zoals Akara (gefrituurde bonencake), African Meat Pie (Afrikaanse vleespastei), Chin Chin (zoete gefrituurde snack) en Moi Moi (bonenpudding cake), Okra soup (Afrikaanse okersoep met kip), fufu (deegachtige pap van een aardvrucht), jollof rijst (rijstgerecht, meestal gemaakt met langkorrelige rijst, tomaten, pepers, uien, kruiden en soms andere groenten en/of vlees in één pot) en fried rice. Er is ook Zuid-Afrikaanse wijn beschikbaar, zowel voor de zoete als de droge wijndrinkers. De line-up is zeer gevarieerd en de artiesten kijken naar u uit: Joan de Bies is vocaliste en zingt al 37 jaar. Vijf jaar geleden heeft ze besloten om professioneel te gaan zingen. Ze zingt in de stijlen jazz, rap, rhythm-and-blues R&B, dancehall en haar favoriete stijlen zijn jazz en R&B. Ze maakt deel uit van de muziekformatie FRESH en is gastzangeres bij de formatie Orquestra Alafa. Ze heeft songs geschreven en uitgebracht met onder andere Kenneth Moerli, Triple en Jah Prince en het grootste event waar ze aan mee heeft gedaan is SuriPop Golden Edition, waarbij ze onder leiding van Helianthe Redan koorzangeres was bij een compositie van Rudi Fernand. Joan is 15 jaren peuterjuf geweest in haar eigen instelling Joshua Oppashuis. Ze is tevens moeder, kapster en herbalist met haar eigen bedrijf Joan's Herbal Products. Ze brengt haar publiek graag de ervaring van vreugde met muziek. Afrika en Afrikaans muziek geven haar het gevoel van “reconnecting yourself with your roots”. Smooth Groove is ontstaan door vrienden die bij elkaar zijn gekomen om muziek te maken. Ze zijn in 2022 gestart onder de naam Mani & Friends Music band en in oktober 2023 is de naam vanwege de vibe en speelstijl van de band veranderd naar Smooth Groove. Ze spelen in diverse muziekstijlen zoals Gospel, R&B, Latin, Pop, Jazz, Kaseko, Reggae en Afro. De bandleden zijn: Daniel Zeeman-keys-15 jaar actief, Darrell Zeeman-keys-11 jaar actief, Miquel Zeeman-bass-8 jaar actief, Anthony Patrick-drums-14 jaar actief, Timothy Kemble-guitar-8 jaar actief, Jose Parami-vocalist-30 jaar actief en Regina Haakmat-vocaliste-13 jaar actief. Voor Smooth Groove is Afrika de plek van waar hun voorouders vandaan komen. Wanneer ze Afrikaanse songs spelen doet het ze heel goed van binnen; het brengt ze terug naar waar ze als bandleden van afstammen. Deejay Javier, Javier Somoredjo, is 14 jaar actief als allround deejay. Hij heeft gedraaid op Lustig Events en in verschillende Surinaamse clubs als Touche, Zsa Zsa Zsu, Havana Lounge, Margaritas, Dejavu, Club Next en Euphoria. Ook heeft hij in 2016 mogen draaien in Club Lustig in Den Haag, Nederland. Deejay Javier is overal te vinden – op huisfeestjes, events en bekende bars en clubs. Hij was finalist van Parbo Kings of Clubs 2023 en hij is resident DJ van D’BAR en Qle. Zijn levensmotto is dat je geen dingen moet overhaasten, als je geduldig wacht zal het naar je toekomen. Zijn ambitie is om verder te groeien qua muziekstijlen en zijn droom is om internationaal te performen. Voor Deejay Javier betekent Afrikaanse muziek een levendige mix van ritmes en culturele invloeden die een unieke sfeer creëren op de dansvloer. Het brengt een gevoel van verbondenheid en feestelijkheid, met een diversiteit aan genres zoals Afrobeat, Afropop en de Zuid-Afrikaanse muziekstijl Amapiano. Amapiano is in het Zulu 'de piano's', een verwijzing naar de jazzakkoorden die een grote rol spelen in dit genre, naast de repeterende saxofoontonen en de vocalen in één van de elf Zuid-Afrikaanse talen, waaronder Xhosa en Zulu. Indra Hu-Ramdas is sinds 2022 actief als creative book-artist, waarbij zij unieke diaries, notebooks, agenda’s en meer bekleedt met prachtige stoffen die de verschillende culturen van Suriname weergeven, als uiting van liefde voor haar land. De inspiratie om aan book art te doen komt door de vraag van volwassenen naar literatuur voor hen. Aangezien Indra gelooft dat iedereen een eigen verhaal kan schrijven, stimuleert ze hen door deze (blanco) boeken te maken om hun eigen verhaal in te schrijven. Met de stoffen maakt zij ook bijpassende tassen. Indra is ook jeugd- en kinderboekenschrijfster. Ze debuteerde in 2002 met haar serie ‘De avonturen van Leena en Jopie’ en heeft al meer dan 26 werken op haar naam staan. Zij is in 2012 uitgeroepen tot schrijfster van het jaar en heeft ook twee onderscheidingen ontvangen van de staat Suriname: Ridder in de ereorde van de Palm in 2018 en de Eenheid is Kracht jubileumjaarspin in 2023. Daarnaast is zij sinds 2017 tenorsaxofonist in het Rein Rier Orkest. Indra vindt dat Afrika net als Suriname een grote culturele diversiteit kent en dat hun culturele identiteit terug te zien is in met name hun kleding en stoffen. Door haar book art kan ze de wereld kennis laten maken met dit gedeelte van de Afrikaanse cultuur. Cultural Conscious African Edition wordt georganiseerd door Harmony Blend Media (HB Media), lange termijn change enabler. Zij leveren entertainment om van te genieten en nieuwe inzichten te ontdekken over zichzelf en anderen als respectabele delen van de Surinaamse samenleving, de drijvende kracht achter de dringend noodzakelijke duurzame ontwikkeling en welvaart van Suriname. Zij richten zich enerzijds op het vergroten van het culturele bewustzijn van de gehele Surinaamse gemeenschap en anderzijds op de verdere ontwikkeling van podiumtalent in Suriname. Met elke productie dragen ze bij aan de Sustainable Development Goals SDG's 1, 3, 4, 8, 10, 11, 16 en, afhankelijk van een productie, ook aan andere SDG's. Arrangementen voor cultural Conscious African Edition zijn beschikbaar vanaf SRD 300,- Registratie kan per HB Media WhatsApp +5978747874 of https://forms.gle/yXgPk4gAQvCza6sw6 Read the full article

[panafrocore]

Aimé Fernand David Césaire: The Legacy of a Francophone Martinican Poet, Author, and Politician

Aimé Fernand David Césaire, a remarkable figure in Francophone literature, was not only a poet and author but also a prominent politician from Martinique. His influence reverberates through the realms of literature, politics, and cultural identity, making him a towering figure in the 20th century. Born in Basse-Pointe, Martinique, in 1913, Césaire’s contributions to literature are profound. He…

[guitar-ijiri-house]

【滑り止め】FERNANDES P-100 合格祈願 すべらないお守りピックレビュー！神に届け爆音ギター!! _ ギターいじリストのおうち

Perfect for the exam season! Reviewing FERNANDES P-100 Pray for Success Slip-resistant Amulet Guitar Pick! A non-slip, home bass-shaped pick that resembles a good luck charm! Make a wish to the god with the explosive sound of the 1mm-thick celluloid material!

[djfloops]

Karan Aujla - What...? (Unplugged) | Making Memories | Latest Punjabi Songs 2023

Karan Aujla Presents What…? Unplugged Performance: Artist: Karan Aujla Bass: Euro Guitar: Kofo Arranged by: Ikky Shot & Chopped: Zac Facts Producer: Sina Tash & Derek Campbell Assistant producer: Tristan McBean AC: Steele Fernandes PM: Sam R PA: Reece Key Grip: Michael Justin Arena Gaffer: Marcus Picov-Aida Art director: Matt Joyce Listen to What…? now:…

[dustedmagazine]

Immaterial Possession — Mercy of the Crane Folk (Fire)

Photo by Carolyn Schew

Mercy of the Crane Folk by immaterial possession

Immaterial Possession makes giddy art punk with an exotic undertow. Here 1960s Cambodian rock swagger collides with careening casbah choruses, a surf rocking bassline underpins intoxicating runs of hippie flute. If you’ve ever wondered what the B-52s might sound like on a serious Incredible String Band bender, well, possibly a lot like Mercy of the Crane Folk.

That B-52s nod may tip you off that this is an Athens, Georgia pack of eccentrics. The two principals—bass player Cooper Holmes and singer Madeline Polites—met at a DIY art commune. Kiran Fernandes, who plays keyboards, clarinets and flutes, is the son of John Fernandes, who was in two foundational Elephant Six bands, Olivia Tremor Control and Circulatory System. Multi-layered, ethnic-accented percussion comes from regular drummer John Spiegel on most tracks and Jon Vogt on a couple of them.

The disc starts in the glorious, headlong rush of “Chain Breaker,” where Polites alternately wails and flutters, her voice an untrammeled joy as it caroms over a sinuous, not-exactly-Western melody. A clarinet erupts in Middle Eastern flourishes. The drums clatter and clash. And under it all, Holmes bass bucks and rears, bounding up and down the scale at an exuberant, agile gallop.

Polites is apparently fascinated by alternate scales, specifically the modal ones in use in traditional Greek and Spanish music.  Thus her melodies—and the accompaniment in flute and clarinet—have a shadowy, minor key slant to them which contrasts in interesting ways with excitable positivity of her voice. The foreign-ness of the melodic structure fits more neatly than you might think with the surfy bravado of guitar and bass; remember Dick Dale’s big hit “Misirlou” had Greek and Arabic origins.

It all makes for a volatile and rather thrilling mix, especially on the quicker, more propulsive tracks. The title cut thunders like a herd of wild horses, the bass notes pounding like hooves on sound, while the verses zoom and wheel overhead in crazy abandon. Spooky female “whoo-oohs” waft over intricate figures of belly dancing guitar. There’s some sort of mythology at work, perhaps; we don’t really know who the crane folk might be or what they want, but the lyrics add another layer of magic.

You could listen to underground rock and punk all year and not hear anything remotely like Mercy of the Crane Folk. Its elements—surf, Middle-eastern music, freak folk and punk—are not so rare, but they they’re put together is. You might check out Immaterial Possession for the wild, weird juxtapositions it offers, but you stay because it works so well.  

Jennifer Kelly

[chutneymusic]

Karan Aujla - What...? (Unplugged) | Making Memories | Latest Punjabi Songs 2023

Karan Aujla Presents What…? Unplugged Performance: Artist: Karan Aujla Bass: Euro Guitar: Kofo Arranged by: Ikky Shot & Chopped: Zac Facts Producer: Sina Tash & Derek Campbell Assistant producer: Tristan McBean AC: Steele Fernandes PM: Sam R PA: Reece Key Grip: Michael Justin Arena Gaffer: Marcus Picov-Aida Art director: Matt Joyce Listen to What…? now:…