#senegal experimental

[burlveneer-music]

Ndox Electrique - Tëdd ak Mame Coumba Lamba ak Mame Coumba Mbang - "FeministIndustrialAvantRockEthnoTechnoSauvagerie" duo Putan Club in collaboration with n'doëp musicians from Senegal

Ndox Electrique results from the collaboration between François R. Cambuzat, Gianna Greco (also known for their work with Ifriqiyya Electrique), and the n'doëp community in Senegal. The project originated from the duo's quest to trace the origins of North African rituals, which led them to the Lebu community in Cap-Vert, an isolated region at Africa's westernmost point. The album seamlessly blends the duo's electronically-infused avant-rock with the intense, ritualistic vocal chants and rhythmic percussion of the n'doëp ceremony. It serves as a captivating bridge between these two musical worlds, capturing the essence of this cross-cultural collaboration. The text also highlights the challenges of merging Western rock and experimental influences with the sensibilities of their Senegalese collaborators, ultimately resulting in a unique and powerful musical experience. "Ndox Electrique" transcends cultural boundaries, immersing listeners in the enchanting sounds and mystical narratives of Western Africa. Rokhaya “Madame” Diène : lead vocal Adjaratou "Oumou" Diène : choir Mar Faye : mbëng-mbëng drums Ndiaga Mboup : tunguné & tama drums Abdou Seck : thiol & talmbath drums Gianna Greco : bass, choir, computer & videos François R. Cambuzat : guitars, choir, computer & videos Choir of the “Fanal de la langue de Barbarie” : Rokhaya Mbaye Gamou Dieng Fatou Aladji Mbaye Ousmane Ba : Fulani flute tambing. Abdoulaye Ndiaye “Pape Laye” : n’döepkat & spiritual guidance, master healer and guardian of the temple of Rufisque. Photos : Massow Ka & Renaud de Foville. Cover : David Mamie Ethics & politics guidance : Victor Faye Gianna Greco & François R. Cambuzat play on electric travel basses & guitars specially built for far-away journeys by Mattia Maglio.

[fals-worldcenima]

TOUKI BOUKI

The film Touki Bouki was kinda unmemorable. So I just had to re-look the film up and watch a couple of scenes to get some ideas to write about it. This is what I could assemble about the film.  

The film "Touki Bouki." is a 1973 Senegalese (West African)  film directed by Djibril Diop Mambéty. The film tells the story of Mory and Anta, two young lovers in Dakar, Senegal, who dream of leaving their poor lives behind and escaping to Paris.

One of the noticeable aspects of "Touki Bouki" is its visual style. Mambéty incorporates vibrant colors, dynamic camerawork, and symbolic imagery to capture the energy and chaos of urban life in Dakar. The film's use of jump cuts and non-linear narrative adds to its experimental nature, challenging traditional storytelling conventions.

"Touki Bouki" is known for its original storytelling techniques and its exploration of themes such as post-colonial identity, cultural detachment, and the desire for a better life. The film combines elements of surrealism, social commentary, and African mythology to create a unique cinematic experience.

Through the characters of Mory and Anta, "Touki Bouki" explores the complexities of post-colonial African identity. Mory, a cowherd, and Anta, a university student, represent different aspects of Senegalese society. Their longing for a better life in Paris reflects the aspirations and struggles of many Africans at the time.

The movie also dives into themes of cultural isolation and the clash between tradition and modernity. Mory and Anta's desire to escape to Paris symbolizes their longing for a Western lifestyle and their attraction to Western culture. However, the film also highlights the importance of embracing one's roots and the challenges of assimilating into a foreign society.

"Touki Bouki" is not just a love story but also a critique of societal norms and the impact of colonialism. Mambéty uses satire and dark humor to highlight the contradictions and inequalities within Senegalese society. The film's iconic scene of Mory riding a motorcycle with a cow's skull attached to it is a powerful symbol of rebellion against societal expectations.

Furthermore, "Touki Bouki" explores the themes of freedom and the pursuit of happiness. Mory and Anta's journey to Paris represents their quest for personal freedom and the pursuit of their dreams. However, the film also raises questions about the true meaning of freedom and whether it can truly be found through material wealth or external validation.

I remember toward the start of class discussing Jay Z, and the similarities to this film, So I decided to look more into it.  When it comes to similarities between the film "Touki Bouki" and Jay Z, there are a couple of interesting connections. First, both are known for their artistic expressions and pushing boundaries in their respective fields. "Touki Bouki" is a groundbreaking Senegalese film that challenged traditional storytelling, while Jay Z is a pioneering rapper and entrepreneur who has revolutionized the music industry. Additionally, both "Touki Bouki" and Jay Z explore themes of identity, cultural heritage, and the pursuit of dreams. So, in their unique ways, they both leave a lasting impact on their audiences. I thought that was something very interesting. 

Overall I would rate this film a 5/10. 

[diarioelpepazo]

Personalidades de la cultura cinematográfica nacional y regional como la profesora Irida García de Molero, l técnico proyeccionista y erudito cinematográfico Nelson Ferrer; a la empresa de producción cinematográfica Mestizo, y dos impulsores de la cultura cinematográfica, también jurados en esta edición del festival y arriba mencionados: Isabel Caroto del estado Lara y José Barceló del estado Bolívar serán homenajeados La Fundación Manuel Trujillo Duran y la Fundación Festival de Cine de Maracaibo junto a otras organizaciones e instituciones de prestigio regional y nacional anuncian la selección oficial en competencia de la IX Edición del FCM programada con actividades formativas, proyecciones y eventos interactivos en línea con invitados especiales durante la semana del 27 de noviembre al 01 de diciembre de 2023. Una variada selección de documentales nacionales e internacionales estarán compitiendo en ocho categorías de Largometraje, Mediometraje, Cortometraje y producciones estudiantiles, producto de una rigurosa pre selección de entre más de 800 obras postuladas desde 88 países por medio de las plataformas de inscripciones Filmfreeway y Festhome, que se redujo a 18 producciones venezolanas y 25 obras de países como Argentina, Brasil, Colombia, Chile, Ecuador, España, Francia, Guatemala, Honduras, México, Perú, Rusia y Senegal, para un total de 43 películas. La lista detallada de obras concursantes va en un archivo adjunto a esta nota y puede ser consultada en el blog del festival http://festivaldecinedemaracaibo.blogspot.com/ El jurado que tendrá la responsabilidad de visualizar, evaluar y decidir las premiaciones estará conformado por profesionales del ámbito cinematográfico y educativo nacional y local como Isabel Caroto, productora, docente, gestora cultural y Directora del Festival de Cine de Barquisimeto; Elizabeth Pirela, docente, productora, documentalista; Luis Girón, ejecutivo y productor cinematográfico; Inti Torres, docente, guionista y productor cinematográfico; José Barceló, docente, gestor cultural y Director del Festival de Cine Infantil de Ciudad Guayana. Durante la apertura del evento se rendirán homenajes a personalidades de la cultura cinematográfica nacional y regional como la profesora Irida García de Molero, investigadora de las Artes Audiovisuales; el técnico proyeccionista y erudito cinematográfico Nelson Ferrer; a la empresa de producción cinematográfica Mestizo, que arriba a 19 años de su fundación, contribuyendo al impulso de la cinematografía zuliana y a dos impulsores de la cultura cinematográfica, también jurados en esta edición del festival y arriba mencionados: Isabel Caroto del estado Lara y José Barceló del estado Bolívar. El IX Festival de Cine de Maracaibo es patrocinado por el Centro Nacional Autónomo de Cinematografía (CNAC), contando con el respaldo regional de la Universidad Católica Cecilio Acosta, Universidad del Zulia, One Way Producciones, la agrupación Sopa, Seco y Jugo, Alianza Francesa de Maracaibo, Caribe Concert, Dirección de Cultura de la Alcaldía de Maracaibo, Facultad de Humanidades y Experimental de Arte de LUZ, Mestizo Producciones, Cendisol, Centro de Formación e Investigación Padre Joaquín de Fe y Alegría y el Centro de Arte de Maracaibo Lía Bermudez, además de la colaboración del Festival de Cine de Barquisimeto, CIECA y el Festival de Cine Infantil de Ciudad Guayana. La participación en los talleres de formación, proyecciones y demás actividades del evento son gratuitas. El cronograma de actividades, así como los eventos interactivos en línea podrán seguirse a través de las cuentas de redes sociales del festival: Para recibir en tu celular esta y otras informaciones, únete a nuestras redes sociales, síguenos en Instagram, Twitter y Facebook como @DiarioElPepazo El Pepazo/Nota de Prensa

[brookstonalmanac]

Events 8.29 (after 1900)

1903 – The Slava, the last of the five Borodino-class battleships, is launched. 1907 – The Quebec Bridge collapses during construction, killing 75 workers. 1910 – The Japan–Korea Treaty of 1910, also known as the Japan–Korea Annexation Treaty, becomes effective, officially starting the period of Japanese rule in Korea. 1911 – Ishi, considered the last Native American to make contact with European Americans, emerges from the wilderness of northeastern California. 1911 – The Canadian Naval Service becomes the Royal Canadian Navy. 1912 – A typhoon strikes China, killing at least 50,000 people. 1914 – World War I: Start of the Battle of St. Quentin in which the French Fifth Army counter-attacked the invading Germans at Saint-Quentin, Aisne. 1915 – US Navy salvage divers raise F-4, the first U.S. submarine sunk in an accident. 1916 – The United States passes the Philippine Autonomy Act. 1918 – World War I: Bapaume taken by the New Zealand Division in the Hundred Days Offensive. 1930 – The last 36 remaining inhabitants of St Kilda are voluntarily evacuated to other parts of Scotland. 1941 – World War II: Tallinn, the capital of Estonia, is occupied by Nazi Germany following an occupation by the Soviet Union. 1943 – World War II: German-occupied Denmark scuttles most of its navy; Germany dissolves the Danish government. 1944 – World War II: Slovak National Uprising takes place as 60,000 Slovak troops turn against the Nazis. 1948 – Northwest Airlines Flight 421 crashes in Fountain City, Wisconsin, killing all 37 aboard. 1949 – Soviet atomic bomb project: The Soviet Union tests its first atomic bomb, known as First Lightning or Joe 1, at Semipalatinsk, Kazakhstan. 1950 – Korean War: British Commonwealth Forces Korea arrives to bolster the US presence. 1952 – American experimental composer John Cage’s 4’33” premieres at Maverick Concert Hall, played by American pianist David Tudor. 1958 – United States Air Force Academy opens in Colorado Springs, Colorado. 1960 – Air France Flight 343 crashes on approach to Yoff Airport in Senegal, killing all 63 aboard. 1965 – The Gemini V spacecraft returns to Earth, landing in the Atlantic Ocean. 1966 – The Beatles perform their last concert before paying fans at Candlestick Park in San Francisco. 1966 – Leading Egyptian thinker Sayyid Qutb is executed for plotting the assassination of President Gamal Abdel Nasser. 1970 – Chicano Moratorium against the Vietnam War, East Los Angeles, California. Police riot kills three people, including journalist Rubén Salazar. 1975 – El Tacnazo: Peruvian Prime Minister Francisco Morales Bermúdez carries out a coup d’état in the city of Tacna, forcing the sitting President of Peru, Juan Velasco Alvarado, to resign and assuming his place as the new President. 1982 – The synthetic chemical element Meitnerium, atomic number 109, is first synthesized at the Gesellschaft für Schwerionenforschung in Darmstadt, Germany. 1987 – Odaeyang mass suicide: Thirty-three individuals linked to a religious cult are found dead in the attic of a cafeteria in Yongin, South Korea. Investigators attribute their deaths to a murder-suicide pact. 1991 – Supreme Soviet of the Soviet Union suspends all activities of the Soviet Communist Party. 1991 – Libero Grassi, an Italian businessman from Palermo, is killed by the Sicilian Mafia after taking a solitary stand against their extortion demands. 1997 – Netflix is launched as an internet DVD rental service. 1997 – At least 98 villagers are killed by the Armed Islamic Group of Algeria GIA in the Rais massacre, Algeria. 2003 – Sayed Ayatollah Mohammed Baqir al-Hakim, the Shia Muslim leader in Iraq, is assassinated in a terrorist bombing, along with nearly 100 worshippers as they leave a mosque in Najaf. 2005 – Hurricane Katrina devastates much of the U.S. Gulf Coast from Louisiana to the Florida Panhandle, killing up to 1,836 people and causing $125 billion in damage. 2022 – Russo-Ukrainian War: Ukraine begins its southern counteroffensive in the Kherson Oblast, eventually culminating in the liberation of the city of Kherson.

[memoriae-lectoris]

Another type of research with children, experimental vaccines, has gained national notoriety. Today, highly publicized theories link vaccination to everything from autism to sudden death, and even parents who adhere to the vaccination schedules often do so uneasily. Although vaccine skeptics come in every color, recent revelations have sown a deeper-seated uneasiness among African Americans.

Between 1987 and 1991, U.S. researchers administered as much as five hundred times the approved dosage of the experimental Edmonton-Zagreb (EZ) measles vaccine to African American and Hispanic babies in black neighborhoods of Los Angeles. The parents of these children did not know mammoth overdoses were being administered nor that the vaccine was experimental. They also did not know that the vaccine had earlier been given to two thousand Haitian children in Cité Soleil, the most desperately impoverished area of Port-au-Prince, with disastrous results. EZ-vaccinated children, all poor, began to sicken and die by the hundreds there and throughout countries in the Third World, including Senegal, Mexico, and Guinea-Bissau.

Horrified by the disastrously high death rates, World Health Organization officials abandoned their plans to administer 250 million EZ doses throughout developing countries. But after these experimental deaths, the vaccine was administered to black and Hispanic Los Angeles children. Such outrages have prompted African American groups to condemn vaccination. Dr. Abdul Alim Muhammad, Nation of Islam minister of health, recommended “a moratorium on immunizations for all African-American members of the Muslim faith.”

However, shunning vaccines is itself dangerous. The vaccine debate encapsulates more than a scientific disagreement; it also reflects the lingering iatrophobia from the exploitative abuse of African American children. This abuse has had a chilling effect on lifesaving research because parents are withholding their permission from positive as well as abusive research. History has shown them how difficult it is to distinguish between the two.

[todaynewsguru]

While You Were Asleep: Germany stretch unbeaten run under Flick, Mane nets hat-trick for Senegal, England players booed when taking the knee in Hungary

While You Were Asleep: Germany stretch unbeaten run under Flick, Mane nets hat-trick for Senegal, England players booed when taking the knee in Hungary

Joshua Kimmich’s well-taken equaliser earned Germany a 1-1 draw with Italy in their Nations League opener on Saturday, ensuring his side remain unbeaten under coach Hansi Flick. Looking to get over their disappointment at failing to qualify for the World Cup for the second successive tournament, Italy named an experimental side for their League A, Group Three match in Bologna, and gave Flick’s…

[cinemajewel29]

Finest Practices For Retail Meals Shops, Eating Places, And Meals Choose

One means to do that is by establishing a sanitizing station simply inside your entryway. Cleaning your home doesn't have to be a frightening, time-consuming chore. 清潔公司 to managing household duties rapidly and efficiently is to design an easy-to-follow routine that features all the most important tasks. Follow these step-by-step directions for creating a custom-made whole-home cleansing schedule. These microorganisms may then be transmitted to the meat/food with the risk of causing disease to the customers. Illness should at all times be reported to the manager and/or the meat inspector of the slaughterhouse who will decide if the employee can keep or has to depart. Human hair and beards are normally closely contaminated with micro organism and to stop contamination of food a hair or beard overlaying within the process space is a needed part of the working clothes. 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Wood Blinds – Wood blinds should not be immersed in water as the moisture will warp them. Avoid utilizing polish or oil on wooden blinds as it's going to attract more filth to the slats and make them harder to wash. Some folks choose to, but that is not often needed for vinyl blinds. Removing blinds takes additional time, area and care, provides risk of injury and should not produce better outcomes. We have been very happy customers of Goyne's Custom Interiors for over three years. Packaging on return shipments is the responsibility of the shopper. In the following sections, we are going to outline the method to clear several varieties of coverings. Remember, damp is sweet, wet is unhealthy, particularly with wooden. Beyond the sale, we provide all kinds of companies to ensure your blinds serve you well.

[losprimeros]

carlita - narayana [LMP40] 

[sinceileftyoublog]

Georgia Anne Muldrow Interview: Rhythm Is A Form of Gravity

Photo by Antoinette A. Brock

BY JORDAN MAINZER

“The people keep you fresh. They keep you on your toes,” Georgia Anne Muldrow told me over the phone last month. The prolific L.A. musician, whose output ranges from experimental hip-hop to neo soul to jazz and everything in between, is releasing her fifth record in four years on Friday, and the third overall in her beats series. VWETO III (FORESEEN + Epistrophik Peach Sound) follows last year’s Mama, You Can Bet! (released under the name Jyoti), 2019′s collaboration with Dudley Perkins and VWETO II, and 2018′s acclaimed, Grammy-nominated Overload. Unlike any of the previous albums, it was put together with some “calls to action” in mind.

Thought some of the songs were around for longer, VWETO III as an entity was made last year, “over a course of time where things were changing in terms of different recording techniques I was trying,” said Muldrow, harking back to techniques and inspirations from her early years of music making. The record was also, obviously, formed during a global pandemic that caused folks to lock down, and Muldrow is conscious to giving listeners opportunities to reach out on her very active Instagram account. Each of the album’s singles have been paired with those aforementioned calls to action. “Unforgettable”, which combines 80′s-sounding synths with 90′s G-funk, calls for vocalists to submit performances to go along with Muldrow’s vocals on the song. “Mufaro’s Garden”, inspired by an illustrated folktale book called Mufaro's Beautiful Daughters, asks for visual artist submissions. On the day of the album’s release, Muldrow will ask for dance submissions to “Slow Drag”, a throwback Hammond-guitar-piano ditty named after the juke joint dance of the same name. Next month, it’ll be “Action Groove”, with calls for turntable scratch ‘n’ sampling remixes from DJs. And it’s not just the singles that exemplify Muldrow’s desire to connect with listeners on a granular level. Many of the songs on VWETO III refer to or are inspired by specific eras, from the Afrofuturist jazz of “Afro AF” to the genre tribute “Boom Bap Is My Homegirl”. That the titles are clearly referential, too, like “Old Jack Swing” or “Synthmania Rock”, shows that Muldrow’s not winking and nodding or trying to fool us, earnestly inviting us to dive in.

Moreover, VWETO III is coinciding with what Muldrow’s calling the Teacherie, classes she’s trying to develop to spread knowledge of what she’s learned throughout her own career, everything from philosophy to instrumental-specific classes. Right now, from her saved Instagram story called “Teacherie!,” you can take an assessment to fill out what you’re interested in. “It helps me to see what skill levels people have and what they want to learn in the class,” Muldrow said. “I seek to continue to stay open enough to make relevant music and have relevant things to share with people.” Overall, Muldrow is the type of artist that uses online platforms the way they’d be used in an ideal world. Her use of NFTs, too, is noble; the album art by Cape Town-based Breeze Yoko is being auctioned off, with 50% of proceeds going to prison abolitionist organization Critical Resistance. Even when the offline world returns--Muldrow’s slated to play Pitchfork Music Festival on Saturday, September 11th--Muldrow’s created a blueprint for navigating an increasingly isolating digital world, by seeking out real connections.

Below, read my conversation with Muldrow, edited for length and clarity, as she discusses making the record, being inspired by African rhythms, the influence of Digital Underground, and why her work logically extends into prison abolition. You can also catch her tomorrow on Bandcamp Live at 8 PM CST.

Since I Left You: Why did you decide this was a good time to revisit your beats album series?

Georgia Anne Muldrow: The people love it, you know? I always like to post beats on Instagram and share my poetry or state of mind of what’s going on in the world according to my people, and provide a place of joy and uplift. The voice of the people kind of determined what songs were on there. There are some songs that nobody’s ever heard. Different ideas, something a little bit more energized.

Something for the people. It’s really great that I have direct contact with them. Some of the songs are things I like to try based on the vibes I get from their feedback. It’s great; it’s a beautiful thing for me. I’ve gone through phases where critics love me, but the voice of the people that really support your work is really cool to hear. It’s like a little focus group. I just like sharing my music with folks because it’s my way of contributing love energy to the world in a direct, immediate way.

SILY: A lot of folks are still staying home and needing that connection. You’re connecting with them but also providing a platform for them to connect with each other.

GAM: Yes. I’m way into that and seek to be expanding that in an even more literal sense with my classroom project [Teacherie], like a live webinar sort of thing, that enables folks to speak amongst themselves. A more extended form of what I do on social media. An intimate look at what’s really going on in music. They can see where my emotions end and the music begins and try to make things seamless within their own music. Teach what I’ve picked up along the way, because I won’t be here forever. Spreading the love but the knowledge, too, with the music that I share. There’s a certain quality that you can achieve if you have patience.

SILY: Did you always know you wanted to do these calls for action, like for vocalists on “Unforgettable”? And how did you decide which tracks you wanted to do them for?

GAM: It’s definitely my way of trying to promote some sort of hip hop jam in lieu of the isolation that folks are weathering...I’m really inspired by the early age of hip hop where everyone had different dances. They brought their art books to the hip hop jams. The jackets with the art on it, the MCs rapping. The breakdancing, the DJs. All of the different things in place for it to be complete. That’s part of what got me hooked on production. One night years ago, [when I first played] my stuff, and folks started to dance, it got me hooked--to make somebody move. Somebody can rap over this, somebody can dance to this or draw to this. That’s the reason for the calls to action. Opening up a hip hop jam all over the world. I hope it gains some momentum. That would be nice, for more people to put themselves out there. But I do understand we live in different times right now and people are trying to get by. I still have to post some of the artists from “Mufaro’s Garden” and these rap videos from “Unforgettable”.

SILY: You’re giving people an opportunity, even if they’re just trying to get through the day, to take a break or have a beneficial creative exercise.

GAM: Yeah. Being creative together, and togetherness. The thinking that the songs aren’t complete without dance. Lyrics are a certain kind of fulfillment of music. But the movement of the body is another one. [It] goes back to gravity. Drummers harness the power of gravity and manipulate it so things can fall at a certain time. Same thing with dance--[dancers] don’t manipulate gravity, but interact with it and create an interdependence with it. When somebody’s dancing, they come back down to the ground, and you could let that go and let gravity guide what your dance looks like. Rhythm is a form of gravity--a form of gravity engaging with life. I feel like movement is the fulfillment of all the arts. I just seek to do my part.

SILY: You mentioned being inspired by a specific early era in hip hop, and there’s a lot on here inspired by genre or era-specific trends, like the G-funk in “Unforgettable” and “Boom Bap Is My Homegirl”.

GAM: [Boom bap] is one of the things that I specialize in. It’s a home base for me. In my experience, it’s a very African point of access. A lot of the boom bap rhythms are straight from Africa. Most of them are. Off the shores of West Africa. I heard so many of them, from The Gambia, Senegal, Mali. Over there, you hear so much of it. I want to be part of that. At the same time, I might wake up and make a free jazz record. I don’t feel like a traditionalist; I just want to preserve the culture of Black music from this hemisphere. I love traditional ideas, but it’s not like I’m gonna do this one idea for the sake of staying in a lane. There’s no place that Black music hasn’t influenced, molded, shaped, nurtured.

SILY: When was the last time you were able to perform in Africa?

GAM: I believe it might have been 2017. These years have started to run together. I don’t mind it, though. Keeps me young. [laughs]

VWETO III cover art by Breeze Yoko

SILY: How did the songs on here with vocals come together, whether the ones with your singing or the ones with featured artists? Did the words or beats/melodies come first?

GAM: The beats came first except for “Shana’s Back”. Shana Jensen is my sister; she’s the mother of my niece. Every time she’d come over and I had an idea to compose songs around her, they’d end up being huge songs. She’d be like, “Bye!” [laughs] I guess she wanted something a little more understated. I’d always end up doing big Motown sounds. There’s a song on The Blackhouse called “Shana’s Groove”. It’s a like a reoccurring situation and character. It’s kind of funny at this point.

The other ones, like “Unforgettable”, I’m very much matching the vibe, the punk-funk aesthetic. Sometimes a little hook just pushes it over the edge and gets them into the mindset I was in when thinking about it. Other songs like “Love Call” I just wanted to sound like it was in an arena. Arena rock, funk, Digital Underground-inspired, all the way.

SILY: Are you a big Digital Underground fan?

GAM: I think it shows in a lot of the music I make. I don’t think I can hide it. This record has so many examples of that. I love Shock G so much. He was so bad, as a thinker, a philosopher, a community builder, artist, pianist, maestro. The “Love Call” groove, “Unforgettable”, “[Old] Jack Swing”, you can hear it. I was raised with that kind of music in my head as a child. Unashamed to be funky and make a groove have extra grease on it. That’s what distinguished our sound from other region’s sounds. Getting greasy. While still doing the boom bap and all that other stuff. For me, it was always a goal to represent where I’m from in my music in a non-traditional way. Bringing what I love about the West Coast to whatever I was working on.

Shock G lives in all of us. He brought so many different vibes. A rhythmic pocket that breathes. Somewhat right under "Atomic Dog”. It keeps you moving. It has a breath of life in it. I’m so thankful to have lived in an era where I could hear and experience his work.

SILY: How did “Ayun Vegas” come together?

GAM: Ayun is my little brother. I think I’ve known him since 2014 or ‘15. He’s quite a talent. I love his style. He’s from [New] Jersey. I love his sense of rhythmic dynamic. His use of metaphor, double entendre. I feel like he’s really a gifted poet. He can do all types of different things. He’s an amazing MC--he just released a project with Jacob Rochester called Slaps & Hugs. I’m gonna lean towards people who are creative themselves and insert themselves into everything they do. 

Ayun is very secure in being different. He came out to Vegas, and I had this song. Usually, when I play leftfield stuff, MCs want that beat they can crush and not feel challenged by. This song is really old. I feel like it was made in 2016. I feel like that was the first time when somebody was willing to rap on an idea that was out of the ordinary. It’s not just in your face. It’s something different, but I want you to rap for your life on this. Something more like a movie score, where you find your character. He did it! He didn’t leave one beat behind. 

He’s rhythmically gifted and quite the poet. He almost went into pro football but he chose music. He’s a very enterprising brother, doing all types of apparel. He was working in the visual artist community, in the videographer community. Any time I can showcase what it is that he got to share, I’m there. He’s not afraid to speak the truth. This verse is impressionistic. It’s like somebody is taking a really big brush and making a beautiful image, strong-arming it. It’s dope. I love it.

We did another song together on the Overload album, but it didn’t make the cut. The Japanese version of Overload has a song called “What Can We Do Now”, and it has Ambrose Akinmusire, Ayun, and me. I’d love for that to be heard stateside, because it’s definitely about what’s happening over here.

SILY: Why did you choose to have the proceeds for this record go to Critical Resistance?

GAM: I’ve always wanted my music to be a tool for the motion of people. It doesn’t stop with dance and rapping and singing and drawing. It begins with that. Where it ends up, the movement of people coming into their powers, truths that in order to have a more humane society, we are going to have to throw some of this bullshit away. The spoils of enslavement. We’ve got to get rid of those spoils so we can get to a more realistic place of folks being cognizant of the activities that they take a part in. Jails ain’t gonna help people feel like they’re part of the community. They cage people and endanger their lives and run the risk of ruining somebody’s mental, emotional, and spiritual state even if they did commit the crime they’re in there for.

There’s a sense that all crime is committed from a place of fear. Many crimes people are locked up for is just folks trying to find a way. I don’t see how more fear is going to rehabilitate. The idea that punishment leads to enlightenment. People in the public school system are taught about some of the baddest people that ever lived--mass murders. But they’re not the type of people held accountable. They’re who brought over the imprisonment systems from their failed nations.

I don’t believe in reform at all. Critical Resistance seeks to abolish prisons as we know them. I love that their resolve is so sure and bold.

Photo by Antoinette A. Brock

[burlveneer-music]

On Our Own Clock - s/t LP - long-distance collaboration between musicians from South Africa, Senegal, and the UK (Mushroom Hour Half Hour & Total Refreshment Centre)

Pre-pandemic, there was a plan. The plan was for musicians from South Africa and Senegal to travel to London’s influential Total Refreshment Centre to make an album with musical kindred spirits in the UK. Like so many plans, it had to be adapted. During the first wave of COVID-19 lockdowns in 2020, groups of heavy-hitting musicians met for a day of intense recording in their home cities then sent the music to their compadres across the oceans. They returned to the studio a month later to respond to the music they’d been sent. The result is ‘On Our Own Clock’, a sonic testament to trenchant and collaborative creativity which digs into layers of South African jazz, traditional Senegalese instrumental music and London’s rich diaspora-informed musicality. Individually these are powerful strands of music. Collectively, they are super-sized. The release is a collaboration between South African label Mushroom Hour Half Hour and Total Refreshment Centre recordings. It comprises the single album with artwork by Senegalese designer Djib Anton; a fanzine which documents the process and will be included with the vinyl; and an experimental film made by South African filmmakers Nhlanhla Masondo and Tseliso Monaheng. It imagines a far-future post-pandemic world and also includes artist interviews, session footage and the inevitable Zoom recordings. One day, the musicians will play together in person. But for now, On Our Own Clock is inspiration, dispersed positivity and eleven incredible pieces of musical togetherness.

Alabaster de Plume – Saxophone (UK) Asher Gamedze – Drums (South Africa) Damola Owolade – Emcee (Nigeria) Danalogue – Synthesizer, Piano & Saxophone (UK) Grandmaster CAP – Emcee (South Africa) Lex Blondin – Drum Machine (UK) Mpumelelo Mcata – Electric Guitar (South Africa) Nosisi Ngakane – Vocals (South Africa) Siya Makuzeni – Trombone & Vocals (South Africa) Tarang Cissoko – Kora (Senegal) Tebogo Austebza Sedumedi – Electric Bass (South Africa) Theon Cross – Tuba (UK) Yahael Camara Onono – Percussion (UK / Senegal / Nigeria) Zoe Molelekwa – Keyboards & Wurlitzer (South Africa)

[florencestottfmp]

Potential starting points or areas of research.

Maps

The most intriguing part of maps to me is how humans deal with turning something three dimensional into a two dimensional image, which means most maps are inaccurate in some way. Different ways of translating the world onto paper has given us different map projections.

I love the idea that for our one planet there are infinite ways of translating it onto paper, all of which tell their own stories. For example, the Mercator projection, which we are most familiar with, centralises Europe and exaggerates the size of western countries. This map projection being the most common stems from imperialism and the view that the West is the centre of the world. Another example of this is the San Francisco Circumnavigation of the Globe map, which is specifically designed to show an unbroken flight route from San Francisco around the world. This map also centres on California. This map then went on  to be used to advertise the San Francisco port, because of how it depicts San Francisco to be the centre of shipping routes. 

More experimental map projections are normally designed to change how we perceive the world. I want to explore both the technical side and the human side that led to certain projections being used over others.

I have collected images of many different map projections and I want to explore how they have been realised, and apply this technique to other objects and garments. I would like to explore pattern making through the eyes of map projections.

I also want to explore the language of maps. They rely mainly on symbols and colours to communicate, for example topology maps that show hills. This then also leads into how maps differ visually based on their purpose or when/how they were created. For example world maps are mainly just show land masses and bodies of water while road maps show streets and motorways with everything labelled.

I also want to explore maps through out history and from around the globe to see how this has progressed.

What are boarders?

Looking further into the topic of maps, I also want to explore world boarders. Purely from a logical standpoint, most world boarders are completely arbitrary and there is no reason for them to be completely different (if world history was not taken into account). Humans have managed to defeat all natural boarders and travel to every edge of the globe, and even into space, yet we give these boarders to ourselves. I want to explore the different ways these boarders came to be and the role they play in society.

The way boarders are drawn also give an insight into how they were created. In much of North America and Africa the boarders are straight rather than more organic lines like in Europe. This tells us how the land was split by outsiders, deciding who owned what land, with little thought for the native people. They were not defined on a battlefield but instead at the Berlin Conference, as an example. A straight boarder represents outside power.

In contrast to this, most of the boarders in Europe are a result of wars fought by the people of each country. These boards are much more organic in shape, mimicking coastal boarders.

Boarders are also completely random shapes but they carry so much relevance. Some of these shapes might bring up thoughts of holidays in the sun while others might make you think of violence and conflict. And the way each person reacts to these countries is different. I can place Senegal on a map because I associate it with singing and my old school gym because my school used to raise money for our sister school in Senegal each year through a charity concert. I associate the map of Colombia with eco friendly buses because I learned about them in a Curitiba, Colombia in geography class two years ago. I had no idea where the Dominican Republic was until I visited it on a service based marine biology trip.

I found an interesting excerpt in the book “Living in the Endless City” which describes boarders as the point of energy and activity, as these are the places where people and information are exchanged. It also compared boarders to cell walls and membranes, one to keep the shape of the cell and the other to also things to enter and exit. These are two ideas that have really drawn me in, both visually and as concepts, and I am interested to further explore them and utilise them in my work. Although I am looking at international boarders, boarders materialise in so many different ways, for example how clothes create a boarder between your skin and the world. There is a lot more I can explore about boarders.

Data as another way of visualising the world

Another aspect of interpreting the world I am intrigued by is data visualisation. I think this is another interesting way we attempt to visualise and simplify things for our understanding and also a beautiful combination of statistics and art. Combing this with maps and boarders, I would be looking at data that visualises and maps people. Similarly to maps, data visualisation can be done in many ways and each way may present a different story. In “Living in the Endless City” I found data that maps population density in cities and presents this along side the building footprint of this area.

I came to these topics by first looking at migration, something I have explored before. I was exploring migration as something that occurs natural, yet it is something that causes so many problems in society due to the boarders we have created. From there I looked more into ways we try to shape and understand the world, which lead me to maps and how we create them. I also have a love for maths and combining it with art, which fits perfectly into the concepts I want to explore.

I think these starting points for my research give me a strong basis for concepts and visuals I can use in my work.

[womenintranslation]

Starting this Thursday. From the PEN Translation Committee, Jill!, and DC-ALT announcement:

DC-ALT Board Member Nancy Naomi Carlson is co-organizing three virtual readings in celebration of Women in Translation Month, streaming for three consecutive Thursdays at 1 p.m. ET. Find out more and stayed tuned for all three readings by clicking the links below:

Aug 13

Aug 20 - including DC-ALT Board Member Indran Amirthanayagam

Aug 27

It’s August, and time once again to celebrate Women in Translation (#WiT) Month! This initiative was started six years ago by blogger Meytal Radzinski with the purpose of focusing on translating words by women or nonbinary authors and working toward gender parity in literary publishing—so important to freedom of expression throughout the world. The COVID-19 pandemic has opened up opportunities to include translators and the authors they translate in a virtual reading format, showcasing participants who might otherwise not have been able to travel to such an event in the past.

Organized under the aegis of the PEN America Translation Committee and hosted by Jill! A Women+ in Translation Reading Series, this event will bring together five translators joined by their authors, working in such varied languages as Guatemalan Spanish, K’iche’, Hebrew, Arabic, Galician, and Senegalese French.The reading, moderated by Anna Dinwoodie, will be followed by a brief Q&A discussion (time permitting). We hope you’ll join us for this one-of-a-kind bilingual reading!

On AUGUST 13, at 1pm ET, tune in for the first LIVE bilingual readings by translators from Guatemalan Spanish & K’iche’, Hebrew, Arabic, Galician, and Senegalese French. This reading will be livestreamed; you can RSVP and tune in via the Facebook page of our host, Jill: A Women+ in Translation Reading Series.

Gabriela Ramirez-Chavez is a Guatemalan-American poet, translator,and Literature Ph.D. Candidate at UC Santa Cruz. Her work appears in Centro Mariconadas: A Queer and Trans Central American Anthology (forthcoming) and The Wandering Song: Central American Writing in the United States (2017). She attended the Kenyon Review Translators Workshop with a scholarship.

Rosa Chávez is a Maya K’iche’-Kaqchikel poet, playwright, artist, and activist who is Guatemala Program Coordinator for the international feminist organization JASS Mesoamerica. She has published five books of poetry, including El corazón de la piedra(2010), and the play AWAS (2014). Her poetry has been widely anthologized and translated.

Joanna Chen is a literary translator and writer. Her full-length translations include two books of poetry (Less Like a Dove and Frayed Light, a finalist for the Jewish National Book Award) and a book of nonfiction, My Wild Garden. She writes a column for The Los Angeles Review of Books.  

Tehila Hakimi is an award-winning Hebrew poet and fiction writer. She was a 2018 Fulbright fellow at The University of Iowa. Hakimi has published a poetry collection (We’ll Work Tomorrow), a graphic novel (In the Water) and a collection of novellas (Company). Hakimi is a mechanical engineer by profession.

Melanie Magidow is the founder of Marhaba Language Expertise, providing Arabic to English translation and other multilingual services. She holds a Ph.D. in Middle Eastern Languages and Cultures from the University of Texas at Austin. Magidow has received fellowships from the National Endowment for the Arts, the National Endowment for the Humanities, and the Fulbright Commission. She is also a co-host of the Goodreads MENA Lit Book Group. For more on her projects, see melaniemagidow.com.

Reem Bassiouney was born in Alexandria, Egypt. She obtained her M.Phil. and Ph.D. from Oxford University in linguistics. In addition to more than 8 books in linguistics, Bassiouney has 7 novels and has won numerous awards. Her novels have been translated into English, Greek, and Spanish. Her most recent masterpiece, "أولاد الناسثلاثية المماليك" 'Sons of the People: The Mamluk Trilogy' was published in 2018. Reem Bassiouney was awarded the prestigious Naguib Mahfouz Award from Egypt's Supreme Council for Culture for the best Egyptian novel of the year 2019/2020, making her the first woman to win this prize.

Laura Cesarco Eglin translates from Spanish, Portuguese, Portuñol, and Galician. She co-translated Fabián Severo’s Night in the North (Eulalia Books). Her translation of Hilda Hilst’s Of Death. Minimal Odes, (co•im•press) won the 2019 Best Translated Book Award.Her translations have appeared in Asymptote, Modern Poetry in Translation, The New Yorker, and more. Cesarco Eglin is the author of five poetry collections, most recently Life, One Not Attached to Conditionals (Thirty West Publishing House). She is the publisher of Veliz Books.

Lara Dopazo Ruibal has published four poetry collections and she is the co-editor and co-author of the experimental essay volume Através das marxes: Entrelazando feminismos, ruralidades e comúns. Her poetry collection ovella was awarded the Francisco Añón Prizein 2015, and with claus e o alacrán she received the Fiz Vergara Vilariño Prize in 2017. Dopazo Ruibal was a resident artist at the Spanish Royal Academy in Rome for the academic year 2018/2019.  

Aubrey D. Jones is Assistant Professor of French at Weber State University in Utah. She received her Ph.D. in French Literature from the University at Buffalo-SUNY and has also worked in freelance translation since 2010. Aubrey is now involved in building Translation Studies in French at Weber State, as well as undertaking the translation of works of Franco-Ontarian and Senegalese poetry and fiction. She lives in Ogden, Utah with her husband and three children, and will often be found wandering in the mountains when not in her office.

Ken Bugul was born in Senegal in 1947 as Mariétou Mbaye. In her native language, Wolof, her pen name means “one who is not wanted.” From 1986 to 1993 she worked for the NGO IPPF (International Planned Parenthood Federation) in Kenya, Togo and the Congo. Ken Bugul’s autobiographical debut novel Le Baobab Fou was published in 1982 and is one of the most important documents in the Francophone literature of West Africa from the 1980s. Since then, Bugul has published many novels, which have been translated into several languages. Characteristic of her work is a highly literary language densely woven with the rhythms and fundamental thought structures of Wolof.

This reading will be moderated by Anna Dinwoodie, a poet and German-English translator. Anna received a Katharine Bakeless Nason scholarship to attend the Bread Loaf Translators Conference in 2019, and her writing appears in the anthology Poets of Queens (August 2020). She is currently pursuing an MFA in Creative Writing & Literary Translation at Queens College, CUNY.

[wewalktheearthblog]

Seven children died this week after being given experimental vaccines in Senegal, according to a report by the website ezone57.com. The website appears to be Ghana-based. The story has since been removed from the site and, somehow, removed from web archives as well

Youtube removes independent video confirming vaccine deaths

Ghana President Nana Akufo-Addo announced that the country received $100 million from the World Bank last month. The funds are for “fighting coronavirus.” One of the apparent strings attached is allowing Bill Gates and his imperial doctors to experiment on children in the country.