Another little gem from the Youth Speaks movement.Now for some strange reason unbeknown to man nor beast,the actual name of the Poet is not listed,so all i have to go on is the name of the track - Answer This.What i do know is that shes young,shes female and shes clever.She asks the simple question "Why are u a Hater?" Then uprighteous and unerved she reaffirms her resilience with witty charm and sublime incision.check her out (Backing Music by The 13th Tribe ZZzzzzzzzz i know i know it keeps em off the streets i suppose ;)
So todays track is a vocal snatched from the superb Slam Poetry Podcast 'Youth Speaks' (free from iTunes) The individual track is called Revoution and ive no idea who the performer is at the moment - Ill put my snifferdog hat on and find out soon tho.The beats are from The 13th Tribe as per usuaaaaaaaaaaal.
Its an interesting slant,full of upfront youthful vigour and cutting 'take no shit' confidence on the revolution (non)movement....cue heavily justified attacks on materialism and the 'if u doint need it then u really need to buy it' culture,that has festered post Reagan/Thatcher/Edward Bernays.....another feather in the cap for the lambasting bohemian vs bling attache.
As one of the clever chaps from Youth Speaks podcast 4 quips
'We went from fighting for freedom to acting dumb for free'
On the 7th of February, 1986, Africa lost one of her illustrious sons, Cheikh Anta Diop, an exceptional African whose singular destiny and contributions were in tune with an Africa sometimes (promising), hopeful and some times despondent.
While leaving us, Professor Cheikh Anta Diop bequeathed to Africa a heritage of liberation without precedence: the knowledge of one's origin.
It would not strike the mind of any historian of the ancient Mediterranean civilizations to deny the crucial role played by black Egyptian peoples, in deed Ethiopians, in the development of sciences, arts, techniques, and it was from distant antiquity. The idea of "black tabula rasa", (Africa devoid of history (culture); in short, devoid of humanity, dear to colonial histography is largely posterior.
Cheikh Anta Diop led throughout his life a pathetic struggle so that Africa might at long last get rid of the claws of cultural alienation which had lasted far too long, so that they would again become masters of a history which they had not lost before colonialism. "Black nations and culture" was within the context of an intense ideological struggle opposing the most awakened and conscious elements, the most politically awakened of the African elites to the tenants of colonial order who, to be witnesses to its collapse, were nonetheless less solid and untouchable.
The European Africanists schools (all tendencies mixed) were unanimous in rejecting, more often without examining, the fundamental theses of Cheikh Anta Diop relating to the "cultural unity" of Africa to the migrations which, taking their source from the original neolithic basin had ended up in the present peopling of the continent; to the continuity of the national historical past of Africans. It is that, in the eyes of some, the works of the Senegalese historian appear a dangerous precedent susceptible, like every pioneering and innovative work, to incite dangerous vocations.
This concern was based on at at least one point: the disintegration by Cheikh Anta Diop of the fundamental postulates of the European Africanist discourse. Thus we read: "This false attribution of values of Egypt qualified as white to a Greece equally white reveals a deep contradiction which is not the least proof of the black origin of Egyptian civilization" (Nations Negres et Culture, page 40, Vol II, Presence Africaine, 3 em edition).
In that fragment Cheikh Anta Diop links up the well being with the "umbilical cord" which links "black" ancient Egypt to the rest of the continent. similarly, the insoluble contradiction which made that pharaonic Egypt, the mother of civilizations, does not the least objectively belong to a continent judged to be savage, primitive and barbarous, finally finds a rational solution.
In that regard, to measure the same time the revolutionary character of Cheikh Anta Diop's thesis and the extent of the mystification of colonial histography, let us listen to Frederich Hegel, its most qualified and profound representative: "She (Africa) is no part of the historic world, she neither shows movement nor development........., that is to say, from the north originates the Asiatic and European worlds. Cartage was in that regard an important and transient element. But it belongs to Asia a Phoenician colony. Egypt would be examined through the passage of the human mind from the east to the west, but it does not depend on the African mind." (La raison dans L'Histoirem, p 269, collection 10-18).
Through this odious falsification of history, which Karl Max qualifies a idealist, a road was made which led to the myth of anti historicity of the African continent; which continent is seen to be, in perspective of Cheikh Anta Diop, the cradle of all civilizations.
It is against such allegations, qualified rightly, by the first historian of African renaissance Cheikh Anta Diop, as "fascist" and "racist" (in the sense that they implied the incapacity of Africans to create viable political institutions), that his major work "Nations Negres et Culture", reacted. It can be deplored that his prodigious erudition, his epic style, his liberating breath had not inspired all the African intellectualls of that epoch. Worst still, African history as it is taught today in our schools does not take the Negroid dimension of ancient Egypt........."
'Letta Mbulu is a South African jazz singer born and raised in Soweto. She has been active since the 1960s, but left South Africa for the United States in 1965 due to Apartheid. In the U.S. she worked with Cannonball Adderley, David Axelrod and Harry Belafonte. Her singing can also be heard in Roots, The Color Purple, and she was a guest on a Season 6 episode of Soul Train. Mbulu also provided the Swahili chant in Michael Jackson's single, "Liberian Girl"'
Recently found this gem of a club/blog whilst trekking the fringes of the outerweb,its jam packed full of global goodies,freebies and hook ups.I got in touch,and i was met with genuine warmth and shining musical kindness.So no surprise these guys know and love their Global Grooves with a passion.If ur close to Londons tasty little hot spot Brick Lane,i suggest u get urself along for a bountiful boogie every 3rd Tuesday of the month @ 93 Feet East....oh and just to twist the knife that little more,its FREE admission all night and 2 Bottles of gargle for a fiver before 8-30,no excuses now is there.....
"Fftang is a rum-fuelled safari through the clubs of the Tropics and beyond, exploring mutating party rhythms and culture-sound-clashes. Brazilian dubstep meets Middle Eastern mambo? Swedish hip hop over Congolese speed disco? Boundaries are melting and genres breed as worlds collide.
This week we're proud to have DJ IZEM from our favourite radio station GROOVALIZACION with us. In between delivering his monthly podcasts the Dublin based DJ and producer has played all over the globe, blazing up such musical hotspots as Recife, Casablanca, Valencia, Paris, Buenos-Aires and for tonight Matthew - Brick Lane.
Expect a global beat inferno taking in cumbia, samba, reggae, hip-hop and scorching tropical-meets-western-grooves mashups.
Joining him will be Huskiii (afro/latin/traditional-regional-music fused with b-boy beats and bastard bass) and musicians Captain Trumpet (brass) and Paolo (percussion) on jamming duty.
FREE ENTRY and 2 bottles of beer for a fiver until 8:30pm."
The FFtang crew have also been so kind as to run a feature promoting The 13th Tribe & VOCA movements on their outstanding blog.If u cant make it along to 93 Feet East to witness the aural delights live and direct then u can still sample the juice from afar-their mixes are already the stuff of legend on the 13t ipod.
With DJ & Remix work for Grammy-winners Lauryn Hill, The Roots, Kanye West, Q-Tip and Mary J. Blige under his belt, J.Period has become one of Hip Hop’s undisputed Mixtape Kings and most respected DJ/Producers. His massive mixtape marketing campaigns (J.Period’s recent Q-Tip collabo yielded over 600,000 downloads) have been commissioned by major labels including Def Jam, Interscope and Sony to bolster their artists’ profiles. His remixes have been called “brilliant” and “masterful” by Billboard Magazine, Vibe & The Source, and earned countless awards. Behind the boards, J.Period’s original production has earned placement in blockbuster film trailers (Universal’s American Gangster 2007, Fox’s Street Kings 2008) and major video games (Activision’s Tony Hawk’s Motion 2008, DJ Hero 2009). And on stage, J.Period’s crowd-rocking skills have earned high-profile tour appearances with Kanye West, Lauryn Hill, P. Diddy and De La Soul, plus club and festival gigs around the world (Brazil, South Africa, Australia). Rising through the ranks of hip hop’s elite DJs, J.Period is making his mark on hip hop.
Thursday, 15 October 2009
Tito Swing - Top Class Merengue from the Dominican Republic.
