16 4 / 2014

mariamagda:

Fatoumata Diawara at Webeon Festival in Austin - 04.07.2013

Fatou is a guitarist and singer from Mali. Her show today at Webeon World Music Festival in Austin was perhaps my favorite. This woman is so talented and beautiful. At various points throughout the show she taught the audience different dance moves from Africa. Fatou also spoke on Mali and the recent religious war that’s been declared on music . She emphasized the importance of music not only to Malian culture and history but to Africa and the world, for it is “the only language that knows and teaches peace”. If you do not yet know her music go ahead and drift off with the sounds of her mesmerizing voice… 

http://www.youtube.com/watch?v=E82BifytoYY

Here is an article from last year about Mali:

http://www.guardian.co.uk/world/2012/oct/23/mali-militants-declare-war-music

15 4 / 2014

boston:

For the rockers of the Baseball Project, it’s all about the game
The band, which plays the House of Blues Foundation Room on Saturday, writes emotionally sympathetic songs on often complex topics that revolve around the national pastime.
(RENATA STEINER)

boston:

For the rockers of the Baseball Project, it’s all about the game

The band, which plays the House of Blues Foundation Room on Saturday, writes emotionally sympathetic songs on often complex topics that revolve around the national pastime.

(RENATA STEINER)

14 4 / 2014

lostinurbanism:

A Great Day in Harlem, Art Kane (1958)

01 – Hilton Jefferson, 02 – Benny Golson, 03 – Art Farmer, 04 – Wilbur Ware, 05 – Art Blakey, 06 – Chubby Jackson, 07 – Johnny Griffin, 08 – Dickie Wells, 09 – Buck Clayton, 10 – Taft Jordan, 11 – Zutty Singleton, 12 – Red Allen, 13 – Tyree Glenn, 14 – Miff Molo, 15 – Sonny Greer, 16 – Jay C. Higginbotham, 17 – Jimmy Jones, 18 – Charles Mingus, 19 – Jo Jones, 20 – Gene Krupa, 21 – Max Kaminsky, 22 – George Wettling, 23 – Bud Freeman, 24 – Pee Wee Russell, 25 – Ernie Wilkins, 26 – Buster Bailey, 27 – Osie Johnson, 28 – Gigi Gryce, 29 – Hank Jones, 30 – Eddie Locke, 31 – Horace Silver, 32 – Luckey Roberts, 33 – Maxine Sullivan, 34 – Jimmy Rushing, 35 – Joe Thomas, 36 – Scoville Browne, 37 – Stuff Smith, 38 – Bill Crump, 39 – Coleman Hawkins, 40 – Rudy Powell, 41 – Oscar Pettiford, 42 – Sahib Shihab, 43 – Marian McPartland, 44 – Sonny Rollins, 45 – Lawrence Brown, 46 – Mary Lou Williams, 47 – Emmett Berry, 48 – Thelonius Monk, 49 – Vic Dickenson, 50 – Milt Hinton, 51 – Lester Young, 52 – Rex Stewart, 53 – J.C. Heard, 54 – Gerry Mulligan, 55 – Roy Eldgridge, 56 – Dizzy Gillespie, 57 – Count Basie.                                        

It Was A Great Day in Harlem, ‘But Where Was Miles Davis?’  

And what about John Coltrane and Billie Holiday?

13 4 / 2014

theacademy:

Marlon Brando before and after getting his make-up done to be Don Corleone in The Godfather

theacademy:

Marlon Brando before and after getting his make-up done to be Don Corleone in The Godfather

(via beat-sweet)

12 4 / 2014

Nick La Rocca - TIGER RAG

11 4 / 2014

10 4 / 2014

TEDDY WILSON - Rosetta

RECORDED IN 1934. Theodore Shaw “Teddy” Wilson (November 24, 1912 July 31, 1986) was a jazz pianist from the United States born in Austin, Texas. His sophisticated and elegant style graced the records of many of the biggest names in jazz, including Louis Armstrong, Lena Horne, Benny Goodman, Billie Holiday and Ella Fitzgerald. He is considered one of the most influential jazz pianists of all time.Wilson studied piano and violin at Tuskegee Institute. After working in the Lawrence “Speed” Webb band, with Louis Armstrong and also “understudying” Earl Hines in Hines’s Grand Terrace Cafe Orchestra, Wilson joined Benny Carter’s Chocolate Dandies in 1933. In 1935 he joined the Benny Goodman Trio (which consisted of Goodman, Wilson and drummer Gene Krupa, later expanded to the Benny Goodman Quartet with the addition of Lionel Hampton). The trio performed during the big band’s intermissions. By joining the trio, Wilson became the first black musician to perform in public with a previously all-white jazz group. The noted jazz writer and producer John Hammond was instrumental in getting Wilson a contract with Brunswick, starting in 1935, to record hot swing arrangements of the popular songs of the day, with the growing jukebox trade in mind. He recorded fifty hit records with various singers such as Lena Horne and Helen Ward, including many of Billie Holiday’s greatest successes. During these years he also took part in many highly regarded sessions with a wide range of important swing musicians, such as Lester Young, Roy Eldridge, Charlie Shavers, Red Norvo, Buck Clayton and Ben Webster. Wilson formed his own short-lived big band in 1939, then led a sextet at Cafe Society from 1940 to 1944. He was dubbed the “Marxist Mozart” by Howard “Stretch” Johnson due to his support for left-wing causes he performed in benefit concerts for The New Masses journal and for Russian War Relief, and chaired the Artists’ Committee to elect Benjamin J. Davis.[1] In the 1950s he taught at the Juilliard School. Wilson can be seen appearing as himself in the motion picture The Benny Goodman Story (1955). Wilson lived quietly in suburban Hillsdale, NJ in the 1960s and 1970s. He performed as a soloist, and with pick-up groups until the final years of his life. Teddy Wilson died on July 31, 1986.

09 4 / 2014

08 4 / 2014

Hala Strana (Steven R. Smith) | Stouthrief | 2003 

07 4 / 2014

scrivenings:

T.S. Eliot, asked by I.A. Richards to visit him in China, replied “I do not care to visit any land which has no native cheese.”

06 4 / 2014

The Silver Jews - Punks In The Beerlight

05 4 / 2014

themediumwastedium:

Flyer for a TV Personalities gig at the Venue in New Cross. ‘89 or ‘90

themediumwastedium:

Flyer for a TV Personalities gig at the Venue in New Cross. ‘89 or ‘90

04 4 / 2014

It is forbidden to kill. Therefore, all murderers are punished, unless they kill in large numbers, and to the sound of trumpets.
-Voltaire

It is forbidden to kill. Therefore, all murderers are punished, unless they kill in large numbers, and to the sound of trumpets.

-Voltaire

03 4 / 2014

(Source: constantcontext)

02 4 / 2014

thestardustmanifesto:

"I was exactly the same age as Anne Frank," she explained in her curiously accented, international English. "We were both 10 when war broke out and 15 when the war finished. I was given the book in Dutch, in galley form, in 1946 by a friend. I read it … and it destroyed me. It does this to many people when they first read it but I was not reading it as a book, as printed pages. This was my life. I didn’t know what I was going to read. I’ve never been the same again, it affected me so deeply."
While Anne Frank was watching the moon from her warehouse attic window and listening to the news of Allied advances on the radio, Audrey Hepburn was trying to lead a normal life in the heart of her mother’s Dutch family, and experiencing the Nazi occupation on the street.
"I have memories. More than once I was at the station seeing trainloads of Jews being transported, seeing all these faces over the top of the wagon. I remember, very sharply, one little boy standing with his parents on the platform, very pale, very blond, wearing a coat that was much too big for him, and he stepped on to the train. I was a child observing a child. I don’t know how much longer it was before we knew what was happening - sooner than you did in Britain. Then I realised what would have happened to him. And reading Anne Frank’s diary, it all came back to me.
"We saw reprisals. We saw young men put against the wall and shot and they’d close the street and then open it and you could pass by again. If you read the diary, I’ve marked one place where she says, ‘Five hostages shot today’. That was the day my uncle was shot. And in this child’s words I was reading about what was inside me and is still there. It was a catharsis for me. This child who was locked up in four walls had written a full report of everything I’d experienced and felt."
The focus of their collaborative work on Anne Frank’s diary, for both Michael Tilson Thomas and Audrey Hepburn, is not the arousal of guilt through horror - though Tilson Thomas has drawn on traditional Jewish music and admits he found the Holocaust peculiarly difficult to make into music - but the indestructability of the human spirit. Children may be destroyed, but the optimism of childhood cannot be defeated. “The Anne Frank spirit,” says Tilson Thomas, “was optimistic and forgiving. This is not a grim, horrific piece, although it is sad and disturbing. Here is a special person, a wonderful spirit, even though we know she had an unhappy ending. The piece ends on a hopeful, if wondering, note.”
"People say," says Audrey Hepburn, "wasn’t it all dreadful, the war, but five years of your life can’t all be horrifying. As a child you live daily life. I see this in camps in the Sudan. As long as children have even a very little food they will still run around and want to play. I see it at its strongest where situations are worst. If they have strength, children go on living. You’ve seen the Kurdish children barefoot in the snow, children holding children, holding babies and still struggling on. This spirit of survival is so strong in Anne Frank’s words. One minute she says, ‘I’m so depressed.’ The next she is longing to ride a bicycle. She is certainly a symbol of the child in very difficult circumstances, which is what I devote all my time to. She transcends her death."
[ Lesley Garner on interviewing Audrey Hepburn, The Sunday Telegraph, 5/26/1991 ]

thestardustmanifesto:

"I was exactly the same age as Anne Frank," she explained in her curiously accented, international English. "We were both 10 when war broke out and 15 when the war finished. I was given the book in Dutch, in galley form, in 1946 by a friend. I read it … and it destroyed me. It does this to many people when they first read it but I was not reading it as a book, as printed pages. This was my life. I didn’t know what I was going to read. I’ve never been the same again, it affected me so deeply."

While Anne Frank was watching the moon from her warehouse attic window and listening to the news of Allied advances on the radio, Audrey Hepburn was trying to lead a normal life in the heart of her mother’s Dutch family, and experiencing the Nazi occupation on the street.

"I have memories. More than once I was at the station seeing trainloads of Jews being transported, seeing all these faces over the top of the wagon. I remember, very sharply, one little boy standing with his parents on the platform, very pale, very blond, wearing a coat that was much too big for him, and he stepped on to the train. I was a child observing a child. I don’t know how much longer it was before we knew what was happening - sooner than you did in Britain. Then I realised what would have happened to him. And reading Anne Frank’s diary, it all came back to me.

"We saw reprisals. We saw young men put against the wall and shot and they’d close the street and then open it and you could pass by again. If you read the diary, I’ve marked one place where she says, ‘Five hostages shot today’. That was the day my uncle was shot. And in this child’s words I was reading about what was inside me and is still there. It was a catharsis for me. This child who was locked up in four walls had written a full report of everything I’d experienced and felt."

The focus of their collaborative work on Anne Frank’s diary, for both Michael Tilson Thomas and Audrey Hepburn, is not the arousal of guilt through horror - though Tilson Thomas has drawn on traditional Jewish music and admits he found the Holocaust peculiarly difficult to make into music - but the indestructability of the human spirit. Children may be destroyed, but the optimism of childhood cannot be defeated. “The Anne Frank spirit,” says Tilson Thomas, “was optimistic and forgiving. This is not a grim, horrific piece, although it is sad and disturbing. Here is a special person, a wonderful spirit, even though we know she had an unhappy ending. The piece ends on a hopeful, if wondering, note.”

"People say," says Audrey Hepburn, "wasn’t it all dreadful, the war, but five years of your life can’t all be horrifying. As a child you live daily life. I see this in camps in the Sudan. As long as children have even a very little food they will still run around and want to play. I see it at its strongest where situations are worst. If they have strength, children go on living. You’ve seen the Kurdish children barefoot in the snow, children holding children, holding babies and still struggling on. This spirit of survival is so strong in Anne Frank’s words. One minute she says, ‘I’m so depressed.’ The next she is longing to ride a bicycle. She is certainly a symbol of the child in very difficult circumstances, which is what I devote all my time to. She transcends her death."

[ Lesley Garner on interviewing Audrey Hepburn, The Sunday Telegraph, 5/26/1991 ]