#Music of Ghana Origin

[wondergirlmoliy]

[wolflordsena]

Hey fam

I have a brand new song to be released

Titled: Nacking 😄

[kwakurichblogger]

🆕 👤Bisa Kdei 💽 Original #14Tracks @bisakdei #original #entertainment #music #love #fun #kwakurichworld #fashion #hiphop #dance #trending #party #news #artist #media #Ghana #nigeria #viral #events #photography #explorepage #music #sport #explore #actor #kwakurich #kwakurichblogger #album https://www.instagram.com/p/CntxguBIb0v/?igshid=NGJjMDIxMWI=

[kemetic-dreams]

Junkanoo is a street parade with music, dance, and costumes with origin in many islands across the English speaking Caribbean every Boxing Day (26 December) and New Year's Day (1 January). These cultural parades are predominantly showcased in the Bahamas where the music is also mainstreamed, and competition results are hotly contested, There are also Junkanoo parades in Miami in June and Key West in October, where local black populations have their roots in the Caribbean. In addition to being a culture dance for the Garifuna people, this type of dancing is also performed in The Bahamas on Independence day and other historical holidays. Historically, Junkanoo parades were also found in Southeastern North Carolina.

However, the custom became less popular after slavery was abolished. The last known Jonkonnu celebration in the Southern United States was in Wilmington, N.C., in the late 1880s.

The festival may have originated several centuries ago, when enslaved descendants of Africans on plantations in The Bahamas celebrated holidays granted around Christmas time with dance, music, and costumes. After emancipation the tradition continued and junkanoo evolved from simple origins to a formal, organised parade with intricate costumes, themed music and official prizes within various categories.

The origin of the word junkanoo is disputed. Theories include that it is named after a folk hero named John Canoe or that it is derived from the French gens inconnus (unknown people), as masks are worn by the revelers.

According to Edward Long, an 18th-century Jamaican slave owner/historian, the John Canoe festival was created in Jamaica and the Caribbean by enslaved Akans who backed the man known as John Canoe. Canoe, an Ahanta from Axim, Ghana, was an ally soldier for the Germans, until one day he turned his back on them for his Ahanta people and sided with Nzima and troops in order to take the area from the Germans and other Europeans. The news of his victory reached Jamaica and he has been celebrated ever since that Christmas of 1708 when he first defeated Prussic forces for Axim. Twenty years later his stronghold was broken by neighbouring Fante forces aided by the military might of the British.

Ahanta, Nzima and Fante captives were taken to Jamaica as prisoners of war. The festival itself included motifs from battles typical of Akan fashion. The many war masks and war dance formations of Ahanta people became part of this celebration the world over, especially in the Caribbean. The elaborate masks and attire resemble Akan battledress with charms, referred to as a "Batakari".

Djékanou is a town in central Ivory Coast. right in the middle of the Akan population of that country. It is a sub-prefecture of and the seat of Djékanou Department in Bélier Region, Lacs District. Djékanou is also a commune

[zoot-marimba]

I want to take the time to remember the late Isaac Hayes, soul music singer, songwriter, musician, arranger, score composer, actor, and of course the voice of Chef, who would have turned 82 yesterday.

Where do I even begin with this man? One of the principal songwriters, musicians, and producers for so much of Stax Records' heyday, co-writing several hits for the likes of Sam & Dave with Dave Porter as well as contributing organ, piano, saxophone, and horn arrangements to several records and becoming a critical figure in Southern soul in the process.

He would then went on to cut solo records of his own like Hot Buttered Soul, Black Moses, and the soundtracks for films like Shaft and Tough Guys, on top of headlining the iconic Wattstax Festival. In a time when soul music was largely driven by the three to four minute singles to crossover to the pop charts, Isaac crafted soul epics that demanded the listener's attention. Rather it be through originals or reinterpretations of others' songs, any song Isaac sang was instantly his. Besides pioneering progressive soul, Isaac would also foreshadow the rise of hip hop with his series of monologues known as "Ike's Rap".

Having grown up in poverty and having been friends with people such as Dr. King, Isaac always sought to not only deliver words of empowerment for black people but also make the world a better place. As the co-founder of the Black Knights, Isaac helped fight police brutality and discrimination, and would also establish food banks within Memphis and help black voters get registered. He would also establish the Isaac Hayes Foundation in 1999 to assist vulnerable populations in realizing their fullest potential in areas such as health care, economics, and environmental and human development. As an Ambassador for the World Literacy Crusade, Isaac would be crowned an honorary king of Ghana's Ada district for his work in supporting literacy. It was also in Ghana that Isaac opened a school designed to link African children with those in American inner cities through the internet.

So when two guys in Colorado were creating a show and came up with the idea of a soul singing school cafeteria chef, Isaac ended up being just what the doctor ordered. Beyond the credibility of having an actual soul singer voice the character, Isaac gave Chef so much more beyond that. Rather it be the wacky, surreal Kid's-Show-Gone-Amok or the greater emphasis on social commentary, Chef provided a strong anchor to the madness that surrounded him. He was the rock that the boys could always fall back on, the confidant when things go awry. Through Isaac, Chef had humor, joy, warmth, conviction, and ultimately, love. And that is both of their greatest legacies above all else.

[crispycreambacon]

Cliché Then and Now

An analysis of the Fraggle Rock episode "Mokey, Then and Now" and how stereotypes permeate our perceptions

Disclaimer: I am not calling for a disavowal of the show, nor am I implying the creators were intentionally racist. I am also not African, so there are likely things I got wrong or missed out on.

Special thanks to @jazzyjuno for contributing to the essay and @madamegemknight for helping me compile screenshots!

— ☆ —

When I first watched the Fraggle Rock episode “Mokey, Then and Now”, I laughed at the usual wackiness and welcomed the surprise of a dynamic between Mokey, Boober and Wembley. However, a strange discomfort lurked at the back of my head once they traveled to the past and met their ancestors. I couldn’t understand why at first when the episode seemed to radiate nothing but the fun I’ve come to expect from this show. Then, the first song came on.

I looked up the lyrics to confirm what I had heard, and to my disappointment, I didn’t mishear. This is one of many examples of pop culture’s reference to Vodou, a widely misunderstood religion from Haiti that garnered an unfair reputation for being “dangerous” and “demonic”, and like a lot of media back in the day—even still today—Fraggle Rock utilized this to create a mystifying atmosphere with a sinister undercurrent. While the portrayal is not as negative as the caricatures surrounding it, it is still a questionable usage of an already stigmatized religion.

(From the first verse)

Who do you do? We do voodoo

(We do voodoo)

Who do you do? We do voodoo

(Who do you do?)

(From the chorus)

Eye of bat, ear of toad,

Hoppin' down the dusty road,

Lizard, gizzard, beetle stew,

These will bring good luck to you.

It's true... True Voodoo!

Caterpillar, caterwaul,

Crawling up the garden wall,

Song of shadow, air of rain,

These will make you strong again.

It's true... True voodoo!

It wasn’t just the lyrics that caught my eye. Funnily enough, I went to the comments section of the music video, and I saw someone say this.

This person is not the only one who made the connection. So have I, and that is because the instrumentation sounds like an amalgamation of different African music genres. The beginning shots even showed the past Fraggles playing drums which look similar to the djembe, a percussion instrument from West Africa.

I had originally thought the instrumentation derived solely from Afrobeat, but my friend Juno pointed out how the creators had blended music from different cultures together to create what was commonly identified as tribal music, making it difficult to pinpoint a specific genre it was emulating. She even caught similarities to music outside of Africa, namely the Axé genre from Salvador, Brazil.

Once that link had been established, I realized why I felt uncomfortable with the past Fraggles. The creators of this episode likely meant to play on generic caveman stereotypes, but in doing so, they accidentally emulated elements of African culture and their stereotypes.

• African Influences in the Past Fraggles' Culture

Take a look at the clothing that the past Fraggles wore. Their accessories and colorful patterns allude to tribal African clothing, specifically Maasai bead necklaces from Kenya and Tanzania, and other jewelry they wear are made from natural materials such as stones, plants and hay.

Covering hair is a very common practice in many African countries such as Nigeria, Ghana and Zimbabwe to the point the clothing they use to wrap their heads has its own name which is a headwrap. While the hats that the past Fraggles wear aren’t explicitly headwraps, the past Fraggles demonstrate a reverence of covering their heads to the point when Mokey accidently cited a word to force them to take their hats off, they cried out in despair.

Moreover, when people depict Africans in media or simply imagine them, Africans are often imagined as bald which is a consequence of the generalization of an important part of ancient culture and the spread of ideas propped up by eugenicists. Guess what happens when the past Fraggles take their hats off.

The past Fraggles operated under a monarchy under the “Great and Wondrous leader” Fishface Fraggle whose presentation screams of what an average person may think of when visualizing an African king. His sceptre is carved like an Asante linguist staff—which, while not held by the king, is closely related to the king—and his throne has a loose resemblance to a palanquin which, while not exclusive to African culture, is used in Ghana. To add onto the African king imagery, the past Fraggles briefly showed off fans in the first song which are associated with the king’s fan bearers in Egypt.

• The Poor Implications

On its own, the past Fraggles having African influences in their culture isn’t an awful idea. It only becomes a problem when those influences are being used in a context which further perpetuates African stereotypes.

With all of this in mind, Boneface Fraggle suddenly takes on the “savage caricature” image which depicts Africans wearing bones in their nose and speaking in “broken” English.

It wasn’t just Boneface who spoke like this. There were multiple instances where the past Fraggles didn’t follow General American English and chanted caveman speech which has been associated with Africans to imply their lack of articulation and therefore inferiority.

The savage and uncivilized stereotypes are pushed further when the past Fraggles act in an unsavory way. For instance, they have outlawed laughter, even though it is a completely natural act, and imprisoned a Fraggle for breaking this law.

When Mokey is proven to not be Blundig Fraggle as she claimed to be, they immediately called for her, Boober and Wembley to be imprisoned and tied to a rock for what is implied to be eternity.

• Why Should We Care?

After all, the creators likely didn’t consciously draw inspiration from African cultures, nor did they intend to enforce these stereotypes. In fact, I proposed they were likely focusing more on caveman imagery.

That’s the thing though. Stereotypes, especially racial ones, are ingrained in us so deeply that we can subconsciously be influenced by them when we create and enjoy art connected to their subjects. Caveman stereotypes have a lot of overlap with African stereotypes, so in the creators attempting to portray one image, they accidentally invoke another.

In spite of my speculations on them drawing from cavemen, we cannot be completely sure of the intentions of the creators when trying to portray the past Fraggles as from what I can tell, they had not made them public. Regardless of what they intended, that doesn’t erase that the culture of the past Fraggles can be interpreted as a cumulation of African stereotypes.

We may not even remember where stereotypes originate from as they are a gross oversimplification of observations from our ancestors, yet these stereotypes stick with us and our culture even if we aren't actively thinking about them. Believing and passing on generalizations is a lot easier than thinking of all the nuances of a subject and researching where these generalizations came from.

Let me make it clear: you are not a bad person for not noticing before. The creators are not bad people for unintentionally perpetuating these stereotypes. This isn’t an issue with individual morality. Stereotypes are, by their design, meant to go unchallenged for literal centuries, and people aren’t meant to ponder over their validity. They are presented as simple truths so that we won’t have to think about why they factor into how we treat and think about other people, and we won’t have to confront the prejudice that they can cause.

This is why we have to actively call out stereotypes when we do notice them because how else will we ever stop believing them so easily? If we never question why we believe and enforce them, how can we undo their harm? Even something as small as pointing out when stereotypes are used in a TV show or calling out someone who uses them for their tasteless jokes can lead to bigger changes such as dismantling the racism which benefited from stereotypes.

• So What Do We Do About It?

Moving forward, we need to be more mindful about how we portray subjects in our art to ensure we can explore them with the nuance they need and to ensure that marginalized groups aren't harmed by our art. We also need to be aware of when the media utilizes these stereotypes and how they are presented in the media’s context. Recognizing harmful portrayals in others’ work can help us stay vigilant when making our own art, and we can also help each other realize our own shortcomings and minimize the harm done in the future. We live and learn then, we can live and learn now.

[madamlaydebug]

Erykah Badu Posing for her High School Senior Picture in 1989.

The Photo at the very bottom was also Taken in 1989.

Erica Abi Wright (born February 26, 1971), known professionally as Erykah Badu, is an American singer and songwriter. Influenced by R&B, soul, and hip hop, Badu rose to prominence in the late 1990s when her debut album Baduizm (1997), placed her at the forefront of the neo soul movement, earning her the nickname "Queen of Neo Soul" by music critics.

Erykah Badu was born in Dallas, Texas. Badu had her first taste of show business at the age of four, singing and dancing at the Dallas Theater Center and The Black Academy of Arts and Letters (TBAAL) under the guidance of her godmother, Gwen Hargrove, and uncle TBAAL founder Curtis King. By the age of 14, Badu was freestyling for a local radio station alongside such talent as Roy Hargrove. In her youth, she had decided to change the spelling of her first name from Erica to Erykah, as she believed her original name was a "slave name". The term "kah" signifies the inner self. She adopted the surname "Badu" because it is her favorite jazz scat sound; also, among the Akan people in Ghana, it is the term for the 10th-born child.

After graduating from Booker T. Washington High School for the Performing and Visual Arts, Badu went on to study theater at Grambling State University, a historically black university. She left the university in 1993 before graduating, to focus more fully on music. During this time, Badu took several minimum-wage jobs to support herself. She taught drama and dance to children at the South Dallas Cultural Center. Working and touring with her cousin, Robert "Free" Bradford, she recorded a 19-song demo, Country Cousins, which attracted the attention of Kedar Massenburg. He set Badu up to record a duet with D'Angelo, "Your Precious Love", and eventually signed her to a record deal with Universal Records.

Badu's career began after she opened a show for D'Angelo in 1994 in Fort Worth, leading to record label executive Kedar Massenburg signing her to Kedar Entertainment. Her first album, Baduizm, was released in February 1997. It spawned four singles: "On & On", "Appletree", "Next Lifetime" and "Otherside of the Game". The album was certified triple Platinum by the Recording Industry Association of America (RIAA). Her first live album, Live, was released in November 1997 and was certified double Platinum by the RIAA.

Her second studio album, Mama's Gun, was released in 2000. It spawned three singles: "Bag Lady", which became her first top 10 single on the Billboard Hot 100 peaking at #6, "Didn't Cha Know?" and "Cleva". The album was certified Platinum by the RIAA. Badu's third album, Worldwide Underground, was released in 2003. It generated three singles: "Love of My Life (An Ode to Hip-Hop)", "Danger" and "Back in the Day (Puff)" with 'Love' becoming her second song to reach the top 10 of the Billboard Hot 100, peaking at #9. The album was certified Gold by the RIAA. Badu's fourth album, New Amerykah Part One, was released in 2008. It spawned two singles: "Honey" and "Soldier". New Amerykah Part Two was released in 2010 and fared well both critically and commercially. It contained the album's lead single "Window Seat", which led to controversy.

Badu's voice has been compared to jazz singer Billie Holiday. Early in her career, Badu was recognizable for her eccentric style, which often included wearing very large and colorful headwraps. She was a core member of the Soulquarians.

As an actress, she has played a number of supporting roles in movies including Blues Brothers 2000, The Cider House Rules and House of D. She also has appeared in the documentaries Before the Music Dies and The Black Power Mixtape 1967-1975.

AWARDS & NOMINATIONS

▪In 1997, Badu received twenty nominations and won three, Favorite Female Solo Single for "On & On", Favorite Female Solo Album for Baduizm and Best R&B/Soul or Rap Song of the Year for "On & On" at the Soul Train Lady of Soul Awards.

▪In 1998, Badu received fourteen nominations and won eight, including Favorite R&B/Soul or Rap New Artist at the American Music Awards; Best Female R&B Vocal Performance for "On & On" and Best R&B Album for Baduizm at the Grammy Awards; Outstanding New Artist and Outstanding Female Artist at the NAACP Image Awards; Favorite Female Soul/R&B Single for "On & On", Favorite Female Soul/R&B Album for Baduizm and Favorite New R&B/Soul or Rap New Artist for "On & On" at the Soul Train Music Awards.

▪In 2000, Badu received two nominations and won one, Best Rap Performance by a Duo or Group at the Grammy Awards.

▪In 2003, Badu received twelve nominations and won two, including Video of the Year for "Love of My Life (An Ode to Hip-Hop)" at the BET Awards and Best Urban/Alternative Performance for "Love of My Life (An Ode to Hip-Hop)" at the Grammy Awards.

▪In 2008, Badu received eleven nominations and won two, including Best Director for "Honey" at the BET Awards and Best Direction in a Video for "Honey" at the MTV Video Music Awards. Overall, Badu has won 16 awards from 59 nominations.

▪In 2023, Rolling Stone ranked Badu at number 115 on its list of the 200 Greatest Singers of All Time.

[illustratinglaura]

Marauders African AU Moodboard.

Something is brewing.

Image sources:

1. Adrian Patterson https://www.instagram.com/beingadp?igsh=MTFnOG1scjd0bTdhdA==

2. Fabrice Monteiro https://www.artsy.net/artwork/fabrice-monteiro-the-missing-link-joe-1

3. Have not yet found the original photo, but there was Pinterest upload: https://in.pinterest.com/pin/408349891216856527/

4. Theresa Fractale http://www.blackgeeksociety.com/socialpsychopathblrtheresa-fractale/2016/08/26

5. And 6. http://mondoexploito.com/?p=7602

7.killstar https://www.instagram.com/p/BVEyPYdj313/?igsh=MTliM3I3MHFheTkxOA==

8. Simon Chetrit, Afro Punk Festival 2018, Repeller https://repeller.com/afropunk-festival-street-style-2018/?utm_source=newsletter&utm_medium=email&utm_campaign=mr_owned

Also: there should definitely be a school of magic in Timbuktu. And Benin. And Egypt. Why only Uagadou?

There must have been some type of shitty after taste from imperialism and lot of the Ancient schools just decided not to be involved with the Western Wizarding world.

I bet the Western magic is so different from African magic that the Western schools of witchcraft don’t even recognize the African school of magic as real magic. And the magic would be different in different parts of Africa.

in West Africa There would be a lot more nature bound rituals, music and collaboration with the ancestral spirits and communal magic. The spells would involve long incantations based in ancient African languages done in sacred ritual places and there would be less emphasis on face to face duels and other brutal methods of the whites. There would be no use of fragile magic wands. The magic would be tied to an objects like a pot filled with magical items hidden in ground and the object would be dug out and used to perform powerful magic in secret gatherings. The magic would be communal and would depend to be produced as a group and not an individual effort. There would also be significantly more animagi and no requirement to be registered, much to the annoyance of the Europeans.

So Uagadou was probably just the most European complying and adopted more of their techniques and was included in the list of officially recognized schools as they fit the European idea of what magic is and what a school of magic is.

Just my thinking. I would love someone to develop this idea. I’m feeling sort of not allowed to go very far with this on my own as I’m not African and am very bloody white myself. I have however lived in Ghana for a decade and married to Ghanian for 16 years and I feel pretty integrated and maybe this is why I feel so drawn to the idea of African schools of witchcraft. Maybe as something my kids could relate to.

[irunevenus]

Voodoo: The Deep and Complex Spirituality of West Africa

Voodoo is a spiritual practice deeply rooted in African culture, especially in the West African regions of Benin, Togo, and Ghana. Although often misunderstood and stigmatized by popular representations in Western media, Voodoo is a rich and multifaceted tradition that offers unique insights into the connection between the human and the divine, life and death, the seen and the unseen.

The Origins of Voodoo

Voodoo has its roots in the religious traditions of the Fon and Ewe people of Benin and Togo. However, its practices and beliefs are as old as the civilizations that flourished in these regions. The word “Voodoo” comes from the Fon word “vodun,” which means “spirit” or “divine force.” For Voodoo practitioners, the world is filled with spirits that inhabit nature, ancestors, and everyday objects.

These spirits, or “loas,” play essential roles in the lives of devotees. Each loa has its own characteristics, preferences, and powers, and can be invoked to help in specific areas of human life, such as health, love, protection, and prosperity. The loas are not gods in the traditional sense, but rather intermediaries between humans and the supreme Creator, known as Mawu or Nana Buluku, depending on the region.

Voodoo and the African Diaspora

The transatlantic slave trade played a crucial role in the spread of Vodou to the New World. Enslaved Africans took their beliefs and practices to the Caribbean, Latin America, and parts of the United States, where Vodou evolved into different forms, such as Haitian Vodou, Brazilian Candomblé, and Cuban Santería.

In Haiti, Vodou developed into a unique spiritual system, combining elements of African Vodou with the Catholicism imposed by French colonizers. This fusion of beliefs created a syncretic religion that played a crucial role in Haitian history, including the Haitian Revolution, where rebel leaders turned to the lwa for guidance and strength.

The Structure and Practice of Vodou

At the heart of Vodou is the belief in the interdependence between the visible world (the world of the living) and the invisible world (the world of spirits and ancestors). Vodou rituals are performed to maintain balance between these two worlds, ensure the health, prosperity, and protection of devotees, and appease the lwa.

These rituals are led by priests and priestesses known as houngans and mambos. They are responsible for interpreting the will of the lwa, conducting ceremonies, and offering sacrifices, which may include food, drink, and in some cases, animal sacrifices. During the rituals, devotees may enter a trance, allowing a lwa to take possession of their body and communicate directly with those present.

Vodou is also deeply communal. Ceremonies are not only religious events, but also moments of social bonding, where music, dance and singing play a central role. Through these expressions, practitioners reinforce their connections with the loas and with each other, creating a sense of belonging and collective identity.

Myths and Realities

The practice of Voodoo has been the subject of much misinformation and prejudice, especially in the West. Films and popular literature often portray Voodoo in a sensationalist manner, associating it with evil practices such as creating zombies or using Voodoo dolls to harm others. These depictions are not only inaccurate, but also disrespectful of the deep spiritual traditions that Voodoo represents.

In reality, Voodoo is a religion of balance and harmony, where the well-being of the community and the preservation of the natural order are paramount. While there are aspects of justice and retribution in Voodoo, these are only part of the broader spectrum of practices intended to promote life, healing and spiritual connection.

Voodoo Today

Today, Voodoo continues to be a living and vibrant practice, both in West Africa and in communities throughout the African diaspora. In Benin, Voodoo is recognized as an official religion, and celebrations such as National Voodoo Day on January 10 draw thousands of devotees and tourists. In Haiti, despite social and political challenges, Voodoo remains a central force in the country’s national and cultural identity.

In addition, there is growing global interest in Voodoo, especially among those seeking forms of spirituality that offer a more direct and personal connection to the divine. For many, Voodoo offers an alternative to traditional religions, emphasizing community, ancestry, and a connection to nature.

Conclusion Voodoo is much more than popular caricatures make it out to be. It is a rich and complex expression of spirituality that transcends cultural and geographic boundaries, connecting millions of people around the world.

[burlveneer-music]

Afla Sackey & Afrik Bawantu - Destination

Wah Wah 45s are proud to present the debut LP on the label from Ghanaian vocalist and djembe drummer Afla Sackey. With his band Afrik Bawantu, he has fulfilled the dream of blending traditional Ghanaian music with sizzling Afrobeat grooves, topping it off with an irresistibly funky twist! Their unique blend of vibrant African rhythms with brisk, animated horn sections and heavy bass-lines bring a fresh perspective to the Afrobeat genre. Afrik Bawantu released their debut EP, Noko Hewon, back in 2013 to much critical acclaim, and went on to be nominated in the World Music Network’s charts. In 2014 they released their debut LP, Life On The Street, which showcased the original style of Afla’s compositions, as well as his group of gifted musicians. Afla himself was born in Ghana and started his creative life as a dancer with the country’s famous Bukom Ensemble, known for their infectious folk-driven rhythms. His elders soon soon recognised the musical potential of young Afla and encouraged him with careful guidance and training. This provided the foundations upon which Sackey has developed his career in music and dance. Upon moving to London, which was made possible by the Kakasitsi Master Drummers Of Ghana, Afla undertook a masters degree at Guildhall college, from which he graduated in 2012. With his wealth of experience in music and dance, Afla went on to become an inspiring educator, providing workshops and training to a diverse range of students from primary schools to universities. He has taught Afrobeat and Afro Jazz at the Royal Academy of Music where he still often appears as a guest lecturer, as well as acting as a workshop facilitator in places as far flung as Japan, Singapore and Argentina. Afla is a great collaborator, and has worked with legendary artists such as the Sun Ra Arkestra, Ginger Baker and Tony Allen, as well as his contemporary projects with Ibibio Sound Machine, Sons Of Kemet, Dele Sosimi, The Estuary 21, Eparapo and his most recent Afro-electronic project with producer Raz Olsher - Raz & Afla.  Afla Sackey - Percussion, lead vocals Louis Pocock - Drums James Wilson - Bass Oscar Jerome - Lead guitar Henry Lawry - Trumpet, backing vocal Jack Thrush - Tenor sax Harry Greene - Baritone sax, rhythm guitar Axel Kaner Lidstrom - Trumpet Andrew Woolf - Tenor sax Laura Mills - Backing vocals Alexis Krainou - Guitar solo on Sane Ye Written,arranged and produced by Afla Sackey Artwork by Tokio Aoyama

[parkduris]

HOME → SOLO → DURI.

PROFILE:

STAGE NAME: Duri. BIRTH NAME: Park Duri (박두리). BIRTHDAY: December 25th, 2000. ZODIAC SIGN: Capricorn. CHINESE ZODIAC SIGN: Dragon. HEIGHT: 181cm (5'11''). WEIGHT: 65kg (145 lbs). BLOOD TYPE: AB. MBTI TYPE: INFJ. REPRESENTATIVE EMOJI: 🐶. INSTAGRAM: @\duri FANDOM NAME: durian REPRESENTATIVE COLOR: lavender (#E6E6FA)

Duri Facts:

He is from Itaewon-dong, Yongsan-du, Seoul, South Korea.

Duri has stated that he was born on December 25th, 2000 at 9:48pm. He referred to himself as a "late Christmas gift."

While growing up, Duri used to attend a vocal and music academy. He says he chose to do this instead of cram school because it interested him more.

In school, he always used to be the class representative every single year because he was friends with everyone. [Confirmed by Friend on Twitter]

He's an only child and was raised by his Uncle & Aunt.

Education: Seoul School of Performing Arts (SOPA).

He has level 10 certificates in Violin, Piano, and Guitar.

He has level 5 certificates in English and Japanese.

Duri said he learned English and Japanese on his own for a long while and completed his testing fluency before the end of high school. He says he did this because he wanted to learn, but also because he wanted to better help foreigners in Itaewon while growing up.

Duri is certified in being a vocal trainer, which he gained as a teenager.

Before debut, Duri was a Youtuber under the name "Duri's Record Shop." In October of 2017, he went semi-viral with a cover of Whitney Houston's "I Will Always Love You"

He signed with Secret Garden in November of 2017.

He said that after he went viral, tons of Entertainment companies reached out to him, including Everlast Entertainment. However, he ultimately chose Secret Garden because they wanted to debut him soon.

Duri states that he didn't really train, besides for a few different classes. Instead, he immediately started the debut process upon entering Secret Garden.

Duri stated that when he was fourteen, he won a talent show and was approached by a bunch of different scouts. However, he didn't think they were real and turned them down.

He always dreamed of being an idol.

Duri is known for being on variety shows and being a television personality. He's been main cast in Idol Dictation Contest, New World, and Youn's Stay. He won the award, Best New Male Entertainer, at the 1st Blue Dragon Series Awards.

He's been the brand ambassador for Ghana Chocolate, Coca-Cola, and Boy De Chanel in the past.

He's a really big cook, he said he learned when he was younger, and he tries to cook as much as possible.

Has an alcohol allergy. He said he's unable to have anything containing alcohol or anything that's fermented because of his allergy.

He doesn’t have a driver’s license and says he doesn’t want one. He tends to walk or take public transport. 

Known for his powerful voice and ability to portray a lot of emotions in his singing.

He can sing So Chan Whee’s “Tears” in the original female key.

Duri stated that his biggest inspirations are Whitney Houston, Céline Dion, Kelly Clarkson, Beyoncé, and various ballad singers.

Duri likes to do a lot of reading, he can often be seen reading while waiting around. He has a whole collection of books and has said at fan signs that he can’t pick a favorite book.

He says his special skills include singing high notes, singing, doing girl group dances, cooking, playing guitar, violin, and piano, English, Japanese, and being cute.

He said that he likes playing "cozy" video games and those are the only type of games that he plays.

His favorite colors are lavender and pink.

His representative emoji is 🐶.

Duri's favorite animal is dogs.

His favorite foods include pasta, anything chocolate, and hotteok.

He says he owns a collection of books, mugs, legos he built, and plushies.

[wondergirlmoliy]

[soulmusicsongs]

Soul from Ghana

Soul from Ghana in 13 tracks

Because of Money - The 3rd Generation Band (Ghana Soundz: Afrobeat, Funk and Fusion in the 70’s, 2003)

Etuei - CK Mann Big Band (C. K. Mann Big Band, 1976)

Fakye Me - Sweet Talks (Adam & Eve, 1975)

High Life - Glenn (Ghanababa) Warren (Rhythms Of Happy Feelings, 1980)

Hume Mmobo Me Nyame E! - Smart Nkansah ’s Black Hustlers (Smart Nkansah’s Black Hustlers Of Ghana, 1978)

I Beg - Tony Sarfo and The Funky Afrosibi (Superman, 1976)

Kwaku Ananse - The Apagya Showband (Nsamanfo/Baby-Baby / Kwaku Ananse, 1974)

Kyenkyen Bi Adi M'awu - K. Frimpong and his Cubano Fiestas (Kyenkyen Bi Adi M'awu, 1976)

Lift It High - Tony Sarfo and The Funky Afrosibi (Superman, 1976) 

Psychedelic Woman - Honey and the Bees Band (originally 1973 / Ghana Soundz: Afrobeat, Funk and Fusion in the 70’s, 2003)

Self Reliance - African Brothers International Band (Daben Na Obeba?, 1976)

Tei-Egwu - Afro Funk (Body Music, 1975)

This Is Music - Sidiku Buari (Revolution (Live Disco Show In New York City), 1979)

More Songs from Africa

African Funk from the Seventies

Ethiopian Grooves

Funk from Africa in 20 tracks

Soul from South Africa: 18 tracks  

[sheltiechicago]

Coming of Age

Rolling waves, sandy beaches and lush green palms. This is what Austria-based photographer Eric Asamoah (b. 1999) found when he arrived in the cities of Accra and Kumasi in Ghana. Later, whilst exploring his parents’ country of origin, Asamoah would meet a new generation of young men. They would rest, read and make music amidst the country’s picturesque landscapes. Soon, these adolescents would become the subject of Asamoah’s lens, resulting in two projects: The Day After Tomorrow and, most recently, Forever Lasts Until It Ends, which was made in and around Tongo, the capital of Ghana’s Talensi District.

[hardynwa]

Spotify list top exported Amapiano tracks

Spotify, an online streaming platform, has revealed top 10 exported Amapiano tracks on its streaming line. Jocelyne Muhutu-Remy, Managing Director for Spotify in Sub-Saharan Africa, said this in a statement on Monday in Lagos. The News Agency of Nigeria reports that Amapiano is a sub-genre of house music that emerged in South Africa in the mid-2010s with a hybrid of deep house, jazz and lounge music characterised by synths and wide percussive bass lines. Muhutu-Remy said that the top exported Amapiano tracks include Abo Mvelo (feat. Mellow & Sleazy & M.J); Love & Loyalty (Believe); Ameno Amapiano Remix (You Wanna Bamba); Big Flexa; Hamba Wena; WATAWI (feat. Davido, Focalistic & Abidoza); Abalele; Mina Nawe; Champion Sound and Tanzania. She also listed the top exported Amapiano artistes on Spotify as: DJ Maphorisa; Kabza De Small; Focalistic; Young Stunna; Mellow & Sleazy; DBN Gogo; Costa Titch; Major League Djz; Kamo Mphela and Daliwonga. “Amapiano’s unique sound and infectious beats have captivated audiences around the world, and are sure to keep fans dancing for years to come. “As more artistes emerge and push the boundaries of the genre, there is no doubt that Amapiano is set to become a mainstay in the global music scene. ” Listeners on Spotify love tuning into the genre on weekday afternoons, with Friday evening peaks. “Amapiano grooves, Spotify’s biggest Amapiano playlist is most popular among 18 to 24-year-olds, with listeners hailing from South Africa, United Kingdom, United States of America, Mozambique, Botswana, and Zimbabwe. “Spotify’s platform has helped Amapiano expand its reach, connecting the genre to a diverse global audience. With its steady growth and dedicated fanbase, Amapiano is poised to continue its success on Spotify and beyond,” she said. Muhutu-Remy added that Amapiano was arguably South Africa’s hottest cultural export right now and to showcase the genre, Spotify was hosting media and influencers from across the continent on an Amapiano tourism experience. She said this allows the artistes and influencers share the roots of the genre, the power of collaborations and how streaming was helping to export local music to the world. She noted that the experience was designed around some of Spotify’s most popular Amapiano playlists. According to her, the tour highlights South African and Amapiano culture for guests from Nigeria, Kenya, Ghana and South Africa. “In partnership with South African Tourism, it starts off with Amapiano 101- detailing the background of the genre, and giving guests a tour of its origins in townships like Mamelodi but also exploring other popular Amapiano spots in Soweto. “The Amapiano Grooves segment of the tour showcases the impact of clubs on the music. “The tour also tells a cultural story, like Mogodu Monday- the tradition of celebrating the least popular day of the week with Mogodu or tripe, and music. “It also gives participants the opportunity to meet with local artistes in the studio and see where the music happens,” she said. Muhutu-Remy noted that one of the top five exported Amapiano artistes in South Africa, Focalistic, dropped by for the first leg of the tour at one of the birthplaces of Amapiano, Jack Budha in Mamelodi, to share the genre’s origin story. “Spotify data tells the story of just how popular Amapiano is right now, both at home and all around the world- with close to 2 billion streams in year 2022, representing a 143 per cent increase year on year. “The genre has garnered a huge following, with more than 240, 000 playlists featuring Amapiano in the title and over 10 million playlists featuring at least one Amapiano track. “Over 40 per cent of Amapiano streams come from listeners outside South Africa,” she said. Nigerian artiste, WurlD, who also attended the first day of the tour explained why Amapiano is so popular around the world. ”Music is spiritual, Amapiano is spiritual. “I was a fan, watching from a distance. Music is energy, what people are experiencing with Amapiano is the heart and soul of the people of South Africa.” WurID said. Read the full article

[bunnywand]

so a couple of weeks ago when i was doing my big listen through of the whole mountain goats discography, i was gonna write a post about all of the mountain goats stuff that was officially released in one form or another at some point, but isn't currently available on bandcamp/other digital music services etc, and how likely i thought it'd be they'd get re-released at some point.. 🤔

and i didn't end up writing it bcos it would have taken a while and i didn't know how interested people would be in it.. but then today out of the blue, the "new asian cinema" ep suddenly got a re-release?? 😳 and it sounds like a couple of the other old eps could be on the way too, so maybe it is worth writing after all 😆

so, here goes..!! be warned, there's quite a lot though.. 😅

the yo-yo eps (new asian cinema / isopanisad radio hour / devil in the shortwave): a bunch of eps released between 1998-2002, i was originally gonna lump these in with the other eps, but with "new asian cinema's" re-release, it looks like all 3 of these are gonna be available again soon!!

"letters from belgium" single (with "nova scotia" + "attention all pickpockets" b-sides): i separated this one from the other singles because it was released on the 4AD label, and the other singles from that era (see america right, palmcorder yajna, dilaudid) are available so.. i'm honestly not sure why this one is missing?? 😵‍💫 but hopefully it'll get re-released and join the others some time!!

other singles/eps (on juhu beach / jam eater blues / satanic messiah): there's nothing to really separate how likely/unlikely i think these getting a re-release would be, but they were all p limited releases, so it'd be great to finally see them widely available, and i could definitely see it happening sometime!!

split singles/eps (beside recordings vol. 1.2 / black pear tree / moon colony bloodbath): nothing to really separate these ones from the aboves ones either, although idk if these being split releases with other artists could complicate things at all?? 🤔 but it'd be a shame if they never got re-released someday, especially with how good "black pear tree" is 😧

bonus tracks (naming day, they are stone swallowers, keeping house from "get lonely" / toolshed, last man on earth from "heretic pride"): getting into the realm of things i don't think are too likely now, the "get lonely" bonus tracks were available on the japanese cd iirc, and the "heretic pride" ones were itunes/amazon bonus tracks respectively.. toolshed is actually still available on itunes/apple music, but i don't think last man on earth is available anymore, and the kind of.. obscureness of these tracks probably damages their chances of getting a re-release, unless the albums themselves ever get reissued?? 😕 but it's not impossible, maybe it could happen for their 20th anniversaries in a few years!!

demo albums (come, come to the sunset tree / the life of the world in flux / all survivors pack): the bonus demos for "the sunset tree," "the life of the world to come" and "all eternals deck," it'd really surprise me if these ever got a wide release cos i think part of the appeal of them is that they're supposed to be like.. limited edition releases, especially in the case of "come, come the sunset tree" which has almost a kind of legendary status 😳

online releases (hospicio de huerfanos / songs for vamsidasa babaji / three for mike g / seven for australia / other random songs etc): at various points john's released songs or bundles of songs online for various reasons, more than i could list here.. i honestly can't see these ever getting an Official release though, it was kind of the point of them to be like, ephemeral and not ~proper releases~ 🤔

compilation appearances: so there's a tonne of compilations tmg have done songs for.. everything on this list before 2001 (except for "the pieman" 😦) was released on the protein source of the future/bitter melon farm/ghana compilations but everything since has never like.. reappeared outside of their compilations?? i think it'd be really cool to do like, a 4th installment in the protein source/bitter melon/ghana series gathering them all up in one place.. but i think the chances of that happening are honestly p slim 😅

taboo vi: the homecoming: the very first mountain goats release, john's been p outspoken about disowning this one, which is why it almost makes bottom of the list.. but who knows, in 8 years it'll be the 40th anniversary of it's release, maybe time will change his mind and it could get a special anniversary re-release?? 😆

hail and farewell, gothenburg: the never officially released follow-up to "sweden," john was p upset abt it getting leaked, which is why it makes bottom of the list, even below taboo vi 🙁 there's no way i could ever see this getting an official release, according to john it was never even intended to see the light of day in the first place 😔

and as far as i know, that p much wraps up about everything?? 😅 so here's hoping w/ the re-releases of the yo-yo eps that some of this other stuff starts cropping up again too!! 🥳