#Senegalese jazz

[mes-popcorns]

The French-Senegalese filmmaker Mati Diop has been described as “African film royalty.” Her mother was born in Paris, and worked as a photographer—and once as a Sahara guide—before pursuing a career in advertising as an art director. Her father is a guitarist and composer who emigrated from Dakar to Paris; his jazz-rock fusion band helped to establish the city’s world-music scene. And, if that wasn’t enough, her uncle is the legendary Senegalese filmmaker Djibril Diop Mambéty—who earned a permanent place in the pantheon of world cinema with “Touki Bouki.”

At first, Diop wanted to become a singer-songwriter, training her voice on Aaliyah songs and learning bass in emulation of Meshell Ndegeocello. But by 18 she was thinking about becoming a director. One source of inspiration was a scene of Gena Rowlands dancing in John Cassavetes’s “A Woman Under the Influence,” which showed her how camerawork could expand a performer’s range of self-expression. “I was moved by the space that was made for that woman to be,” Diop told Julian Lucas.

With her début feature, “Atlantics”—a gothic romance, a political fable about labor and migration, and an homage to Dakar, Senegal—Diop won international renown. But she passed on big-budget Hollywood projects (including “The Woman King”) before making her latest film, a fantastical documentary about art restitution. “Dahomey,” which chronicles the repatriation of 26 royal treasures from France’s Musée du Quai Branly to Benin, has reignited a moribund international debate about art restitution and transformed Diop into a French media fixture. “I wanted to make a film that would restore our desire for ourselves,” she said. Read Lucas’s profile of the filmmaker: https://newyorkermag.visitlink.me/Vx_yXq

[battleangel]

What About Killing Fields?

Michael Jackson literally screamed the title to this blog post in, Earth Song.

Please, go watch the video if youve never seen it before:

Why was Michael screaming the lyrics, literally screaming them, about killing fields trying to get through to us?

Trying to get through to our empathy?

Trying to make us give a fucking damn?

50k Palestinian civilians have been murdered in the genocide caused by Israel, funded by and weapons provided by the US & Boeing, since last October.

There is a pending famine caused purposely by the genocide that if it is not stopped by a PERMANENT ceasefire agreement will result in millions of deaths, including children.

They could unblock the bridge from Egypt to Rafah today.

They dont want to.

You do know who they is.

They could deliver emergency flotillas to feed all of the starving Palestinians today.

Are you claiming that the US has 4.3 billion dollars a year to fund Israels genocide but doesnt have money to deliver food to a few million starving Palestinians at risk of being murdered by a forced famine?

So, why dont they?

Instead, we have flour massacres (look it up), where starving Palestinians promised aid are literally gunned down by the IDF terrorists for attempting to obtain food that was promised to them.

It has happened again and again.

Palestinian starving civilians promised food and then murdered and gunned down in cold blood the moment they try to obtain literally life-saving food.

Netanyahu is purposely starving them and not allowing food and aid in.

Netanyahu is literally blocking the flotilla, the bridge from Egypt into Palestine and the emergency aid trucks all filled with food just sitting as millions of Palestinians, including children, are forced to literally eat cattle feed to survive.

Its not like dog food.

It is absolutely inedible for humans yet there are videos on social media of children choking down cattle feed.

What about killing fields?

But all Americans care about at a mass level are their 4th of July plans.

Why the fuck would you ever want to “celebrate” the “birth” of a nation that is white supremacist, colonialist, racist, misogynist, fascistic, built off of police brutality, slavery of Africans with no restitution or reparations free slave labor with no wages ever paid to anyone that built this nation, Christofascist, zionist, Greco-Roman, Eurocentric, ancient Egypt denying, Kemet denying, melanin denying, appropriating from Black people our music that we created - country (look it up), jazz, blues, rhythm & blues, rock (not Elvis - look it up), ofcourse hip hop & rap, reggae, soca, etc — our culture, our cornrows, our braids, our dreads, our hair, our Kanekalon, our Senegalese twists everything just becomes a fashion statement for the Kardashians — misappropriation of our culture and constantly stealing from us then lying about it and erasing us from the history — Disney stole designs from a black creator designer & cartoonist who was never credited (look it up) — why do you think there are so many examples of this?

Africa — Kemet which is ancient Egypt — is the birthplace of humanity.

Ancient Egyptians developed roads, highways, infrastructure, irrigation, aqueduct systems, modern medicine (look it up), modern surgery techniques, modern embalming techniques, astrology, math, art, history, astronomy, philosophy all before the Greeks & Romans & “Enlightenment” yet look who gets credited for inventing these things.

Jesus is a bastardized Horus from Kemet from ancient Egypt, it is a 1:1 bastardization and shit retelling, everything from dying and rising again the third day.

Look it up.

They removed all the wisdom, esotericism, knowledge of the self, mysticism, magick and replaced it with fear, dogma, control, a fake white guy with a beard, a Santa Claus in the skies sitting on a fake ass throne judging you for hooking up on Tinder last Saturday.

Yet you question nothing.

They say they dont know how the pyramids were built and that “even today” we do not have the technology the ancient Egyptians had and that the stones of the pyramid were built so close together that you cannot even slide a debit card through them.

Yet you question nothing.

You dont question why the capstone is missing on top of the pyramid or why it is on the back of the US $1 bill, the default global currency, with an eye above it.

Still you question nothing.

Look up the Eye of Ra.

Go read the lyrics of Earth Song while listening to MJ then come back:

79% of plastic that has ever been made still sits in landfills or the natural environment.

It takes 400 years for plastic to break down in a landfill.

Did you process that?

Every sanitary pad, every pantyliner, every plastic tampon applicator, every plastic utensil, every Red Solo cup, every Dixie cup, every plastic plate, every plastic water bottle, every Ziploc bag, every plastic cap to your toothpaste tube, every plastic potato chip bag, every plastic wrapper, every plastic medicine bottle, every single plastic K-cup for your daily morning coffee.

Every time you use a washing machine to wash your laundry, it causes microplastics that are released and end up in oceans.

Single use plastic is absolutely ubiquitous.

There have been 9.1 billion tons of plastic produced since throwaway culture was introduced in the 1950s and disposable plastic was introduced for the first time.

Plastic is actually extremely durable, they just didnt want it to be.

You do know who they is.

Why the 50s?

Because WWII had just ended and they needed something to mass produce now that they no longer needed to mass produce for the war.

So, single use plastic was introduced and marketed to the masses as convenient, time saving, modern and more hygienic.

Just how retirement was marketed as “golden years” — still pathetically parroted today — by a marketer.

Look it up. Also in the 1950s.

Prior to this marketing campaign, retirement was dreaded as a period of decline in health.

The marketing campaign shifted this to the golden years of your life.

It was a marketing campaign built to push retirement living and communities and it not only worked but the pathetic idea of working your entire life to “finally be able to do what you want for ten years max” is somehow still around today.

Brainwashing, grooming, conditioning, indoctrination centers.

Seductive marketing, hypnotic messaging, brainwashing techniques in advertising.

Psyops.

Same with homeownership being the “American Dream”.

Look it up.

It was started as a marketing campaign at the beginning of the 1900s by a president of a real estate company.

The marketing campaign proved so successful that starting with FDR’s New Deal, the United States government started pushing and promoting home ownership as quintessential to the American Dream.

Today, 94% of Americans believe that owning a home is a quintessential part of the American dream.

Brainwashed. Indoctrinated. Conditioned. Groomed.

Its actually taking on hundreds of thousands of dollars of debt, signing your life away for 20 to 30 years when you have no control over the housing market or economy.

Have you all already forgotten about Lehman Brothers, subprime mortgages and the housing collapse PURPOSELY CAUSED in 2008 by lenders providing loans to borrowers whom they knew would be unable to pay the loans back thus causing a housing market collapse and allowing the same lenders to buy back these subprime loans and pocket billions while the housing market and economy crashed and millions lost their homes and jobs?

Were you alive in 2008?

If not, look it up.

So, its a losing proposition, owning a home.

A HELOC is taking on more debt even if you borrow against the equity in your home in the form of a loan, you will have to pay the loan back with interest.

No thanks.

Even if you are clever and invest in upgrading your home, rent it out, make money off of it as a rental property or invest in it and flip it and profit it off of it or if you pay the loan off over 20 or 30 years, do upgrades to the home, then sell it for a significant profit, so what?

How the fuck is that a “dream”?

You just made money, who the fuck cares?

That doesnt explain the promotion of home ownership as a quintessential part of the American dream.

WHAT American dream???????

Meritocracy???????????

Most of the wealth in America is owned by white people as they concentrate the wealth then pass it on to their future generations and bloodline through estate planning and wills that transfers real estate and assets from wealthy parents to their children.

Wash rinse repeat.

How the fuck is that a meritocracy?????

Blacks are 13% of the population yet we make up over 80% of the prison population.

Meritocracy???????????

Poverty in America is overwhelmingly endured by Black and brown minorities.

Most of the youth in foster care are Black and brown.

Foster care youth end up houseless and imprisoned at an enormously higher rate.

What leads to being placed in foster care other than racist policies and being Black and brown?

Substance use by parents and parents becoming houseless.

What overwhelmingly causes substance use and houselessness?

Poverty.

Yet we still have never addressed poverty in America.

How hard would it be to take the Earned Income Tax Credit that right now goes to parents with children that own a home, take that money and repurpose it to a Universal Basic Income (UBI) that provides each American adult 18 and over with a $1k a month?

They have done studies that have shown that even $500 a month — and if we have $4 billion to send to Israel every year to kill innocent Palestinian civilians dont tell me we dont have $500 a month for every adult in the US — significantly improved the lives of families in poverty — they stopped skipping meals, they stopped undereating, starving, eating sugar sandwiches and dry cereal for dinner, they stopped avoiding getting needed urgent medical care, they stopped smoking to suppress their appetite (this is well documented, look it up), they stopped drinking as self medication, they stopped eating cheap shitty fast food and frozen meals — and surprise, surprise their quality of life went way up.

For $500 fucking dollars.

And surprise, surprise, they dont want that.

And you do know who they is.

Every year, the world produces nearly 400 million tons of plastic, a 19,000% increase from 1950.

The amount is forecast to double by 2050 and 90% is never recycled.

Over half of the plastics produced are used only once, for things like packaging, utensils and straws.

This is why the fight long termism and they dont want you googling Claudia Karina 2024.

They dont want you thinking 100, 250 and 500 years from now.

Everything is the now, everything is the moment, everything disposable, everything ephemeral, everything throwaway.

Almost 30,000 coffee pods go to landfill each month and take 500 years to decompose.

All that for a fucking cup of coffee?

Be so serious.

The fast fashion industry is the second-biggest consumer of water and is responsible for about 10% of global carbon emissions – more than all international flights and maritime shipping combined.

It’s a form of throwaway culture called fast fashion, which produces 92 million tons of waste annually on a global scale.

All to save a few bucks on a shittily designed outfit on Shein by workers that are underpaid working 12 to 16 plus hour shifts and if they make more than a few mistakes per MONTH, they have their pay docked.

But who cares as long as your fit is cute and cheap, right?

Humans have evolved to live on this planet – life on other planets, while technically possible, is undesirable, unhealthy and constrained.

Which ofcourse is Lord Elon & Lord Bezos’ plan — destroy Earth for Amazon Prime 1 Day Sales & Teslas EVs.

Then on to the next planet after they hump, pump and dump Earth.

Do I really have to tell you that only rich wypipo — who caused the destruction of Earth — will be along for the ride to Mars or wherever the fuck planet these sociopaths are planning to colonize next?

The poor, impoverished, disabled, and especially elderly and ofcourse Black & brown people will be left behind except for those who manage to make a deal with the devil, sell the souls and board the Galaxy Express to the next destination of destruction.

Stop driving your car.

Burning fossil fuels is one of the biggest drivers and contributors of climate change.

Need to drive to get to work?

Look into remote options, freelance and/or start your own business online at home.

Ride a bike or a scooter, walk, take a bus or public transportation.

Or just dont go out.

You dont have to shop, socialize, eat, “hang out”, go to the movies.

Do your hair yourself or shave it bald like I do every 3 to 6 months.

I only paid for the razor, after that it is free99 for me to shave my own head:

https://www.tiktok.com/t/ZPRES93oT/

https://www.tiktok.com/t/ZPRESVh9T/

If youre a woman or femme and afraid of the reactions, watch my above TikToks.

Question why they are reacting.

Question why you care.

Youve been programmed.

Do it anyway.

If you want color, use chalk dyes as they are temporary and wash out after one use and do not have harmful chemicals dyes and toxins as most salon & store bought vegan dyes do.

Or just slap on a shitty cheap wig if you want some color and variety. I bought a $20 wig two years ago that I wear if I want a colorful lewk.

Thats not wasteful.

Thats not buying a new wig every month or every 3 months. Or going to the salon every month or every 3 months. Or buying hair dyes or getting my hair colored every 3 months.

Deprogram yourself.

Cargill produces 11 billion pounds of beef a year.

11 billion. Every year.

Play Earth Song by Michael again.

Cargill made $170 billion last year.

Nothing is ever enough.

The essence of capitalism.

Nothing is ever enough under capitalism.

They are willing to light the world on fire and watch it burn as long as they can continue to grow faster, bigger, stronger, more acquisitions, more money, more wealth, more employees, bigger share prices, higher on the fortune 500, number one meat processor, made triple what Tyson Foods made, made $60 billion more than second closest competitor.

You do know who they is.

There is no price they arent willing to pay to be number one in a capitalist market, no corner they wont cut, no practice they wont stoop to, no low they wont lower themselves to, no lie they wont tell, no animal they wont mistreat/torture/drug/feed with hormones/breed & impregnate endlessly/crowd in overcrowded pens & stalls/terrify/decapitate while alive due to stun guns not working/decapitate up to six times before it works as it is a machine that is an imperfect process and the cow is alive for each attempt/feed dead cows to living cows to save money on feed/not allow them room to walk or move much less provide them with pastures open air sky sun water land.

What about yesterday?

What about disease?

There is no price they arent willing to pay to be number one in a capitalist market, no corner they wont cut, no practice they wont stoop to, no low they wont lower themselves to, no lie they wont tell, no animal they wont mistreat/torture/drug/feed with hormones/breed & impregnate endlessly/crowd in overcrowded pens & stalls/terrify/decapitate while alive due to stun guns not working/decapitate up to six times before it works as it is a machine that is an imperfect process and the cow is alive for each attempt/feed dead cows to living cows to save money on feed/not allow them room to walk or move much less provide them with pastures open air sky sun water land.

No low is too low when there are profits to be made & shareholders to satisfy.

Trump snorted Adderall during the filming of The Apprentice. Theres actual documentation of this.

Watch the video of Trump with pupils f u l l y dilated and fucking blown like a full out fucking meth head slurring the words, “I love everybody”, and tell me hes not snorting Adderall, doing meth and potentially coke.

After WWII, between 1945 and 1949, 20 million refrigerators, 21.4 million cars, and 5.5 million stoves were purchased by American households.

World War II had just ended, families had more disposable income on their hands, and more spending power.

Marketing. Programming. Shiny. New. Ironmen. Fitter. Iron lungs.

There was a huge push from the oil industry to get plastic single-use items adopted widely. For Mobil Chemical (now ExxonMobile), it was all about the plastic bags. During the 1960s they had been patenting all the plastic bag ideas they could. By 1977 they were producing their own brand of plastic bags.

Exxon Mobil created a Plastic Grocery Sack Council in 1985 to get customers to use plastic sacks widely.

Same with retirement being the “golden years” and purchasing a house “being the American dream”.

94% of adult Americans say they identify home ownership as a quintessential part of the American dream.

So, who created the concept since it is so ubiquitous in American society & culture?

The first president of the US League of Local Building & Loan Associations in the 1890s.

Pure propaganda.

Its literally a hundred fucking years of propaganda.

What about the “golden years” of retirement?

Instead of dreaded years of decline, Del Webb revolutionized retirement in America to be something people desired and longed for.

Through the magic of marketing, retirement no longer only meant the end of work. Del Web cleverly sold retirement as the beginning of a new and even better life.

Ten fucking years of retirement is a “life”?

Youve been programmed.

Del Web was simply marketing his retirement communities and rebranded what Americans thought of retirement as.

Look up “Sun City” communities.

Thats why youre slaving your life away at a job you either dont like, hate, or apathetic about, indifferent to, which is literally designed to overwork you, overwhelm you, shut you down, attack your psyche, attack your aura, energy vampires draining your energy, exhausting you, constant pointless masturbatory meetings, constant slacks, IMs, emails, notis.

Constant demands to break you as a person.

Its mindbreaking.

The 9 to 5.

Look up why cubicles were “invented” in the 1960s.

Wake up.

Freelance. Start your own business. Create social media content.

Do what you want now, not when youre 65.

What happens if you die at 64?

The entire idea people predicate their lives on — that they should study hard get good grades graduate; get a good job work hard save for retirement; ten years max before they die “enjoy their golden years” aka retirement.

Wake up.

Per Google:

• Extreme heat waves can cause mood swingsand other psychological effects that can impact mental health:

• Mood changes: Heat waves can cause irritability, anxiety, depression, and impulsivity.

• Cognitive issues: Heat waves can cause trouble concentrating, memory problems, and slowed reaction times.

• Sleep disruption: Heat waves can make it difficult to sleep, which can contribute to mood fluctuations and worsen mental health conditions.

Its an added benefit for them on top of the record profits that cause the climate change that cause the extreme weather, heat waves & poor air quality.

Its not just bad for the environment.

They are aware of the effects as these studies have been around for years.

They want people disordered, addicted, depressed, anxious, overworked, mind body imbalance, severed from nature, obsessed, stressed, never self actualizing, never ascending.

Watch the Earth Song video by MJ:

Understand why he is literally screaming.

Screaming to get through to us.

Do we give a damn?

Really listen at 2:58.

Hes trying to get through to our collective empathy.

Screaming!

Almost 30 years later after this song and video was released, all of these questions can be posed to us today.

Every issue has gotten worse, not better.

Do we give a damn?

Look at the destruction all around MJ in the video.

Look at the destruction weve caused.

Ecological destruction.

Look at the trees surrounding MJ as he screams for empathy, screams for justice, screams for mother Earth, screams for our humanity.

Do we give a damn?

Are we so cruel, so indifferent, so apathetic, so numb to our own beautiful planets destruction?

Who cares, right? We’ll just go destroy another.

And another. And another…

There’ll always be another Elon Musk, Jeff Bezos, Tim Cook, Trump, J.D. Rockefeller, Ford.

There will always be another leviathan and titan of industry.

Always be more strongmen and ironmen.

Why do you think that is?

Who are the Reptilians?

Who are the inhabitants that live INSIDE the middle of the earth controlling our politics and elections.

Even you are aware that our elections arent actually free or they wouldnt allow them.

Thats why theres never a change.

Trump and Biden again?

The inhabitants of the middle of the planet control the Reptilians — world political leaders and industry titans and leviathans and military leaders.

They ensure that humanitys consciousness never ascends on a mass level and that there is no mass ascension which would lead to a planetary ascension which would remove the grid that the inhabitants of the earth placed there to suppress our mass consciousness and awakening, to keep our third eyes closed and to keep us and our planet from self actualizing from the current third dimension to the tenth dimension.

Do you know who “they” is?

Watch Futurama and actually understand that what is presented to you as “jokes” are the dark entities controlling the dark empaths that currently rule our world.

The Bidens, Trumps, Netanyahus, Blinkens, Jamie Dimons, Elon Musks, Jeff Bezoses, Roger Goodells, Vince McMahons, Tim Cooks, Bill Gates.

All white men — have you ever wondered why that is?

Even Obama descends from the same UK royal bloodline that all US Presidents have descended from.

Look it up.

They’re Reptilian.

The tens of thousands of animal species that WE humans have made go extinct.

1 species — human — is not more worthy than even ONE animal species.

Yet we have made over 75 PERCENT of animal species go extinct with our enviornmentally destructive and capitalist driven practices.

Yet people have the AUDACITY to call ME a terrorist?

Im an "ecoterrorist" because I am for the VOLUNTARY extinction of the human race?

Then what are they when they are okay with the extinction of tens of thousands of animal species by ONE disgustingly destructive species — HUMAN — to the extent that over 75 PERCENT of all animal species that have ever existed on Earth are now extinct because of US, humanity!

THEY are the terrorists, NOT me!

I want the Earth saved and humanity extinct.

They want what Elon & Bezos wants — the destruction of Earth and then humans, just like the Borg, just move to the next planet and fucking destroy it and I dont want that.

There has been no reversal of these consumerist, capitalist, overconsumption, maximalist, climate change causing contributing & accelerating, ecologically destructive, environmentally harmful, rainforest destroying, landfill filling business practices.

THEY are financially rewarded so the practices continue and the Earth continues to die!

Resources continue to be overextracted.

The global south continues to be exploited by the capitalist west as they do not have labor laws, union protections or environmental regulations so cheap stuff is made there, their resources are overextracted, they are overworked and underpaid, they are not given protective gear, they die, they get poisoned, they get sick, women and children working and dying in cobalt mines for iPhones!

Women and children working and dying in cobalt mines in Congo for iPhones!

Women and children working and dying in diamond mines in Senegal for engagement rings!

Humanity in the capitalist west continues to overconsume, be materialistic, wasteful, overspend, to impress others, for clout, to flex, for status, for prestige, for privilege, to “treat themselves”, to “spoil themselves”, to numb themselves, to feed their addictions, to feed their disordered behaviors, to fill their emptiness, to give themselves a sense of identity, in an endless quest for meaning, to overcompensate, because they are depressed, stressed, pressed, obsesed, anxious, bored, listless, lethargic, lack empathy, addicted to shopping, retail therapy, numbing their emotions, adrenaline rush of a new purchase getting something on sale discount rack BOGO FOMO new shoes new dress new makeup new pocketbook for that hit of adrenaline for that instant pick me up.

Instant mood changer, instant happiness, instant smile, instant distraction, instant swipe of the credit card, instant swipe of Apple Pay, instant swipe of your phone, instant rush, instant adrenaline, instant high, instant hit, instant junkie.

Addicted to excess, consumption, consumerism, materialism, shopping, malls, outlets, discounts, sales, department stores, fast fashion, Zaful, Romwe, Fashion Nova, Shein, Forever 21, H&M, Macys, Bloomingdales, Express, Old Navy, Aeropostale, Abercrombie.

Addicted addicts.

Never a thought to the resources used to produce the item being purchased.

Never a thought to the fuel being wasted to deliver the item being purchased to the shopping mall or store or outlet or straight to your home via Amazon Prime.

Never a thought to the climate change impact, carbon footprint contribution, fossil fuels burned, impact to the ozone layer, air quality deteriorating, heat waves worsening, natural disasters increasing.

The earth dying.

Killing fields, Forever 21, forever in a landfill.

Never a thought.

The bible which is bastardized kemet and is used as a tool of control claims that Adam & Eve have “dominion” over the animals and earth and that fake shit has been used to justify everything: throwaway culture & single use plastics on the 50s, fast food in the 50s, fast fashion in the 2000s.

Wear an outfit once, throw it away.

Use plastic utensils once, throw them away.

Use your iPhone once, oh theres a pink one now and this blonde golfer and this couple are telling me to buy it through Tmobile or Verizon, time to trade in my perfectly working current iPhone for a new one because its pink.

I mean, because it has 8 cameras on the back and not 7.

I mean, because it has FaceTime.

I mean, because I want to react “Haha” to my friends texts and I dont want to be left out.

Killing fields.

Electronic waste from discarded iPhones end up in Southeast Asia poisoning local communities, water supply and air quality but it is kept from the American public.

Congo killing mines killing women and children for the cobalt that powers the batteries in iPhones, electric vehicles, Apple watches & TVs are kept from the public.

Genocides & killing fields.

iPhone 15s.

Cruises are allowed to dump their waste directly into the ocean.

Cruisin USA.

Via foe.org:

If you guessed a large portion of it ends up in the oceans, you’d be correct. Sadly, U.S. laws do not do enough to protect our bodies of water. It allows cruise ships to dump waste into the ocean as long as the ships are more than three and a half miles offshore. That means that dirty water from sinks and showers and laundry facilities are discharged into the water. It means that waste from toilets is discharged into the water. And it also means that food waste is also dumped into the ocean. 

What about killing fields?

[la-femme-au-collier-vert]

From @deathgallery on Twitter (June 10th)

As far as I’m aware this is a fictional jazz cafe w no historic counterpoint named after a Senegalese city.

[kweenlemz]

*✧･ﾟ:* ✧: *✧･ﾟ:*!

“ WHAT ABOUT ME ? ”

hey wassup ! let me introduce myself real quick 😭✋🏾

my name is salem, and welcome to my world 🌍 ! *+.

i’m senegalese and cap verdian , but i was born in france and i live in the suburbs of paris and the uk (and i love it.)

i also can speak 3 languages, english, french and spanish !

❀。• *₊°。 ❀°。

things that i love.🩰

well , i love journaling, i love my beautiful continent and my beautiful people everywhere around the globe (in Africa , in America and the Islands etc) , AA/blk literature, nd writing poetry.

i’m huge music fan. i love music! i live and die for music ! it keeps me alive n awake

i listen to a lot of 90’s/2000s french and american rap/rnb . it’s so comforting to me , i listen a lot of jazz, some bossa nova, DNB, house,funk, garage,jungle and also african/caribbean (mostly zouk) music 💕.

it’s like a huge melting pot

i love football too (soccer) and my favorite club is REAL MADRID , (PSG) and ARSENAL!!

i love cinéma , especially french and african movies.

and this blog will be mostly about fashion, self improvement, football, me yapping abt things, self care, music with cute and cool stuff that i appreciate and can share with y’all 🐚!

that’s it, it’s kinda short.. i just don’t have something to say lol..

bye 🌟!

*✧･ﾟ:* ✧: *✧･ﾟ:*!

[jcmarchi]

Seen and heard: The new Edward and Joyce Linde Music Building

New Post has been published on https://thedigitalinsider.com/seen-and-heard-the-new-edward-and-joyce-linde-music-building/

Seen and heard: The new Edward and Joyce Linde Music Building

Until very recently, Mariano Salcedo, a fourth-year MIT electronic engineering and computer science student majoring in artificial intelligence and decision-making, was planning to apply for a master’s program in computer science at MIT. Then he saw the new Edward and Joyce Linde Music Building, which opened this fall for a selection of classes. “Now, instead of going into computer science, I’m thinking of applying for the master’s program in Music Technology, which is being offered here for the first time next year,” says Salcedo. “The decision is definitely linked to the building, and what the building says about music at MIT.”    Scheduled to open fully in February 2025, the Linde Music Building already makes a bold and elegant visual statement. But its most powerful impact will likely be heard as much as seen. Each of the facility’s elements, including the Thomas Tull Concert Hall, every performance and rehearsal space, each classroom, even the stainless-steel metal panels that form the conic canopies over the cube-like building’s three entrances — has been conceived and constructed to create an ideal environment for music. 

Students are already enjoying the ideal acoustics and customized spaces of the Linde Music Building, even as construction on the site continues. Within the building’s thick red-brick walls, they study subjects ranging from Electronic Music Composition to Conducting and Score Reading to Advanced Music Performance. Myriad musical groups, from the MIT jazz combos to the Balinese Gamelan and the Rambax Senegalese Drum Ensemble, explore and enjoy their new and improved homes, as do those students who will create and perfect the next generation of music production hardware and software. 

“For many of us at MIT, music is very close to our hearts,” notes MIT President Sally Kornbluth. “And the new building now puts music right at the heart of the campus. Its exceptional practice and recording spaces will give MIT musicians the conservatory-level tools they deserve, and the beautiful performance hall will exert its own gravitational pull, drawing audiences from across campus and the larger community who love live music.”

The need and the solution

Music has never been a minor pursuit at MIT. More than 1,500 MIT students enroll in music classes each academic year. And more than 500 student musicians participate in one of 30 on-campus ensembles. Yet until recently there was no centralized facility for music instruction or rehearsal. Practice rooms were scattered and poorly insulated, with sound seeping through the walls. Nor was there a truly suitable space for large performances; while Kresge Auditorium has sufficient capacity and splendid minimalist aesthetics, the acoustics are not optimal.

“It would be very difficult to teach biology or engineering in a studio designed for dance or music,” says Jay Scheib, recently appointed section head for Music and Theater Arts and Class of 1949 Professor. “The same goes for teaching music in a mathematics or chemistry classroom. In the past, we’ve done it, but it did limit us. In our theater program, everything changed when we opened the new theater building (W97) in 2017 and could teach theater in spaces intended for theater. We believe the new music building will have a similar effect on our music program. It will inspire our students and musicians and allow them to hear their music as it was intended to be heard. And it will provide an opportunity to convene people, to inhabit the same space, breathe the same air, and exchange ideas and perspectives.”

“Music-making from multiple musical traditions are areas of tremendous growth at MIT, both in terms of performance and academics,” says Keeril Makan, associate dean for strategic initiatives for the School of Humanities, Arts, and Social Sciences (SHASS). The Michael (1949) and Sonja Koerner Music Composition Professor and former head of the Music and Theater Arts Section, Makan was, and remains, intimately involved in the Linde Music Building project. “In this building, we wanted all forms of music to coexist, whether jazz, classical, or music from around the world. This was not easy; different types of music require different conditions. But we took the time and invested in making spaces that would support all musical genres.”

The idea of creating an epicenter for music at MIT is not new. For several decades, MIT planners and administrators studied various plans and sites on campus, including Kendall Square and areas in West Campus. Then, in 2018, one year after the completion of the Theater Arts Building on Vassar Street, and with support from then-president L. Rafael Reif, the Institute received a cornerstone gift for the music building from arts patron Joyce Linde. Along with her late husband and former MIT Corporation member Edward H. Linde ’62, the late Joyce Linde was a longtime MIT supporter. SANAA, a Tokyo-based architectural firm, was selected for the job in April 2019.

“MIT chose SANAA in part because their architecture is so beautiful,” says Vasso Mathes, the senior campus planner in the MIT Office of Campus Planning who helped select the SANAA team. “But also because they understood that this building is about acoustics. And they brought the world’s most renowned acoustics consultant, Nagata Acoustics International founder Yasuhisa Toyota, to the project.”

Where form meets function

Built on the site of a former parking lot, the Linde Music Building is both stunning and subtle. Designed by Kazuyo Sejima and Ryue Nishizawa of SANAA, which won the 2010 Pritzker Architecture Prize, the three-volume red brick structure centers both the natural and built environments of MIT’s West Campus — harmonizing effortlessly with Eero Saarinen’s Kresge Auditorium and iconic MIT Chapel, both adjacent, while blending seamlessly with surrounding athletic fields and existing landscaping. With a total of 35,000 square feet of usable space, the building’s three distinct volumes dialogue beautifully with their surroundings. The curved roof reprises elements of Kresge Auditorium, while the exterior evokes Boston and Cambridge’s archetypal facades. The glass-walled lobby, where the three cubic volumes converge, is surprisingly intimate, with ample natural light and inviting views onto three distinct segments of campus. 

“One thing I love about this project is that each program has its own identity in form,” says co-founder and principal Ryue Nishizawa of SANAA. “And there are also in-between spaces that can breathe and blend inside and outside spaces, creating a landscape while preserving the singularity of each program.”

There are myriad signature features — particularly the acoustic features designed by Nagata Acoustics. The Beatrice and Stephen Erdely Music and Culture Space offers the building’s most robust acoustic insulation. Conceived as a home for MIT’s Rambax Senegalese Drum Ensemble and Balinese Gamelan — as well as other music ensembles — the high-ceilinged box-in-box rehearsal space features alternating curved wall panels. The first set reflects sound, the second set absorbs it. The two panel styles are virtually identical to the eye. 

With a maximum seating capacity of 390, the Thomas Tull Concert Hall features a suite of gently rising rows that circle a central performance area. The hall can be configured for almost any style and size of performance, from a soloist in the round to a full jazz ensemble. A retractable curtain, an overhanging ring of glass panels, and the same alternating series of curved wall panels offers adaptable and exquisite sound conditions for performers and audience. A season of events are planned for the spring, starting on Feb. 15, 2025, with a celebratory public program and concert. Classrooms, rehearsal spaces, and technical spaces in the Jae S. and Kyuho Lim Music Maker Pavilion — where students will develop state-of-the-art production tools, software, and musical instruments — are similarly outfitted to create a nearly ideal sound environment. 

While acoustic concerns drove the design process for the Linde Music Building, they did not dampen it. Architects, builders, and vendors repeatedly found ingenious and understated ways to infuse beauty into spaces conceived primarily around sound. “There are many technical specifications we had to consider and acoustic conditions we had to create,” says co-founder and principal Kazuyo Sejima of SANAA. “But we didn’t want this to be a purely technical building; rather, a building where people can enjoy creating and listening to music, enjoy coming together, in a space that was functional, but also elegant.”

Realized with sustainable methods and materials, the building features radiant-heat flooring, LED lighting, high-performance thermally broken windows, and a green roof on each volume. A new landscape and underground filters mitigate flood risk and treat rain and stormwater. A two-level 142-space parking garage occupies the space beneath the building. The outdoor scene is completed by Madrigal, a site-specific sculpture by Sanford Biggers. Commissioned by MIT, and administered by the List Visual Arts Center, the Percent-for-Art program selected Sanford Biggers through a committee formed for this project. The 18-foot metal, resin, and mixed-media piece references the African American quilting tradition, weaving, as in a choral composition, diverse patterns and voices into a colorful counterpoint. “Madrigal stands as a vibrant testament to the power of music, tradition, and the enduring spirit of collaboration across time,” says List Visual Arts Center director Paul Ha. “It connects our past and future while enriching our campus and inspiring all who encounter it.”

New harmonies

With a limited opening for classes this fall, the Linde Music Building is already humming with creative activity. There are hands-on workshops for the many sections of class 21M.030 (Introduction to Musics of the World) — one of SHASS’s most popular CI-H classes. Students of music technology hone their skills in digital instrument design and electronic music composition. MIT Balinese Gamelan and the drummers of Rambax enjoy the sublime acoustics of the Music and Culture Space, where they can hear and refine their work in exquisite detail. 

“It is exciting for me, and all the other students who love music, to be able to take classes in this space completely devoted to music and music technology,” says fourth-year student Mariano Salcedo. “To work in spaces that are made specifically for music and musicians … for us, it’s a nice way of being seen.”

The Linde Music Building will certainly help MIT musicians feel seen and heard. But it will also enrich the MIT experience for students in all schools and departments. “Music courses at MIT have been popular with students across disciplines. I’m incredibly thrilled that students will have brand-new, brilliantly designed spaces for performance, instruction, and prototyping,” says Anantha Chandrakasan, MIT’s chief innovation and strategy officer, dean of the School of Engineering, and Vannevar Bush Professor of Electrical Engineering and Computer Science. “The building will also offer tremendous opportunities for students to gather, build community, and innovate across disciplines.”

“This building and its three programs encapsulate the breadth of interest among our students,” says Melissa Nobles, MIT chancellor and Class of 1922 Professor of Political Science. Nobles was a steadfast advocate for the music building project. “It will strengthen our already-robust music community and will draw new people in.” 

The Linde Music Building has inspired other members of the MIT community. “Now faculty can use these truly wonderful spaces for their research,” says Makan. “The offices here are also studios, and have acoustic treatments and sound isolation. Musicians and music technologists can work in those spaces.” Makan is composing a piece for solo violin to be premiered in the Thomas Tull Concert Hall early next year. During the performance, student violinists will deploy strategically in various points about the hall to accompany the piece, taking full advantage of the space’s singular acoustics. 

Agustín Rayo, the Kenan Sahin Dean of the School of Humanities, Arts, and Social Sciences, expects the Linde Music Building to inspire people beyond the MIT community as well. “Of course this building brings incredible resources to MIT’s music program: top-quality rehearsal spaces, a professional-grade recording studio, and new labs for our music technology program,” he says “But the world-class concert hall will also create new opportunities to connect with people in the Boston area. This is truly a jewel of the MIT campus.”

February open house and concert

The MIT Music and Theater Arts Section plans to host an open house in the new building on Feb. 15, 2025. Members of the MIT community and the general public will be invited to an afternoon of activities and performances. The celebration of music will continue with a series of concerts open to the public throughout the spring. Details will be available at the Music and Theater Arts website.

[vitrinanorte]

Identidades Festival convocó a más de cinco mil personas en torno a las artes escénicas en el Desierto de Atacama

● La iniciativa cultural presentada por Escondida | BHP y la Corporación Cultural La Huella Teatro, se celebró en Antofagasta, San Pedro de Atacama y Baquedano.

● La comunidad pudo disfrutar de diversos espectáculos, seminarios, trueques y conversatorios.

Con más de 700 personas disfrutando del concierto del grupo afrobrasileño Horöya en las Ruinas de Huanchaca, finalizó ayer la décima edición de Identidades Festival Internacional de Artes Escénicas en el Desierto de Atacama.

“Esta fue una fiesta inolvidable, cumplimos con celebrar estos 10 años de quehacer cultural en la región. Identidades Festival se consolida como un espacio para acoger y difundir culturas del mundo y también como un lugar de encuentro y de diálogo entre generaciones e identidades diversas”, dijo Alejandra Rojas, directora de Identidades Festival. 

La noche de cierre estuvo marcada por el sonido de Höröyá, una banda formada en la ciudad de São Paulo, compuesta por once miembros, entre brasileños, senegaleses y guineanos. El Grupo Höröyá, influenciado por culturas tradicionales de países de África occidental, como Guinea, Mali y Senegal; ofreció un espectáculo marcado por diversas sonoridades como la samba y toques de candomblé; afrobeat de Nigeria y Ghana y musicalidad afronorteamericana, como el funk y el jazz.

Respecto a la X edición de Identidades, el Vicepresidente de Asuntos Corporativos de Escondida | BHP, Abel Benítez, dijo: “La comunidad de Antofagasta se sumó a este festival, uno de los de mayor trayectoria del país, siendo protagonistas activos en cada uno de sus montajes e intervenciones. Este año el festival nos ofreció una programación compuesta por ocho espectáculos de gran nivel a cargo de compañías provenientes Rapa Nui, Brasil, Perú y Chile, y donde a través de diferentes lenguajes artísticos pudimos reflexionar sobre la importancia de la identidad en la construcción de las sociedades”.

Identidades Festival es un proyecto de la Corporación Cultural La Huella Teatro, presentado por Escondida | BHP. Es una iniciativa financiada por el Gobierno Regional de Antofagasta, con recursos del Fondo Nacional de Desarrollo Regional por un monto de 79.984.801 F.N.D.R 8% línea Cultura, año 2024, aprobados por el Consejo Regional de Antofagasta. Es un proyecto financiado por el Fondo Nacional de Fomento y Desarrollo de las Artes Escénicas, convocatoria 2024 y acogido a la Ley de Donaciones del Ministerio de las Culturas, las Artes y el Patrimonio. Identidades Festival cuenta con el patrocinio de Unesco y ha sido reconocido por Marca Chile de Imagen País.

Identidades Festival, en su edición aniversario, una vez más reservó un lugar en su programación para un espectáculo enmarcado en el Decenio Internacional de las Lenguas Indígenas,  impulsado por UNESCO. Esta ocasión fue Te Mana Hakaâra. El poder que permanece; de la compañía antofagastina La Huella Teatro.

Entre el 05 y el 12 de octubre, Identidades Festival reunió a más de cinco mil personas en torno a las artes escénicas en Antofagasta, San Pedro de Atacama y Baquedano. Identidades Festival fue soñado en 2014 por la compañía antofagastina La Huella Teatro, cuando celebraba 10 años de vida y creación de un teatro identitario, conectado profundamente con el paisaje humano y geográfico del norte de Chile. “El objetivo de ese entonces fue ampliar universos para compartir y vincularnos con creadores de otros territorios, cuyas búsquedas también giren en torno a la investigación, la memoria y la valoración de la diversidad cultural de los pueblos”, agregó Alejandra Rojas, quien hizo hincapié en que así mismo, brotó el deseo de gestar trueques, como intercambios recíprocos entre los artistas invitados y los cultores locales, de manera de potenciar el encuentro y la amistad entre creadores.

Así pues, en 2015 se realizó la primera edición de Identidades Festival como un desafío, más allá de la creación, ahora también involucrando lo curatorial, la mediación, la formación y la vinculación con las comunidades. La próxima edición de Identidades Festival está programada para noviembre de 2025.

[avneesh10-blog]

Explore the Best of Dakar: Ultimate Senegal City Tour Guide

# Explore the Best of Dakar: Ultimate Senegal City Tour Guide

Introduction

Have you ever dreamed of exploring vibrant markets, historic landmarks, and cultural treasures in a place that seamlessly combines tradition with modernity? Welcome to Senegal Dakar City Tours, where the bustling city of Dakar offers a myriad of experiences waiting to be discovered. From flavorful cuisine to spirited music and dance, Dakar is a city that captivates the senses and leaves a lasting impression on all who visit.In this comprehensive guide, we will delve into the heart of Dakar, exploring its eclectic neighborhoods, rich history, and dynamic culture. Whether you are a first-time visitor or a seasoned traveler looking to uncover hidden gems, our Ultimate Senegal City Tour Guide will equip you with the knowledge and insights to make the most of your Dakar adventure.

Senegal Dakar City Tours: Unveiling the Gems of Dakar

Discovering the Vibrant Markets of DakarDive into the bustling markets of Dakar, where a riot of colors, sounds, and aromas converge to create a sensory feast for visitors. Here's what you can expect:- Marché Sandaga: Wander through this lively market known for its eclectic array of goods, from traditional fabrics to artisan handicrafts. - Marché Kermel: Explore this historic market brimming with fresh produce, spices, and local delicacies. - Tips for Navigating the Markets: Be prepared to bargain for the best prices and don't be afraid to sample local street food offerings. - The African Renaissance Monument: Learn about the significance of this iconic statue that symbolizes Africa's emergence and resilience. - Gorée Island: Visit this UNESCO World Heritage Site, known for its role in the transatlantic slave trade and its beautifully preserved colonial architecture. - Must-See Architectural Wonders: From modern skyscrapers to traditional mud-brick houses, Dakar offers a fascinating blend of architectural marvels. - Traditional Sabar Drumming: Attend a live drumming performance and feel the pulsating rhythms that define Senegalese music. - Artisan Workshops: Meet local artisans and witness the intricate process of creating Senegalese crafts, from woodcarvings to textile designs. - Cultural Festivals: Time your visit to catch one of Dakar's colorful festivals, such as the Saint-Louis Jazz Festival or the Dak'Art Biennale. - Thiéboudienne: Taste Senegal's national dish, a flavorful combination of fish, rice, and vegetables. - Yassa Poulet: Savor this tangy chicken dish marinated in lemon and onions, a culinary delight not to be missed. - Local Dining Gems: From street food stalls to upscale restaurants, Dakar offers a variety of dining options to suit every palate. - The Pink Lake (Lac Rose): Witness the surreal pink hues of this salt lake and learn about the traditional salt harvesting methods employed by local communities. - Les Mamelles Lighthouse: Hike to this scenic vantage point for panoramic views of Dakar and the Atlantic Ocean. - Green Oasis in Dakar: Seek out hidden green spaces like Hann Park or the Madeleine Islands for a moment of serenity amidst the urban hustle.

Conclusion

As we wrap up our journey through the vibrant streets of Dakar, we hope this Ultimate Senegal City Tour Guide has inspired you to embark on your own adventure and discover the beauty and charm of this dynamic city. From cultural immersion to culinary delights, architectural wonders to natural landscapes, Dakar offers a kaleidoscope of experiences waiting to be explored.Don't miss the opportunity to dive into the heart of Senegal Dakar City Tours and create unforgettable memories that will last a lifetime. So pack your bags, embrace the spirit of adventure, and let Dakar enchant you with its myriad treasures.Explore, experience, and savor every moment in Dakar – a city that beckons with open arms.

Frequently Asked Questions

1. What are the best times of year to visit Dakar for city tours?The best time to visit Dakar is during the dry season, from November to May, when the weather is pleasant and ideal for exploring the city.2. Are Senegal Dakar City Tours suitable for solo travelers?Yes, Senegal Dakar City Tours cater to solo travelers, offering guided tours and safe exploration options for those traveling alone.3. Can I customize my Senegal Dakar City Tour itinerary?Absolutely! Many tour operators in Dakar offer customizable tour packages to suit individual preferences and interests.4. Is it safe to travel to Dakar for city tours?Dakar is a relatively safe city for travelers, but like any urban area, it's essential to practice common-sense safety precautions and be aware of your surroundings.5. What cultural etiquette should I be aware of when visiting Dakar?Respect for local customs is crucial when visiting Dakar. It's advisable to dress modestly, ask for permission before taking photographs, and greet people with a friendly "Salaam Aleikum."6. How can I support local communities during my Senegal Dakar City Tour?One way to support local communities is by shopping at artisan markets, eating at locally-owned restaurants, and choosing tour operators that prioritize sustainable tourism practices.7. Are English-speaking guides available for Senegal Dakar City Tours?While French is the official language in Senegal, many guides in Dakar speak English fluently to accommodate international visitors.

Tags

Senegal Dakar City Tours, Dakar travel guide, Senegal tourism, cultural experiences, African cuisine, architectural wonders, authentic travel experiences. Read the full article

[lboogie1906]

The Last Poets, a group of musicians and poet performers, originated out of the civil rights movement, with an emphasis on the Black re-awakening. The original Last Poets was founded on Malcolm X’s birthday, May 19, 1968, at the former Mount Morris Park in East Harlem. The original members, Felipe Luciano, Gylan Kain, and David Nelson took the name from a poem by South African poet Keorapetse Kgositsile, who believed that he was in the last era of poetry before guns would take over. They brought together music and spoken word.

The Original Last Poets would soon be overshadowed however by a group of the same name that spawned from a 1969 Harlem writer’s workshop called “East Wind.” Jalal Mansur Nuriddin, Umar Bin Hassan, Abiodun Oyewole, and percussionist Nilaja are considered the core members of this group. In 1970 this group appeared on their self-titled album. The Original Last Poets garnered some attention for their soundtrack to the 1971 film “Right On!” Following their debut album which made the top-ten lists, The Last Poets released The Last Poets (1970) and This is Madness (1971). Due to their politically charged lyrics, both groups were targeted by COINTELPRO.

Though the popularity of both groups declined by the late 1970s, the respect the rappers and lyricists of the post-1980s era have paid them has helped cement The Last Poets’ place in history as a major influence on the hip-hop and spoken word movements. The Last Poets influenced jazz and hip-hop artists ranging from Pharaoh Sanders and Senegalese drummer Aiyb Dieng to Public Enemy. Members of the two groups have attempted to bring them together. The Last Poets have collaborated with contemporary artists such as Common and Wu-Tang Clan. #africanhistory365 #africanexcellence

[undiscveredtravelguide]

Discover the hidden culinary treasures of the Big Apple! Undiscvered Travel Guides presents "New York’s Best-Kept Secrets." Uncover the city's unique dining experiences in our latest blog. From jazz-infused barbecue to rowdy Japanese izakayas and Senegalese homeliness, it's an adventure for your taste buds. Explore NYC's culinary secrets now!

[theloniousbach]

RHIANNON GIDDENS with Adia Victoria, THE SHELDON CONCERT HALL, 14 SEPTEMBER 2023

I don’t need no MacArthur Foundation to know that RHIANNON GIDDENS is a genius. I put her on our list for the Sheldon concert order. Then I read that this would be in support of an album of original songs and had my singer-songwriter hesitations. Then I listed to the album You’re The One and am thrilled that I got to hear those songs and the contexts she put them in.

The album is a remarkable survey of tunes written in various African American genres, including a country song inspired by Dolly Parton but also Zydeco, swing jazz, r&b, soul, and jazz. She has a supple and versatile voice—and she didn’t even evoke the opera she studied at Oberlin (and she’s written one too).

Her band was equally versatile, including the nephew who sat in for a rap during the Nina Simone inflected, I thought, protest Another Wasted Life and then played bones during the pre-encore finale of North Carolina fiddle tunes led by Dirk Powell who is a familiar name from maybe a David Grier or Tim O’Brien album. He also played piano, a Telecaster, and acoustic guitar. The other guitarist, if not African himself, had Nigerian High Life and Senegalese kora sounds, including a fascinating jam with Powell on You Louisiana Man. The keyboard player also played accordion; the bassist acoustic and electric.

So they could capture the scope of the album. Giddens name checked Aretha Franklin before Too Little Too Late Too Bad which opens the album, though the show opened with the title cut for her kids. She played some banjo and some fiddle, maybe it was a viola (???). She was barefoot under her flowing skirt and they brought her mugs of tea no less frequently than every third song.

With musical ambition to capture the African American experience, there was of course the social consciousness those experiences taught her and all of us. I gravitated to her emphasis on similiarities over differences, that, with the very premise of the Carolina Chocolate Drops, old time music was Black and white and that the banjo had African roots. And when people got together to make music, they also made babies. She’s one of those biracial babies and that’s the story she and Jason Isbell told with Yet To Be.

Wonderful show.

The opener was Adia Victoria who had a breathy voice that obscured her lyrics, but her accompanist, Mason Hickman, played electric guitar with lots of reverb and effects. He created a mood. She styled herself as a blues singer, with gothic elements to be sure, but I didn’t hear it. But Giddens values her and, even more, she values Giddens.

So do I.

[musicarenagh]

Mariaa Siga Redefines Boundaries With Soulful Fusion And Lyrical Depth In 'Daaray Dunya' Mariaa Siga, the multi-talented singer, songwriter, and composer from Senegal, has embarked on a musical odyssey that defies conventions and speaks to the human spirit. Known for her laid-back demeanour and captivating tunes infused with reggae and jazz influences, Mariaa has carved a niche for herself with her soothing acoustic tones. With the release of her debut full-length album, "Asekaw," in 2019, she offered listeners a glimpse into her musical universe. Hailing from the enchanting Casamance region of Senegal, Mariama Siga Goudiaby's musical journey began when she emerged triumphant in a talent contest back in 2009. This victory opened doors for her to pursue a career in music, enabling her to study the art form and refine her skills while also focusing on her artistic expression. In the past decade, Mariaa Siga's life has undergone a remarkable transformation, propelling her from the shores of Casamance to the vibrant music scene of Europe. Her rising popularity led her to audition for the ninth season of "The Voice: La Plus Belle Voix" on French television in early 2020. Though her journey on the show reached its conclusion, it served as a stepping stone for greater opportunities. Undeterred by the experience, Mariaa embarked on a brief tour of France, captivating audiences along the way. She also unveiled a mesmerizing music video for the poignant track "Wama," previously featured on her Sunu Folk album. [caption id="attachment_50688" align="alignnone" width="1443"] Senegalese Songstress Mariaa Siga Redefines Boundaries With Soulful Fusion And Lyrical Depth In 'Daaray Dunya' (2)[/caption] At the heart of Mariaa Siga's musical prowess lies her captivating vocals, which serve as the defining element of West African music. Whether she's gracefully strumming an acoustic guitar or delving into the depths of electrifying soundscapes, Mariaa's voice takes centre stage, showcasing her versatility and innate ability to connect with her audience. This year, Mariaa's schedule is teeming with approximately thirty performances spanning Africa, Europe, and Canada. Additionally, she was honoured to be selected as one of seven talented musicians to participate in the prestigious Jazz Women in Africa initiative held in Morocco. Throughout her artistic evolution, Mariaa Siga has crafted a nuanced musical style by blending reggae, jazz, and the traditional rhythms of her homeland, Casamance—a region nestled in the captivating landscapes of Western Africa. This fusion allows her compositions to transcend borders and genres, creating a harmonious soundscape that resonates with audiences on a profound level. One of Mariaa's most noteworthy recent releases is the captivating track "Daaray Dunya." Singing in an entirely new way over an African drill rhythm by the gifted producer FissBassBeats, Mariaa delves into the challenges faced by young individuals who, despite their courageous spirit, struggle to navigate life's hardships while maintaining an unwavering belief in a brighter tomorrow. [embed]https://www.youtube.com/watch?v=ag4QHArBpb8[/embed] In a world characterized by chaos and uncertainty, Mariaa Siga's music serves as a testament to the resilience of the human spirit. Her compositions are imbued with a sense of hope and an unwavering belief in the power of perseverance. By artfully blending diverse influences and embracing her cultural roots, she creates a musical tapestry that transcends boundaries and unites listeners from all walks of life. As we embark on this mesmerizing musical journey with Mariaa Siga, let her melodic explorations transport us to a realm where challenges are met with unwavering determination, and dreams are pursued with utmost fervour. Prepare to be enchanted by her soul-stirring melodies, inspired by her profound lyrics, and moved by the undeniable authenticity she brings to her craft.

Mariaa Siga is a true musical storyteller, and her captivating tale of resilience and hope is one that deserves to be heard by all. [embed]https://open.spotify.com/album/42dCEgsk8uJNUK7IqYpbtl?si=-4WX15mxSeGqwnK-8X7pGg[/embed]

[theam-cjsw]

The AM: April 17, 2023

New episode: A collection of art exhibition soundtracks, Senegalese kids rhymes, audio collages, peyote song affirmations, spiritual jazz seeking, shoegaze reassurances, and other similarly soothing sounds to start your week on solid footing.

Listen on Soundcloud

Stream from CJSW

Spotify playlist

Other links

Hour One:

Painterly Steve Gunn, David Moore • Let the Moon Be a Planet

Elsewhere Hayden Pedigo • The Happiest Times I Ever Ignored

Nymphe N NAO • L'eau et les rêves

Horizon Nashville Ambient Ensemble • Light and Space

Fractured Light AVAWAVES • Piano Day Single

With Her First Ever Steps She Walked To Me And She Was So Happy Dylan Henner • You Always Will Be

Glissalia Tim Hecker • No Highs

MARS Sketch Show • Loophole

Voyage Ashi Shonen • Divergence

Alive Easy Idiot • Monkey Fancy

Transcend I T. Gowdy • Miracles

A Memory of Hope Magic Sword • Badlands

Hour Two:

100 Years Ryan Bourne • Plant City

Morning Wonder The Earlies • These Were the Earlies

Xale (Toubab Dialaw Kids Rhyme) Wau Wau Collectif • Mariage

Pigeon Lake Rooster37 • Upside Down Inside Out EP

Tombo in M3 A Certain Ratio • 1982

Pepe Pepaymemimo Position Normal • Stop Your Nonsense

Bedside Manner Position Normal • Stop Your Nonsense

Falun Gong Dancer Telefís • a hAon

Somewhere Beyond Uh Huh • Uh Huh

A Time to Blossom Modern Cosmology • What Will You Grow Now?

Bright Room LT Leif • Come Back to Me, But Lightly

Hour Three:

Witchi Tai To Everything Is Everything • Everything is Everything

Bed & Breakfast Isolde Lasoen • Oh Dear

Kohan The Circling Sun • Spirits

Mystic You Colloboh • Saana Sahel EP

Mirage mohs. • Mirage

Sympathy & Vegetations Charles Spearin • My City Of Starlings

What a Waste of an Echo Spencer Cullum, featuring Dana Gavanski • Coin Collection 2

Surely Everything's Alright Sunnsetter • The best that I can be.

I am the magnet king of the east High Five • Salad Balloon

[lezarde]

TOP ALBUMS 2022 (4/7) [Dub, U.K Jazz] JOE ARMON-JONES & MALA - A Way Back (Aquarii Records) [U.K] https://joearmon-jones.bandcamp.com/track/a-way-back [U.K Jazz] NEUE GRAFIK ENSEMBLE - Foulden Road Part II (Total Refreshment Centre) [U.K] (https://neuegrafik.bandcamp.com/album/foulden-road-part-ii [Senegalese Folk] WAU WAU COLLECTIF - Mariage (Sahel Sounds) [Sénégal/Sweden] https://wauwaucollectif.bandcamp.com/album/mariage [Western African Music] VARIOUS ARTISTS - A Guide to the Birdsong of Western Africa (Shika Shika) https://shikashika.bandcamp.com/album/a-guide-to-the-birdsong-of-western-africa [Post-Punk] VIAGRA BOYS - Cave World (Year0001) [Sweden] https://www.youtube.com/watch?v=a0s1tNzhkOM&list=PLwhlCh3flCJiSxMpb0SvxmbXydh1WAKm1 [Afro-Cuban Jazz, Hip-Hop] GUTS - Estrellas (Heavenly Sweetness) [France/Cuba/Sénégal] https://guts-puravida.bandcamp.com/album/estrellas

[spamtonbigshot]

if you’re white and you come within my field of vision and you have “dreads” you are actually legally obligated to pay me $200 for the psychological harm i endured from seeing you. i accept cash and cashapp

[jcmarchi]

3 Questions: A new home for music at MIT

New Post has been published on https://thedigitalinsider.com/3-questions-a-new-home-for-music-at-mit/

3 Questions: A new home for music at MIT

More than 1,500 students enroll in music classes each year at MIT. More than 500 student musicians participate in one of 30 on-campus ensembles. In spring 2025, to better provide for its thriving musical program, MIT will inaugurate its new music building, a 35,000-square-foot three-volume facility adjacent to Kresge Auditorium. The new building will feature high-quality rehearsal and performance spaces, a professional recording studio, classrooms, and laboratories for the music technology program.

Keeril Makan is the Michael (1949) and Sonja Koerner Music Composition Professor, section head of the MIT Music and Theater Arts Section (MTA), and was recently named associate dean of the School of Humanities, Arts, and Social Sciences. A celebrated composer, Makan has been instrumental in the conception and realization of the MIT Music Building, which will also be known as Building W18. He speaks here about the ways that music helps MIT broaden and fulfill its mission, and the opportunities that the new facilities will provide.

Q: After many years of planning, the MIT Music Building is taking shape. How will this new facility change the MIT experience?

A: There is a tremendous demand on campus for the opportunity to make music and to listen to live music. Some of our students arrive at MIT already planning to study and perform music. Others pick up the passion on campus. We have such a flourishing music community here, with so many different types of ensembles we want to support. In addition to the Western Classical tradition, like our orchestra or wind ensemble, where we’ve always been strong, there is also a strong interest in jazz on campus. In fact, we’ve just hired our first jazz professor, Miguel Zenón. More and more students want to explore and experience music from other cultures. We have our Balinese Gamelan, as well as Rambax, a Senegalese drumming group that has the second-largest enrollment for an ensemble, after our orchestra. Our building is designed to allow all of these different musical traditions to exist simultaneously, all equally respected and supported.

With such a strong interest in music among our students and MIT community, the Institute is providing the proper facilities where students and faculty can pursue and develop that interest. And a big part of that is proper acoustics. At MIT we have laboratory spaces that provide stringent environmental conditions for temperature, humidity, vibration, and particulate control. Otherwise, the samples can be contaminated, and the results altered. It’s the same thing in music — we need acoustically controlled rehearsal spaces where the students hear and perform music without contamination from other sound sources. Our performance hall is designed for the audience to hear the music exactly the way the performers hear it. They will experience the music together, in a space that fosters intimacy between the performers and their audience.

Q: Will the new music building attract a different type of student to MIT?

A: I’m not sure whether the new facility will attract a different type of student as much as keep MIT competitive in attracting the type of student who will thrive here. Undergraduates and graduate students have come to expect state-of-the-art facilities across the board for their work in STEM, but also for the parts of their lives that support or complement that work. Music is a big part of that support at MIT. In order for us to stay competitive, to continue to attract the students we believe will help us further our mission, we needed to raise the bar in terms of the level of support we offer students in music. But it’s not just about being competitive in attracting gifted students. Part of our work here is taking on and providing solutions to some of the world’s most pressing and complex challenges. Solving those problems, of course, requires technical expertise. But it also requires wisdom, emotion, and compassion. Empathizing with other members of our community can lead to solutions that will make all of our lives better. And while it’s important that this new building keeps us competitive as an institution, it’s even more important for it to keep us competitive in creating the types of people best suited to take on the world’s great problems. 

Q: How can music, and other arts, complement and support a student’s work in science and technology?

A: Making music is a physical activity. There is something about the small motions of the fingers, the voice resonating, that affects the body, that connects the body with what you are experiencing or feeling. It pulls you completely into the now. Having this building, right in the middle of our campus, makes it clear that this centering is important to MIT and its mission.

For the students rehearsing and performing in the building, or the students who compose music for our new facility, or for the students who will develop the hardware and software that engineers will use to produce music, the problem-solving inherent in those activities is very similar to what they do in STEM. Both are creative processes, where you learn to evaluate, manage, and integrate multiple parameters. Creating music or music technology requires you to rotate a series of different problems in your mind, and to devise a way for them to fit together. It fosters an internal desire for discovery, and for creativity. All of these are skills that, when mastered, easily translate into other activities, including scientific research, math, or engineering. MIT understands that music, and all the arts, are essential in helping our students take on the many challenges facing our world, like the climate crisis, or the impact of AI. Not just in creating an awareness of our humanity, but in training the minds and hearts of the people who will solve those issues. We now have the building that will support that crucial education.