#Tunde Jegede

[loralore-sciso]

3.c.MoreHeritage

🖼️ Meem, That, Alif: Turaath (Heritage), by Ali Onar Ermes (Libyan artist), 1993

🎵 "Perintö" (Heritage) by Ursus Factory (Finnish band), 2023

📖 Freshwater by Akwaeke Emezi (nonbinary Nigerian writer), 2018

🖼️ African heritage by Afewerk Tekle (Ethiopian artist), 1967

🎵 "Heritage" by Tunde Jegede (British-Nigerian musician), 2014

🖋️ "Heritage" by Countee Cullen (American poet), 1991

[yeyinde]

thoughts on what kind of music taste t-141 has?? i can't stop thinking about this and your opinion 👀👀

I have a few! I tried really hard to think about what would be playing on the radio as each of them drove somewhere, and came up with this.

Price: I think he was an OG Alt Kid and did his research on rock which lead him right to the blues. And now his playlist is mostly a mix of blues and rock (garage, blues, alt, psychedelic), bluegrass. Folk. Divorced Dad Rock. 70s Roadtrip. Swamp Rock & Cajun Blues.

some artists you might find on his playlist are:

The Cure. CCR. Lead Belly. Koko Taylor. Agent Orange. Howlin' Wolf. Bobby Bland. Cockney Rejects. Siouxsie and the Banshees. The London Souls. Jimi Hendrix. Muddy Waters. The Psychedelic Furs. Grateful Dead. The Electric Flag. Johnny Cash. Cream. Snooky Pryor. The Rolling Stones. The Doors. Donovan. Sonny Boy Williamson. John the Conqueror. Fleetwood Mac. Pixies. Santana. Derek & the Dominoes. T. Rex. Wilbert Harrison. The Velvet Underground. Cheap Trick. Liverpool Five. The Rivieras. Redbone. Marlena Shaw. Mama's and Papa's. Allman Brothers Band. The Animals.

Gaz: eclectic. I think he dabbles in a little bit of everything. Almost all of his favourite artists are described as "genre defying." He's a lover of music, but tends to lean towards unique vocals, strong lyricism, and modern spins on traditional music.

some artists you might find on his playlist are:

Stromae. Nej. Espacio Dios. BLK JSK. Mdou Moctar. Mabastet. FIBEL. Rachel Chinouriri. Mereba. Mitraz. PLASUI PLASUI. Says'z. Tinariwen. Berhana. NATAB. IRBIS. Leto v Gorode. Jubantouja. Ayra Starr. Devon Gilfillian. Madihu. Karan Aujla. OBOY. Maher Cissoko. maye. Youka. LION BABE. AP Dhillon. Tay Iwar. Yalnayak. Oumou Sangarè. Kari Faux. Tati Falco. Taqbir. Soapkills. Ikky. Raury. Mon Rovîa. Svvell. Tanya Tagaq. Tunde Jegede. SARRB. Doechii. Rina Sawayama. Tiakola. Ronisia. Frenna. jev. H.E.R. Omar Apollo. Montell Fish. Lor. Pinkpantheress. The Fur. Sindrome. Odeal. Omah Lay. LAGOS. Jon Muq. DON WEST.

Soap: like Gaz, his taste is expands across genres but he's more of a Top 40 to Gaz's unending appetite. His choice mostly depends on his mood/the occasion. He has no shame when it comes to music, either. There's no "guilty pleasures" - just what he likes. Pop. Pop Rock. R&B. Soul. Indie. Folk. Rap. Hiphop. Rock. Metal. New Wave. Sea shanties. Traditional folk. If it sounds good to him, he'll listen. He also tends to adopt the music taste of whoever he's interested in - regardless of what genre it is. But he has a special kinda love for late 90s early 2000s R&B, and 80s synthpop/poprock, and a playlist for every occasion.

Ghost: I don't think his taste in music has changed at all since he was in his late teens, early 20s. Metal. Rock. Classic rock. Classical (Vivaldi. Bartók. Sibelius. Prokofiev. Shostakovich. Stravinsky. Verdi). It's not really because of any genre loyalty. I just think he adds those artists and songs under the umbrella of liked music because it's a habit, and something he used to do as a teen assembling mixtapes with Tommy. They probably hung out at local bars and listened to the underground music scene in Manchester.

Mainly because my biggest, unchanging headcanon for him is that he virtually stopped existing when he was 19-20 so everything has just been habitual. (Until he meets you or Soap teaches him the meaning of "we" and teamwork.)

[namor-shuri]

Marvel Studios: Voices Rising - The Music Of Wakanda Forever [Series]

Episode #3: “London: Bring It Home” [available on Disney +] [w/ time stamps to follow along]

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▻  London was the last stop, where they [Ludwig, producers, artists, etc] gathered sounds and music from Nigeria and Mexico to bring it all together back in London.

▻  “It was 10 full days of scoring. Not only was Ludwig recording with the orchestra during the day, but he was also doing sessions with artists at the studios at night time.” - Monica Sonand [Score Supervisor] [3:58] We see that Ludwig would be up till @4:00AM onward in the studio, recording with artists.

▻  Ryan was a huge fan of Burna Boy’s [Nigerian singer] music and introduced him to Ludwig. From there, Ludwig recorded music of Burna singing with guitar on the track but he didn’t know where it would fit in the overall film. “I didn’t know how to elaborate on it. I got the idea to send the vocals and the guitars to P. Priime [Music Producer]” - Ludwig Göransson [Composer] [4:42] P. Priime gave the track life from there, which Burna Boy then listened to and put his spin on it. The final track “Alone” is used in the scene where Princess Shuri [Letitia Wright] is shown recreating the heart shaped herb in the lab before she becomes the Black Panther [5:34]

▻  Stormzy was approached to sing on the track “Interlude” for the soundtrack. This song has a similar melody to Burna Boy’s “Alone”. “Stormzy wrote this beautiful, very intimate verse. That was also a beautiful moment.” - Ludwig Göransson [Composer] [6:44] We hear this track played during the lab scene with Princess Shuri and Riri Williams [Dominique Thorne] brainstorming before battle [6:51]

▻ “I discussed a lot with Ryan about how we’re going to use the Black Panther theme, how we’re going to use the talking drums, which was T’Challa’s [Chadwick Boseman] main instrument. It became a significant part of the storyline of the first movie. It’s also one of the first instruments you actually hear in Wakanda Forever. It’s what starts the funeral ceremony. After that, you don’t hear it anymore until the very end of the movie. With T’Challa not being there, it was impossible to fit that instrument in. So I needed a theme for Shuri.” - Ludwig Göransson [Composer] [7:22]

▻  Tunde Jegede [instrumentalist] is shown playing the Kora [8:35]. This instrument is played during the funeral scene in the beginning of the film where Princess Shuri is seen weeping with Queen Romanda [Angela Bassett] by her side. “It was Ryan’s idea to change the instrument of that theme into a voice. You hear this lullaby song, which is representing the memory of T’Challa.” - Ludwig Göransson [Composer] [8:45] The lullaby is played during the scene with Shuri and her mother by the lake, speaking of her brother’s prescence. [9:03] “The presence that you felt was just a construct of your mind” - Princess Shuri. “The music switches from that warm, supportive feeling to this cold, dark emotion, and Jorja Smith’s vocals take over.” - Ludwig Göransson [Composer] [9:17] The track “He wasn’t there” was then implemented into the score.

▻  “For Shuri, everything doesn’t make sense. What she knew has been blown up. And she’s like how do I get through this?” - Letitia Wright [Princess Shuri] [9:25] “The vocal [sung by Jorja Smith] is growing and growing as the storyline moves on. It transforms into a crazy, big, distorted synthesizer. The key element is how it blends together with the Black Panther fanfare from the first movie.” - Ludwig Göransson [Composer] [9:44] We hear this distorted version of the vocals in the climatic scene where Shuri falls from the sky, making her big introduction as the Black Panther to Wakanda. This track is known as “Wakanda Forever” in the score. The drums from T’challa’s theme music plays along with Shuri’s theme song during her arm wrestling scene with M’baku. “The Black Panther lives!” - M’baku [Winston Duke]

▻  The transition and tonal change of Shuri’s theme music is then heard during the desert fight scene between Black Panther and Namor [Tenoch Huerta]. “And then you go from something like that to 120 people singing, and playing their instruments as soft as they can.” - Ludwig Göransson [Composer] [10:30] This track is known as “Vengeance has consumed us” in the score. It is played while Namor is on his back and Shuri demands him to yield. “ Yield and Wakanda will protect your oceans. We will protect your secrets. Vengeance has consumed us. We cannot let it consume our people.” - Black Panther [Letitia Wright]. “That is something that synthesizers are never going to be able to re-create in the sound of all these people in one room.” - Ludwig Göransson [Composer] [10:47]

▻ “I’m really proud of all the character arcs in this film coming to a place of peace and healing, or on their way to it. I feel like we’ve done that really well!” - Letitia Wright [Princess Shuri] [11:02]

▻  Ludwig worked on the track “Con La Brisa” for a while but wanted to find a way to make it better. He tried to add an orchestra to it. “And then when I brought it back to LA and I saw the whole movie and heard it like that, it took me out of it. That was an interesting example of like okay let’s go back to the magic that was there from the beginning. I had to think okay well, the most magic thing about this song is just the vocal and if you can leave that driving the song, and strip away everything else from the song that’s how you’re going to get the most power from it.” - Ludwig Göransson [Composer] [12:12] Ludwig felt that Foudeqush’s vocals on the track were enough. Less is more.

▻  The funeral scene of Shuri and Queen Ramonda walking through the crowd with T’challa’s mask was one of the first scenes Ryan shot. “Ryan was very adamant that this is an opportunity for us to use the voice from the first movie.” - Ludwig Göransson [Composer] [13:26] There was a recorded session back in 2017 for the first Black Panther of Baaba Maal singing. “I had a friend of mine that had produced one of Baaba Maal’s albums and I just called him and asked him if he could put us in touch. I called Baaba Maal and I told him me and my wife are going to go to Senegal. Do you have time to meet up?” - Ludwig Göransson [Composer] [13:52]

▻  “I invited him [Ludwig] to join me and my band to make a tour. I knew that to get the spirit and the soul; it’s something that you can’t explain to someone. It would be good for him to see how people play it.” - Baaba Maal [Musician] [14:17] Ludwig went on tour with Baaba for two weeks. Baaba says that that was a great experience for him to learn that Ludwig is a very patient person, especially if you are going to learn about the culture. You have to be patient in order to do so. [15:03] We hear Baaba’s voice in the opening of the first Black Panther where T’Challa [Chadwick Boseman], Nakia [Lupita Nyong’o] and Okoye [Danai Gurira] are seen flying into Wakanda. “So when it became time for Wakanda Forever to be able to bring Baaba Maal back, we thought it would be very powerful.” - Ludwig Göransson [Composer] [15:29]

▻  “Baaba Maal, he’s the most dynamic vocalist I’ve ever recorded. You gotta be really careful with him because he will blow out a mic! Pretty loud, but controlled loud.” - Chris Fogel [Recording Engineer/Mixer] [15:49] We hear Baaba’s beautiful and emotional vocals in the studio, overlayed with recorded drums and instruments that Ludwig and Chris strung together. His vocals were used in the send off scene of T’challa’s casket. Baaba also makes an appearance in the movie during the ceremony of the Wakandans sending T’Challa off. They played the final scene for him in studio with his vocals and instruments overlayed and Baaba loved it. [17:54]

▻  “The most important thing as a human being is to be proud of who you are and art is the truest form to show your identity.” - Ludwig Göransson [Composer] [18:26] 

▻  “That’s really dope of Ludwig to find a way to have people of the Latinx community, artists of the African diaspora in one album and for it to all fit and flow. I think that’s really brave! It’s a reflection of the world that we actually live in. That’s beautiful to see.” - Letitia Wright [Princess Shuri] [18:44]

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Soundtrack: [tracks referenced in this episode]

ʀɪʜᴀɴɴᴀ: ʟɪғᴛ ᴍᴇ ᴜᴘ / ʙᴜʀɴᴀ ʙᴏʏ: ᴀʟᴏɴᴇ / ғᴏᴜᴅᴇᴏ̨ᴜsʜ + ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ᴄᴏɴ ʟᴀ ʙʀɪsᴀ / ᴛᴇᴍs: ɴᴏ ᴡᴏᴍᴀɴ ɴᴏ ᴄʀʏ / ᴀᴅɴ ᴍᴀʏᴀ ᴄᴏʟᴇᴄᴛɪᴠᴏ + ᴘᴀᴛ ʙᴏʏ: ʟᴀᴀʏʟɪ’ ᴋᴜxᴀ’ᴀɴᴏ’ᴏɴᴇ / ғɪʀᴇʙᴏʏ ᴅᴍʟ: ᴄᴏᴍɪɴɢ ʙᴀᴄᴋ ғᴏʀ ʏᴏᴜ / ʙʟᴜᴇ ʀᴏᴊᴏ: ɪɴғʀᴀᴍᴜɴᴅᴏ  / ʀɪʜᴀɴɴᴀ: ʙᴏʀɴ ᴀɢᴀɪɴ / ᴛᴏʙᴇ ɴᴡɪɢᴡᴇ + ғᴀᴛ ɴᴡɪɢᴡᴇ: ᴛʜᴇʏ ᴡᴀɴᴛ ɪᴛ, ʙᴜᴛ ɴᴏ / ᴅʙɴ ɢᴏɢᴏ + sɪɴᴏ ᴍsᴏʟᴏ: ʟᴏᴠᴇ & ʟᴏʏᴀʟᴛʏ [ʙᴇʟɪᴇᴠᴇ] / sɴᴏᴡ ᴛʜᴀ ᴘʀᴏᴅᴜᴄᴛ + ᴇ-40: ʟᴀ ᴠɪᴅᴀ / ᴀᴍᴀᴀʀᴀᴇ: ᴀ ʙᴏᴅʏ, ᴀ ᴄᴏғғɪɴ / ᴠɪᴠɪʀ ᴏ̨ᴜɪɴᴛᴀɴᴀ: ᴀ́ʀʙᴏʟᴇs ʙᴀᴊᴏ ᴇʟ ᴍᴀʀ / sᴛᴏʀᴍᴢʏ: ɪɴᴛᴇʀʟᴜᴅᴇ / ᴏɢ ᴅᴀʏᴠ + ғᴜᴛᴜʀᴇ: ʟɪᴍᴏɴᴄᴇʟʟᴏ / ᴄᴋᴀʏ + ᴘɪɴᴋᴘᴀɴᴛʜᴇʀᴇss: ᴀɴʏᴀ ᴍᴍɪʀɪ / ʙʟᴏᴏᴅʏ ᴄɪᴠɪʟɪᴀɴ + ʀᴇᴍᴀ: ᴡᴀᴋᴇ ᴜᴘ / ᴀʟᴇᴍᴀ́ɴ + ʀᴇᴍᴀ: ᴘᴀɴᴛᴇʀᴀ / ᴅʙɴ ɢᴏɢᴏ + sɪɴᴏ ᴍsᴏʟᴏ: ᴊᴇʟᴇ / ᴄᴀʟʟᴇ x ᴠɪᴅᴀ + ғᴏᴜᴅᴇᴏ̨ᴜsʜ: ɴᴏ ᴅɪɢᴀs ᴍɪ ɴᴏᴍʙʀᴇ / ɢᴜᴀᴅᴀʟᴜᴘᴇ ᴅᴇ ᴊᴇsᴜ́s ᴄʜᴀɴ ᴘᴏᴏᴛ: ᴍɪ ᴘᴜᴇʙʟᴏ

Score: [tracks referenced in this episode]

ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ᴡᴀᴋᴀɴᴅᴀ ғᴏʀᴇᴠᴇʀ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ᴛ’ᴄʜᴀʟʟᴀ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ʏɪʙᴀᴍʙᴇ! / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ɴᴀᴍᴏʀ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ + ʙᴀᴀʙᴀ ᴍᴀᴀʟ: ᴡᴇʟᴄᴏᴍᴇ ʜᴏᴍᴇ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ + ʙᴜsɪsᴡᴀ: ᴡᴇ ᴋɴᴏᴡ ᴡʜᴀᴛ ʏᴏᴜ ᴡʜɪsᴘᴇʀ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ + ᴊᴏʀᴊᴀ sᴍɪᴛʜ: ʜᴇ ᴡᴀsɴ’ᴛ ᴛʜᴇʀᴇ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ + ᴠɪᴠɪʀ ᴏ̨ᴜɪɴᴛᴀɴᴀ: sɪʀᴇɴs / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ɴᴀᴍᴏʀ’s ᴛʜʀᴏɴᴇ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ʏᴜᴄᴀᴛᴀ́ɴ / ᴠɪᴠɪʀ ᴏ̨ᴜɪɴᴛᴀɴᴀ: ᴀ́ʀʙᴏʟᴇs ʙᴀᴊᴏ ᴇʟ ᴍᴀʀ [ғɪʟᴍ ᴠᴇʀsɪᴏɴ] / ғᴏᴜᴅᴇᴏ̨ᴜsʜ + ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ᴄᴏɴ ʟᴀ ʙʀɪsᴀ [ғɪʟᴍ ᴠᴇʀsɪᴏɴ] / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ + ʙᴀᴀʙᴀ ᴍᴀᴀʟ + ᴍᴀssᴀᴍʙᴀ ᴅɪᴏᴘ: ɴʏᴀɴᴀ ᴡᴀᴍ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ᴠᴇɴɢᴇᴀɴᴄᴇ ʜᴀs ᴄᴏɴsᴜᴍᴇᴅ ᴜs

                           Episodes:  1    2    3

[readyforevolution]

A DAUGHTER OF THE AFRICAN SOIL FROM GAMBIA,THE FIRST GRIOT’S DAUGHTER TO PLAY KORA.

Sona Jobarteh (born 1983 is a Gambian multi-instrumentalist, singer and composer. She is from one of the five principal kora-playing griot families of West Africa, and is the first female professional kora player,to come from a griot family. She is the cousin of the celebrated kora player Toumani Diabate, and is the sister of the diaspora kora player Tunde Jegede.

[radiosanity]

This piece, Iniche, was performed live by Tunde Jegede & the African Classical Music Ensemble and it features Juldeh Camara on riti, and Sona Jobarteh on vocals and guitar. It is part of a live theatre show entitled, Ancient Futures, which weaves together culture, history and art through the evocative live visuals of the artists, Sunara Begum and Trevor Mathison.

[thismansposts]

الحب لو يتحاول من مشاعر لحب العقل بيبقي حب حقيقي في واحد صاحبي بحبه جدا عشان هو كدا مش عشان هو صاحبي عشان هو كويس مش عشان بيعاملني كويس دا الحب الحقيقي مساء الحب

[aglayankahkahaa]

🌿

[sinceileftyoublog]

Moses Sumney Album Review: grae

(Jagjaguwar)

BY JORDAN MAINZER

“Am I vital / If my heart is idle? / Am I doomed?” Moses Sumney famously sang on his stunning 2017 debut Aromanticism, an album that saw him developing his acceptance of being alone. grae, his two-part 2nd full-length, and his first since officially moving from L.A. to the Appalachian Mountains of Asheville, North Carolina, doubles down on themes of heartbreak, but instead of being sure in his seclusion, he embraces the unknown. The album teeters between interludes of platitudes about isolation and ruminations on failed human connection, and maximally arranged clutches of uncertainty. “When my mind’s clouded and filled with doubt / That’s when I feel the most alive,” Sumney coos over horns and piano on slinky soul song “Cut Me”; it’s an effective mantra for the album.

Beyond the simple cliche of containing multitudes, on the first half of grae, Sumney’s interested in the complexities of contemporary masculinity and the necessity to control your own narrative, especially as a Black person. The Jill Scott-featuring and -sampling “jill/jack” redefines traditionally masculine characteristics of a puffed chest and straight back as not masculine, but masculine and feminine, strong, not aggressive. “Virile” similarly conquers themes of toxic masculinity through instrumentation that bolsters Nubya Garcia’s fluttering flutes and Brandee Younger’s harp, enough to overtake Thundercat’s bass and Ian Chang’s drums. 

Beyond gender, though, Sumney sings for, as Taye Selasi puts it on “also also also and and and”, not just “my right to be multiple” but “the recognition of my multiplicity.” That he provides the space for other black voices--instrumental and spoken or sung--to do the same, is what makes grae exceptional. On the chugging “boxes”, Ayesha K. Faines says, “The most significant thing that any person can do / But especially black women and men / Is to think about who gave them their definitions / And rewrite those definitions for themselves.” Sumney’s done as such for the better part of a half decade through his viscerally sensitive singing and words, and his all-encompassing inclusion of others beyond mere careful curation offers a slew of essential contemporaries across genres. Brandon Coleman, Jamire Williams, and Shahzad Ismaily form a makeshift jazz band on “Gagarin”. “Neither/Nor” forms around gorgeous circular picked kora from Tunde Jegede, as Sumney further embraces the nature of life: “I am planted on the shore knowing / The ashen tide may or may not rise,” he sings.

Yet, on the comparatively stark second half of grae, Sumney returns to many of the relationship insecurities of Aromanticism. He eventually comes out even stronger, but the road there is painful. Spring-boarding off of first half closer “Polly”, a heartbreaking song about being with a polyamorous person when you’re monogamous, is the devastating “Two Dogs”. Sumney describes, at first with dry humor (“I had two dogs / In the summer of 2004 / One was boot black / The other whiter than a health food store”) and later with brutal detail (“Medicine clogged their stomachs ‘til they overpoured”) the death of two beloved creatures, only for someone to force him to relive the trauma so as to gauge Sumney’s level of emotional intelligence. “When you ask me in a worried fret, ‘Have you ever at least loved a pet?’” they charge at the taciturn loner. At first, he responds with self-protection. On “Bystanders”, he sings, “What’s the use of confessing the truth to an executioner in a booth about the dueling forces in you?” empowering the judgement of the other person. And on “Me in 20 Years”, over glimmering and clattering typically woozy synths from Oneohtrix Point Never, he declares, “Will love let me down again? Oh no, no, it won’t get in.” 

Unlike on Aromanticism, though, Sumney eventually comes full circle, open to love of another and the self. It comes first with reflection. Backed seemingly only by keyboard arpeggios from James Blake, on “Lucky Me”, he sings, “Just because you didn’t love me / The way I thought I should be loved / Doesn’t mean I wasn’t wanted / Or I wasn’t something to be proud of,” and healthily confesses to not being over someone. (“I still feel you when I go to sleep and when I awake.”) The ultimate revelation, though, comes on “before you go”, delivered again not by Sumney. Michaela Cole, Ezra Miller, and Selasi state, “A lot of creation stories begin with separation.” Over two albums, Sumney has melded and separated, pulled back and pushed forward alike, ultimately finding effective omniscience in simply letting it be.

græ by Moses Sumney

[sarah-slater]

TUNDE JEGEDE- SONG OF THE WATERFALL

from the 2006 debut album by Tunde Jegede, entitled Lamentations

[atsoukalidis]

Relaxing music - Still Moment · Tunde Jegede

[hkbfinn]

18 years ago, as a writer & performer, I stepped further into my creativity with a brand new collection of songs.

I went further than I have ever been before with my compositions, performance & collaborations.

I made funk tinged with jazz & recited poetry over melodies from Africa that pre dated much of the modern world.

So 18 years after it’s original creation, I have re-released my (remastered) Acoustic Afro Hip Hop album.

It features the wondrous talents of Eska Mtungwazi, Sona Jobarteh, Robert Mitchell, Tunde Jegede & more all sonically tweaked from the original 2” tape recordings to a new refined version.

It’s out now from your favourite digital store. So click the link below to listen.

Good music exists...❁

Created by HKB FiNN

https://hkbfinn.hearnow.com

[sageglobalresponse]

Laycon wins Big Brother Naija, clinches N85m prize

Olamilekan Agbeleshe has emerged winner of the Big Brother Naija Season 5.

Fondly known as Laycon, the young lad beat 19 other housemates to be crowned the winner of this year’s reality television show.

He led by 60 per cent votes followed by Dorathy with 21.85 per cent votes. However, Nengi had 15.03 per cent votes while Neo and Vee had 1.94 per cent and 1.18 per cent votes, respectively.

However, Laycon’s victory does not come as a surprise as celebrities such as Eniola Badmus, Nkechi Blessing, Samklef, Odunlade Adekola, Broda Shaggi, Anita Joseph, Toyin Lawani, Yul Edochie, Reminisce, Teni D Entertainer, Vector, Niniola, Di’Ja, DJ Nana, Ice Prince, Timi Dakolo, Joeboy, Stephanie Coker, Small Doctor, Yvonne Jegede, Seyi Edun, Woli Agba and Funmi Awelewa have been canvassing votes for him on social media.

Music producer-turned-blogger, Samklef, has been particularly vocal about his support for Laycon. He has never hidden his support for the lanky singer and many people have donated money to him, which Samklef, in turn, has disbursed to fans to buy airtime and vote en-masse for Laycon.

As of September 25, he had raised over N900,000.

Likewise, Tunde Ednut, who has a followership of over a million followers on Instagram, used his platform to canvass for Laycon.

Interestingly, the young man who went into the house with about four thousand Instagram followers now boasts of a million followers and a verified account while still in the competition.

Also, during the week, some youths in Ogun State held a public walk-in support of Laycon, imploring all who cared to listen to vote for the University of Lagos graduate.

This was even as a restaurant in Lagos offered free food to people to vote for Laycon.

Similar scenarios also played out across the country as both youths and adults have been showing support for Laycon in different ways.

The Fierce rapper seemed like a subject of ridicule as many mocked his looks and dressing, especially his superhero costumes during one of their Saturday night parties.

He was meant to be costumed as Deadpool but the costume made him look like a joke. While his fellow housemates called him a sausage in the outfit, online commenters had a field day creating several memes of his outfit.

He was also laughed at because of his seeming fixation with a now disqualified contestant, Erica Nlewedim, who was more attracted to Kiddwaya.

Despite the odds, most see him as an underdog and he scaled all hurdles to become the winner of this year’s Big Brother Naija reality show.

Laycon goes home with his head high to meet his mother whom he speaks so fondly of with prizes worth N85m.

[shakespearesglobeblog]

Music Instrument Design for Edward II. 

Our wonderfully talented Director of Music, Bill Barclay has built some unique instruments for our production of Edward II. In this blog he tells us about these instruments and the three different worlds of sound he has created for the production.

Christopher Marlowe’s dark history of Edward II still reverberates loudly today both in its powerfully modern assertion that love is love, and in the incompatibility between vulnerability and the corridors of power. To help tell the story of these contrasts that ripple through time, I’ve built two new musical instruments that provide natural reverberation in the Sam Wanamaker Playhouse, which has a warm yet dry acoustic. These devices play alongside a raft of ethnic and period instruments to create three contrasting palates of sound.

The first world of sound: war, rebellion, dissidents, and political pressure

The first sound world describes the sounds of war, rebellion, dissidents, and political pressure. This is achieved through the creation of a steel cello, which is an instrument I first encountered in Boston built by musician Matt Samolis, also known by his stage name Uncle Shoe. I was infatuated with his creations and had used them in theatre before, but this is this instrument’s debut in the United Kingdom. With Matt’s guidance I’ve constructed a new kind of steel cello bespoke to the Sam Wanamaker. 

This is how it works: several large deep ride cymbals and metal rods are bolted to a large stainless steel resonating sheet, which amplifies the metal objects as they are bowed and struck. The instrument is capable of a wide range of sounds which are almost entirely below the frequencies of consonants in speech, making words intelligible over a rash of haunting textures. Amazingly, the instrument often sounds synthesised – digital, even – metallic, industrial, dark, and yet shimmering. Matt and I used to play it for sound meditations in long beautiful drone concerts, and yet it can also distort to provide an incredible lexicon of theatrical punctuation. The whole band takes a turn on it, but it is chiefly played by Music Director Rob Millett, and it is played throughout the production.

The steel cello is complemented by a bass drum, field drum, and Sarah Homer’s contra alto clarinet – a rare instrument lower than the bass clarinet which gurgles at the low end of the hearing spectrum under the steel cello’s reverberant strokes.

The second world of sound: love

The second sound world was meant to contrast with the first as much as possible in order to depict the love between Edward and Gaveston as incompatible with its oppressive cultural antipathy to homosexuality.  For this world we lean on Tunde Jegede’s kora – the West African harp, chiefly from the griot storytelling tradition of Mali.(A griot is a West African historian, storyteller, praise singer, poet, or musician).

The kora melds with a swarmandal, a Hindu harp the characteristic buzzing from its sympathetic strings. To fill out this pan-ethnic texture, we use a hammered dulcimer and a bass dulcimer, instruments that are from all over the world, though perhaps most prominent in music from the Middle East. These three harp-like instruments from around the world emphasise the beauty, the universalism, and perhaps the exotic presence that define love so unabashedly in this play. The textures these strings make with each other seems to chime perfectly with the candlelight, and lend an extraordinary atmosphere to the Playhouse.

The third world of sound: the church

The third sound world is of the church. Here the tubular bells, accordion (mimicking an organ), cello, and contra alto clarinet form a league of ominously low, yet sinuously melodic instruments that collect like vines around the ankles of the play’s characters – powerful yet beautiful. Also in this world is the singers, who at various moments intone the Latin prayers of the Requiem Mass, as if the death of Edward I (Longshanks, Edward II’s father), still looms over the cracked glass of our protagonist’s troubled reign.

The second original instrument is the spring machine. Two long helical springs are attached to the theatre’s back wall, and connect directly to the heads of two frame drums bolted to the face of the music gallery. When the springs are rubbed and struck, we discovered that the sounds that pour out of the drums are unearthly, unsettling, and hard to mentally place. For weeks I had been seeking sounds for the play’s horrible final scenes that were truly original – sounds that could only mean this peculiar horror. We tried attaching a double bass to the springs, and had 4 springs start on each string, going into four drums. The sound was amazing but I could still hear the double bass, and the sound was too familiar.

When we took the bass away and hung the springs to a hook instead, it focused the sound much more on the strange sounds of the springs themselves, which we then tightened to amplify the signal. This revealed the coups de grace: when the drum heads are struck with a mallet in a heartbeat pattern, the heartbeat flows to the back wall and out the drums again, creating an analogue looping system. The intention is to recreate the sound of hearing your own heartbeat thudding in your ears, as you imagine the worst. The secondary intention is to allow the truly horrible parts of the story be truly horrible, by preparing our subconscious with unsettling sounds that have no preconceived identity. We don’t want you to be listening to the ‘music’ here – we want the sounds to unsettle the psychological anticipation of Edward’s grisly demise.

Once the act occur, there is no need, or room, for any more music in its final pages. The stage stays mostly in darkness, the characters have their comeuppance, and silence seems the only appropriate ending. We are still processing the horror, and the tragedy, and after two hours of steady building to this moment, it feels right to go out with these solo odd springs.

Other instruments used in the show include the tagleharpa, a medieval bowed three-string harp made for the Globe by a Russian instrument maker in Karelia. This undergirds the ancient character of Old Spencer and provides a bit of the dark ages as an important colour for the older generation of this world. Paul Johnson also plays several ethnic flutes:

Kaval -  a Bulgarian wooden flute

Tambin -  the national instrument of the West African Fula

Bansuri -  a common North Indian flute

Bombard -  a loud double-reed member of the shawm family used to play Breton music

Portuguese and English bagpipes

Occasionally Paul plays the bagpipes against Sarah Homer’s soprano saxophone – an entirely modern instrument but ones whose timbre, when mixed with the pipes, creates the sensation of two fanfaring trumpets.

Finally, the Nyatiti, the lyre from Kenya, makes a few important solo appearances. This instrument means ‘daughter-in-law’, and it is the female counterpart to the maleness of the West African kora. The two harps provide contrasting emotional colours – the kora in act 1 when love is free, and the Nyatiti in the second half when it is not.

The ambitious nature of this score is testament to the dozens of shows played at the Globe by these four incredible musicians; indeed, the score has been composed for their unique multi-instrumentalism. There is no other person in London who could double on kora and cello than Tunde Jegede, nor any other player than Music Director Rob Millett who plays the dulcimer at an expert level, yet can learn how to work magic from something so new as a steel cello. Paul Johnson and Sarah Homer each in turn provide similarly original contributions that speak to their true uniqueness as players.

The overarching goal here was for the Globe to do what it does best – be inventive, embrace the parameters of acoustic music, and lean heavily on the unique experience of its core artists. I remain a student of period music at the Globe, but only in service of bringing period sounds together with improvisation, new instruments, living composers, and surprising orchestrations.

In collaborating in this way, we attempt to fabricate an entirely unique sound world that can only define the world of this play, here, right now.

Edward II is in the Sam Wanamaker Playhouse until 20 April. 

Musical instrument photography by Hannah Yates  Edward II production photography by Marc Brenner 

[onsenhanakotoba]

Tunde Jegede & NOK Orchestra - Jairaby (Mandé Suite)

[radiosanity]

Tunde Jegede: Kora Juldeh Camara: Riti / Vocals Sona Maya Jobarteh: Vocals / Guitar http://www.tundejegede.org

[thisdaynews]

Keyamo To Oshiomhole:Stop Attacking me, I'm Not Responsible For Your Political Misfortune

New Post has been published on https://thebiafrastar.com/keyamo-to-oshiomholestop-attacking-me-im-not-responsible-for-your-political-misfortune/

Keyamo To Oshiomhole:Stop Attacking me, I'm Not Responsible For Your Political Misfortune

Minister of Labour and Employment, Festus Keyamo has blasted Comrade Adams Oshiomhole, former National chairman of the ruling All Progressives Congress (APC ), saying he is not responsible for his political misfortune.

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The Minister in a statement by his media aide, Tunde Moshood said Oshiomhole is still suffering from the political disappointment he suffered in the Edo governorship election.

“We have been alerted about a Press Statement making the rounds credited to one Victor Oshioke issued on behalf of Comrade Adams Oshiomhole and titled ‘LEAVE OSHIOMHOLE OUT OF APC LEADERSHIP DEBATE’. We initially had our doubts as to the authenticity of the said statement in which the respected Comrade made several unfair and unfounded allegations against Mr. Keyamo, but when we were bombarded by credible sources for our response and after taking our time to send someone to call the author to authenticate it, we had no choice but to set the records straight.

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The story of the political tussle between Gov. Godwin Obaseki and Comrade Adams Oshiomhole in Edo State is so well documented that we do not need to remind Nigerians about it. Mr. Keyamo had ABSOLUTELY NOTHING to do with it. The cases they filed against each other raged from Benin to Abuja and other parts of the country. Mr. Keyamo NEVER filed a single case in court, nor was his Chambers or juniors in Chambers used in any of the cases. The records are there.

When the crises finally consumed Oshiomhole, Mr. Keyamo was not in any strategic legal position like the office of the AGF, APC legal adviser or an SA to any high office within the system on legal matters. Mr. Keyamo is not PRIVY to how members of the CECPC were nominated and/or selected, so he did not have the benefit of the opportunity to point out any legal disabilities. Regrettably, the respected Comrade must have have given in to gossips and rumors.

As to the unfounded allegation that Mr. Keyamo released his recent legal opinion on the Supreme Court decision in Jegede V. Akeredolu to the public on social media, nothing can be farther from the truth. Out of pure patriotism, Mr. Keyamo sent his PRIVATE AND CONFIDENTIAL ADVICE to no other person but the National Chairman of the CECPC himself and just three other highly placed persons with a note not to forward it to anyone. It was an honest, sincere and selfless advice IN THE LIGHT OF THE JUDGEMENT of the Supreme Court ON THAT DAY. However, since it was leaked and seeing how it has been politicized, Mr. Keyamo has since refrained from making any further comments on it.

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For the avoidance of doubt, Mr. Keyamo has no personal interest to serve. He is very content with the assignment given to him by Mr. President and is very much ready and willing to return to his striving legal practice whenever his assignment is over. He is not struggling with anyone for anything other than to enthrone justice and fairness within the system. He has climbed the highest ladder in his chosen profession before being called upon to public office. As such, public office is not a do-or-die affair for him. All insinuations in Oshiomhole’s release that Mr. Keyamo is after some PERSONAL gain is pure balderdash.

“Mr. Keyamo is a big fan of Gov. Buni and they both continue to have healthy conversations till today over the issues at stake. This is not a personal issue. It is just for the survival of the party and Mr. Keyamo will always defend and support the CECPC to the end unless the Supreme Court says otherwise if and when the Court has the opportunity again to decide with the proper parties before it. He will continue to pray for victory on our part. His only offence now is that he sounded a private note of caution because of recent developments at the Supreme Court. How someone can interpret that to be hostility still beats our imagination”.

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“Mr. Keyamo holds Comrade Adams Oshiomhole in very high esteem. He regards him as his leader and mentor. That outburst was very unnecessary and we think he succumbed to the emotions of the political disappointments he has suffered lately, especially in Edo State. If he is looking for a fall guy, he should please look elsewhere. He should be rest assured that we all share in the pain of that costly political miscalculation that caused our dear party to lose the State to the Opposition so cheaply. But we shall continue to support all efforts to put things back on track there”.