#afro beat 2024

[angola-musicas23]

JZyNo - Mood (feat. Khaid)

Já disponível a nova musica da autoria de “JZyNo feat. Khaid” tem como titulo ”Mood”  Confira agora o download em mp3 Baixar mp3 gratis no nosso site abaixo. Baixar musica nova : JZyNo – Mood (feat. Khaid) Download Mp3baixar 2024,baixar musica Mood angolamusicas.com   Artista: JZyNo feat. Khaid Titulo: Mood Género: Afro Beat Ficheiro: Mp3 Ano De Lançamento: 2024 Tamanho:7,56 MB     BAIXAR MP3

[tyranttingz]

I just wanna sleep and never wake up

I don’t feel good I ain't got my cake up

I’m all alone ain't got no family just fake love

I just wanna ease the pain so I take drugs

I don’t talk to my brothers and that hurts nuff

Looking in the mirror ugly, I don’t feel buff

[reflections-in-a-critical-eye]

Jimin - Muse (2024)

3/5 ☆

I thought it'd get me several days to come back here with some thoughts on Muse, but it proved it's not necessary.

Who as title track makes complete sense. We're still into 90s nostalgia, but it's a recipe that works. Not just in kpop, but pop in general. Looking at the charts, it paints a pretty clear picture for the last couple of years. Add the zoomer idea of a what a Y2K aesthetic is like and we get the recipe for today's music and concept. Repeat, reuse, recycle. How fitting for postmodernism.

Who is a really catchy tune, with lyrics easy to remember and sing out loud. A tad more commercial-sounding than Like Crazy, but that's Muse overall anyway. The truth is, I have the song on loop (streamers can't come for me, lol). I think Jimin's style of singing and the melody itself are a good fit. Lyric wise, it's sort of basic, but this is pop music made for mass consumption. I don't mind it. It's also radio friendly and definitely has the potential for summer hit, but I'm 99% sure it won't turn into one. BH won't move a finger to send it to radio and it's another song that will fall victim to fandom mass streaming to chart high for one week. I've seen this all before.

It's also a shame to have this released when an artist is away, without being able to properly promote it. In my non-expert opinion, it could have been released as a single a few months later after Face and scratch the rest of Muse or keep it in the drafts.

As to the other songs, perhaps Rebirth (Intro) is the only other song on the album that has something to it, it stands out a bit more and it also bridges the two albums, despite the connection being sort of flimsy.

Having Sofia Carson on Slow Dance had brought nothing to the song. It could have been a full Jimin track all the way. Her style of singing does not stand out and I find it a failed pair because there's no contrast or voices complementing each other. Jimin can sing just like her. If a collab is really wanted/needed/necessary, then I'd wish for a pairing that also makes sense vocal-wise.

Be Mine is ok, but it sounds too much like that one TXT song and I simply can't get over past it. It's afro beat and latino influence which has been all the rage in the past few years, which Hybe has been pushing a lot. It explains the song.

SGMB and Closer Than This were previously released and I'm not covering them again.

I think it's difficult for me to not make comparisons to Face, considering both albums were produced around the same period, without much time left in between them. One is simply more cohesive and has a depth that showcases a first solo attempt, while the other one is clearly going a more commercial route with less of a personal signature.

Despite Muse being promoted as another conceptual album, I find that umbrella to be a bit forced given that the theme of finding love is really a generic one. Perhaps way too generic with not much individuality. Does it show Jimin's vocal range? Yes. Does it show him trying various genres? Yes. In this case, perhaps Muse is a bit similar to Golden in some aspects, with the difference that Jimin gets producing and writing credits in 5/6 songs. So his involvement is greater, but the scope of the album is in the same category as Golden, which is another production that had this LOVE as an overarching theme. But without much more to it that would make it stand out lyrically. The focus on both is genre diversity and vocal capability.

In short: I like Who (I also like Ace of Base songs and all those silly 90s pop songs, so my music taste is most likely considered bad, but I don't care). I think Muse overall is an amalgam of whatever is trendy at the moment, without being able to truly stand out and say more about Jimin, apart from his capabilities as idol/performer. Perhaps that was the point too.

P.S. My inbox has been closed for anonymous asks since I reblogged a few days ago my post about using lyrics as clues for personal life. It seems that it invited homophobia and I won't have that here.

I'm keeping it that way for now because I'm sure my personal "review" on Muse will either be seen as an invitation for people to either bash me for not thinking it's the album of the year or to be seen as an opportunity for others to talk shit about Jimin, Who and the album overall. I found that usually there is no middle ground with kpop stans/army/Jimin stans, etc.

[umlewis]

Lewis Hamilton Wants To Make Music, But First He Wants To Make the World A Better Place

On the heels of a new Marriott Bonvoy partnership, the F1 star talks about creating memorable moments and finding inspiration in music

By our estimates, Lewis Hamilton has traveled more than 80,000 miles this year, both for his job as one of the premiere drivers in Formula 1 and for leisure, as a perpetual tourist who’s always looking for his next adventure. And that’s not counting the 60-plus laps he drives on the track each race day, either. It’s no surprise, then, that Hamilton craves a little bit of stillness when he finds himself alone, and for as long as he can remember Hamilton has found his solace in music. "Music is the biggest part of my life," Hamilton says. "It's the most important thing that keeps me sane." For the F1 champ, making music has become a necessary outlet, a personal space to create that's all his own. It's been nice, he explains, "In a sport where you don't feel like you could fit in, where you know you're different but you can't really talk too much and there's no way to express yourself other than in a car, to then have music and be able to put my feelings out into something." The F1 star spoke to Rolling Stone during the recent Dutch Grand Prix in Zandvoort, where he partnered with Marriott Bonvoy to offer Bonvoy members an exclusive meet-and-greet in the Mercedes-AMG Petronas F1 Team area.

"We are traveling to 24 different places around the world [each year] and I think one of the most difficult things when you are traveling is often missing your home bed," Hamilton says. "I've traveled to cities and been booked at a hotel, walked straight into my room and left," he continues, "so to find the right comfort has been a discovery process." Marriott, the driver says, has "been so accommodating in all these different places that I've been to." Part of that has been finding a menu that caters to the famous vegan's plant-based diet. "Marriott is really, really accommodating. They find things to make you," Hamilton says. Another has been finding space for the driver to make music while on the road. "I carry one suitcase that has my music equipment," Hamilton reveals, "so every time I get to a hotel, I always set up my mic." Hamilton's musical aspirations started at an early age. His father played in a reggae band, which inspired him to pick up a guitar at thirteen. He bought a turntable when he was sixteen, eventually filling in for local DJs at London nightclubs when he was old enough to go out. He wrote his first song, an R&B track called Never Again, when he was 21. After that, "I was hooked."

Lately, Hamilton has been going through waves of inspiration for the type of music he wants to make. He quietly dropped a track with Christina Aguilera for her 2018 album Liberation (under the artist name XNDA), and he name drops everyone from Wizkid to Coldplay and Billie Eilish when asked about favorite artists. Over the last year he's been listening to"“a lot of afro beats," and he enthusiastically nominates Megan Thee Stallion's Mamushi for 2024 "Song of the Summer" honors. "It's sick, I love that song. That's probably the coolest track out there right now," he gushes. When it comes to his own music though, Hamilton admits he's still unsure of what he wants to make - and what he wants to say. "I go through these phases where I'm doing a lot, I'm writing a lot and I'm recording a lot, and really feeling inspired," he says, "and then I go through these periods where I just stop doing it. I do it less and less and less, and then I stop setting my mic up." For someone who's known for his daring overtakes and hairpin turns on the track, does the thought of releasing music scare him? The soft-spoken star demures when asked about his musical endeavors, revealing that he has "no plans on ever giving [the songs] to anybody," at least for now. "I never got into music, to put the music up," he says.

Further complicating things, at least from this perspective, has been Hamilton's incredibly close relationship with his fans. Few drivers are as well-liked as the Brit, and few athletes have given back to their sport the way Hamilton has, whether it's signing autographs at the airport, making frequent public appearances, or doing intimate meet-and-greets with Marriott Bonvoy. He's almost always taking time out for fans at every race weekend, and yet there's a prevailing feeling of resignation when Hamilton talks about the fandom, almost as if he's expecting himself to do more, to say more, to sign more, even if it hasn't been asked of him. "From a driver's perspective, for an individual or group of people to decide to support you out of only twenty [drivers]? It's a real privilege," he says, "and you feel like you're on a journey with those people that you connect with. So when you lose, you lose together, and when you win, you win together." Hamilton tells a story about one of his favorite fan interactions, which isn't really a single instance, but rather a collective memory. "Most fans are so kind to go out of their way. They've either written me a letter, or they're people making bracelets, or people that bring me gifts," he says. "I've got this one really sweet lady, for example, that's traveled to quite a few of the European races, and she keeps turning up and giving me books of poems, and there'll be a book on history, and she would have gone through and put tabs on all the important parts of the book. People are so, so sweet," he continues, "and you feel really bad, because everywhere you go it's like they give, give, give, and you don't. I don't carry around gifts with me, and often I've just come from the airport. So you feel like when someone gives you something, you're supposed to try and give something back, and it always feels like you've not done enough."

Of course, even fairweather fans will tell you Hamilton has done a lot for the sport, breaking barriers as the first-and only-black F1 driver to date, while ushering in a new generation of global superstars, with buzzed-about partnerships with Tommy Hilfiger, Dior, and, yes, Marriott Bonvoy too. Releasing music would elevate him into an even greater stratosphere of stars, and perhaps finally provide him with something tangible to "give back." But Hamilton is also a consummate perfectionist. In his sport races are often decided by mere thousandths of a second, and one tiny error could have your car crashing out. In the same way, he wants to make sure any music he releases can stand on its own, recalling how excited he was when he played his Aguilera duet for friends and they thought it was some "young artist" that had just come out. The whole world knows what Hamilton can do when it comes to F1. If he's going to enter the music industry he wants to be taken just as seriously, to give himself a similar chance to make it to the top. There's still work to be done, Hamilton explains; new sounds to explore, new beats to create, new thoughts to take from pen to tune. So for now, Hamilton is just making music for himself. Maybe he's not ready to release his music to the world just yet, but Hamilton is determined to use his metaphorical microphone to inspire others. As he approaches two decades in the sport, has he started to think about his legacy? "I find legacy talk really awkward, because I don't wake up every day and think of a legacy that I want to leave," he says. "I'm not working towards a legacy. I work towards, ultimately, trying to be the best version of myself, in the hope that the decisions I make, the things I say and the things that I do hopefully have a positive impact on people." I think about what I am going to do with this platform or this microphone that I have, and what I can actually do with the little time that we have on this planet," he continues. And then, he says, "What can I do to leave the world a better place than when I started? I would imagine for all the good people in the world, it's probably what they want to do also, right? That's what I'm thinking about every day."

[transformativeworksandcultures]

Fans of Color Prize Winner!

Transformative Works and Cultures is pleased to announce Osarugue Otebele as our inaugural Fans of Color Prize award winner for her article “The (anti)fan is black: Consumption, resistance, and black K-pop fan vigil labor”! Otebele’s article will be published in TWC’s upcoming special issue “Centering Blackness in Fan Studies” on December 15th. 

The Fans of Color Prize had 15 submissions, covering the breadth of TWC’s publications from 2021-2024, while providing an incredible glimpse into the impactful work happening in (and outside of) fan studies. Otebele’s submission stood out because, as one reviewer noted, it was “conceptually ambitious.” 

Otebele, a 4th year PhD candidate in the Department of Film & Media at UC Berkeley who goes by Osa among friends and colleagues, is a K-pop fan! She’s been an Epik-High fan since middle school and is also a fan of UKISS, SISTAR, EXO, BOYFRIEND, and others. As a fan, Otebele’s hope is that the K-pop industry will continue to thrive. 

We sat down with Otebele to discuss what brought her to her research, what she’s working on next, and where she sees the field heading. As a little sneak peek to the upcoming issue on “Centering Blackness in Fan Studies,” we’ve shared some of her remarks below. 

TWC: What brought you to this specific research topic? Otebele: I’ve been a K-pop fan since I was in middle school. When I was a younger fan, I wasn’t as aware of the racial tensions in fandom spaces. It wasn’t until I got to high school that I realized that my lack of involvement was also due to not knowing where to locate other Black K-pop fans. This was partly because it was also in high school when words such as “woke” or “conscious” became part of my vocabulary, so I was always looking for ways to bring attention to my Blackness and, as a  K-pop fan, it was difficult to do that. Both the industry and many non-Black fans wanted to escape from having conversations about race.  TWC: Could you briefly explain the key problem or question your article, “The (anti)fan is black: Consumption, resistance, and black K-pop fan vigil labor,” addresses?  Otebele: My article is interested in the ways Black K-pop fans engage instances of appropriation within the industry (from artists and fans), while also attempting to maintain their status as fans. Some of the key questions of my article were, “what makes an anti-fan?” and “how do Black K-pop fans employ digital media platforms to perform their fannish affect?”  TWC: Were there any unexpected challenges you encountered during your research? Otebele: I would say the biggest challenge was working against my own knowledge and love for the industry to write an article that was quite critical of it. In a way, this challenge is also what my article describes, because I’m really invested in how, for Black fans, the identities fan and anti-fan often require their simultaneous performance.  TWC: Are you planning any follow-up research or new projects based on this article?  Otebele: Yes! I’m currently working on another article focused on narrative coherence in the aesthetic performances in K-pop eras. In that paper, I examine how K-pop engenders a critical addition to the instability of cultural identity while on the other hand, it necessitates and reproduces the fungibility of Blackness, where groups can enter in and out of a performance of Blackness that best fits a particular era. My concerns are with how the narrative coherence of each era (hip-hop era, afro-beat era, Y2K, or house music era) requires a commitment to the performance demanded from these various musical genres.  TWC: Where do you see the field heading in the next few years, and how do you hope your work contributes to that?  Otebele: I think much of K-pop studies is focused on transnational fandoms and cross-cultural exchange, but we should also be having the difficult conversations about cultural extraction, about race, about gender and their relationship to fan labor. The industry is growing even more global with many K-pop idols emerging from the United States, Canada, Japan, and more. We really have to turn our attention to the kind of social ideologies that these idols are bringing from their various cultures and locations and how that changes not only the sound and look of the industry but also its fandom. 

Otebele also emphasized to us that receiving this award as a grad student really gave her work a sense of validity and importance, while also encouraging her to continue working on Black fan experience of K-pop. When asked if she had any advice for early career researchers aiming for impactful publications, Otebele shared: “Revise, revise, revise!” 

We can’t wait for you all to get to read Osa Otebele’s award-winning article, “The (anti)fan is black: Consumption, resistance, and black K-pop fan vigil labor,” which will be published in our upcoming special issue “Centering Blackness in Fan Studies” on December 15. Congratulations again, Osa, from everyone at Transformative Works and Cultures! 

[sapphic-agent]

I'm curious about your thoughts about the Glee subreddit and morality. When I was active on that sub, I left some time back because of the insane Rachel glazing and Santana slander, I noticed a lot of the arguments or discussions were coming from a moral standpoint for me. Santana's my favorite character and often how she was criticized on there seemed to come from sort of moral high ground. She's a terrible character because she did this wrong (biphobia, racism, homophobia, bullying etc) and that isn't okay without people remembering the time period that Glee aired in or that Glee thrived off of dodgy/satirical jokes or humor. They hold Santana and her actions accountable as if she was created in 2024 and not 2009.

Was this something you also noticed when you were there? This weird morality stance when it comes to controversial characters like Santana? It honestly felt like she was being judged to 2024 standards. Sorry if this sounds a bit disjointed but I'm interested to know your viewpoint.

No, this is a really good question.

It's common knowledge for people who have left the Glee sub that it's on some self-righteous moral high ground. And I wouldn't care about their morality stance... if they were as harsh on Finn and Rachel as they are on Santana, Quinn, Mercedes, etc.

I can give you a lot of examples of their double standards.

When anyone tries to bring up Rachel slapping Santana, they'll cry about the times Santana slapped Quinn and Finn... But nothing about Finn trying to yank Quinn out of her wheelchair, beating down on Puck, attacking Jesse, etc. Hell, they'll fucking praise him for assaulting Brody. In all of these situations, Finn always gets an excuse: oh Puck betrayed him, oh Quinn manipulated him, oh Jesse and Brody HURT poor Rachel!! But then they'll make excuses for demonizing Santana... despite the fact that Quinn revealed her private medical info to get her demoted and Finn literally outed and doxed her to the entire state.

Ergo, they're fine when Finn resorts to violence because it's SO UNDERSTANDABLE, but Santana's a bitch who deserves what she gets so she isn't allowed to be upset in any way.

Do you know how many times someone brings up Mercedes quitting? Do you know how many times they condemn her for being childish, disrespectful, and leaving the way she did? But... Rachel did the same thing for years. Why is it only condemnable when Mercedes does it? Why is Rachel allowed to complain and get angry, but the minute Mercedes does it she has an attitude problem?

Rachel playing Maria in WSS was fine, but for some reason she has the right to condemn Santana for auditioning for Fanny? And the Glee sub thinks that's perfectly okay.

It's funny you mention satire, because apparently that only applies to Rachel, not Santana. Rachel can make whatever comments she wants about Black people and Chinese people and anyone who isn't American and it's so cute and funny and endearing, but when Santana did it, it was racist and she's terrible.

(Honestly, I know Santana is Mexican in canon, but Naya was Black irl, so it really feels like this is misogynoir (especially when Mercedes is only liked as long as she's being perfectly unproblematic). If Santana was a white Hispanic and not an Afro-Latina, I feel like people in the Glee sub (and everywhere else tbh) wouldn't be nearly as harsh on her)

Also, you pointing out people judging her by 2024 terms is hilarious, because that's the exact thing the Glee sub accuses Finn haters like myself of doing to him. Except... condemning most of the shit Finn does was perfectly the norm in 2009. The Office (THE FUCKING OFFICE) took the time to explain why outing was bad. A ton of sitcoms pointed out that abusing your size to beat people up when you get mad is wrong.

IT WAS 2009, NOT 1989. The last episode of Glee aired in 2013, when progressive shows like Steven Universe were coming out (hell, Adventure Time is even older than Glee and it did things so much better; Finn Mertens>Finn Hudson) Glee isn't the aged relic people make it out to be. And firmly holding Finn to "2009" standards- while not doing the same for Santana (or Quinn or anyone else)- and them attacking anyone who dares to say "Hey, Finn's kind of a dick," is a double standard that screams misogyny and racism

[echteliefde]

HALL OF FLAME // BY ÉCHTE LIEFDE

AMAPIANO, DANCEHALL & REGGAE

HEET! Dat wordt het 31 mei. Geen weersvoorspelling, maar hoge temperaturen in onze zaal. In samenwerking met Échte Liefde presenteren we Hall of Flame. DJ Sueside, Rowsu, Térence en Jaci Wodo zullen een mix van dancehall, reggae en amapiano brengen.

Van eigen grond hebben we Térence! Als getalenteerd model, acteur en danser is Terence Munzemba een geweldig multidisciplinair artiest. Als ‘Térence’ creëert hij een magische melodie, waar hiphop, afro en R&B in harmonie zijn, gecombineerd met house/elektronische beats.

DJ Sueside is al talloze jaren in de game. In 1983 kocht hij zijn eerste plaat. Nu meer dan 38 jaar later is DJ SUESIDE de Europese Hiphop/R&B DJ met de meeste internationale optredens achter zijn naam. Hij deed in meer dan 40 verschillende landen 4 wereldtours en brengt 31 mei zijn hitte naar de Hall of Flame.

DJ Rowsu, wonend in Amsterdam, is al bijna 9 jaar actief in de scène. Ze heeft niet de eerste de beste leermeester gevonden, want ze komt uit de koker van DJ Sueside. Haar carrière begon met het draaien van vinyl als resident van Le Scratch, waaruit ze is doorgegroeid en een eigen uniek geluid heeft ontwikkeld. Door gebruik van viool onderscheidt ze zich van andere en met vele gigs er al op zitten wordt het ongetwijfeld heet in de Hall of Fame.

Straight uit Tilburg hebben we Jaci Wodo! Hij is nog maar 18 jaar, maar laat ’t je niet afleiden, want hij draait als een routinier. Afkomstig uit een muzikale familie, heeft Jaci Wodo zijn passie voor muziek van kinds af aan omarmd en heeft hij zijn eigen geluid binnen de genres Afro, R&B, Hiphop en Amapiano gevormd.

TICKETS:

https://hall-fame.nl/programma/hall-of-flame-by-echte-liefde-31-mei-2024

Fire-starter tickets: €15,-

TIJDEN:

DEUREN: 22:00

START PROGRAMMA: 22:00

EIND: 04:00

[jungleindierock]

Time Machine - 2024 - No. 3

The third Time Machine playlist of 2024. 40 tracks again, as it makes the playlist not too long or too short, perfect number of tunes. The whole playlist only lasts 2 hours 30 minutes. Tracks from the 50's to 2023, of mixed genres!!

Enjoy it and share it, you might find some old bands/artists you like and want to explore their back catalogues!!

You can find previous Time Machines and more here on the Spotify

Tracklist

1- Bob Marley And The Wailers - Three Little Birds 2- Buffalo Springfield - For What it's Worth 3- Pixies - Debaser 4- Sam & Dave - Soul Man 5- Half Japanese - One Million Kisses 6- Dandy Livingstone - Rudy, A Message To You 7- Sonic Youth - Teen Age Riot 8- The Charlatans - The only One I Know 9- Half Man Half Biscuit - National Shite Day 10- Steel Pulse- Ku Klux Klan 11- The Libertines - Up The Bracket 12- Mercury Rev - Goddess On a hiway 13- Fun boy Three - The Tunnel Of Love 14- Ian Brown . F.E.A.R. 15- Television - Marquee Moon 16- Pulp - Babies 17- The kinks - Waterloo Sunset 18- Blur - There's No Other Way 19- Happy Mondays - Kinky Afro 20- Dusty Springfield - Son Of A Preacher Man 21- Orange Juice - Rip It Up 22- The Bluetones - Slight Return 23- The Gun Club - Sex Beat 24- Neil Young - Heart OF Gold 25- Gloria Jones - Tainted Love 26- Magazine - Boredom 27- The Zombies - She's Not There 28- Kraftwerk . Autobahn 29- Max Romeo, Lee Perry - Chase The Devil / Disco Devil (With The Full Experiance) 30- Eddie Cochran - C'mon Everybody 31- Arcade Fire -No Cars Go 32- Catatonia - Mulder & Scully 33- Wet Leg - Oh No 34- The linda Lindas - Growing Up 35- Tony Clarke - Landslide 36- Daniel Johnston - Poor You 37- David sylvian - A Fire In The forest 38- Camper Van Beethoven - Take The Skinheads Bowling 39- Kevin Ayers - Stranger In Blue Suede Shoes 40- The Beta Band - Dry The Rain

[normalnada]

Krakmaxter - Distância ( Afro-Beats 12-11-2024 )

[angola-musicas23]

Maleek Berry - Secrets

Já disponível a nova musica da autoria de “Maleek Berry” tem como titulo ”Secrets”  Confira agora o download em mp3 Baixar mp3 gratis no nosso site abaixo. Baixar musica nova : Maleek Berry – Secrets Download Mp3baixar 2024,baixar musica Coco angolamusicas.com   Artista: Maleek Berry Titulo: Secrets Género: Afro Beat Ficheiro: Mp3 Ano De Lançamento: 2024 Tamanho: 6,21 MB     BAIXAR MP3

[afrohouseking]

New Releases For this Week.

New Release For this Week. Now on the Website: afrohouseking.com

Genres: Afro House, Deep House

The Godfathers of Deep House SA - God's Anthems (Album)Buddynice - Redemial Sounds Chapter 3 (October 2024)Argento Dust & Mpho.Wav – Fallen AngelCornelius SA & NAAK – ImaliEssa Kay & Heavy-K – Nkabi Yami (feat. DJ Fhiso)DJ Sandiso – Sgubu (feat. Okmalumkoolkat, NaakMusiQ, Kamza HeavyPoint & Kumkani)DJ Fresh (SA) – Homeward BoundDJ Thozman – Psalms EPStixx & Nvcho – Dust 2 Dust (Album)Vigro Deep & Freddy K – Your Piano Is Not My Piano (Album)Mr Pilato, Ego Slimflow & Tebogo G Mashego – Biri Marung (feat. Sje Konka, Focalistic, DJ Maphorisa & Scotts Maphuma)Mellow & Sleazy, Scotts Maphuma & Mr Pilato – Shayi’Moto (feat. Seemah & Yanda Woods)Musa Keys – Rirhandzu (Album)Uncle Vinny – Youth League Vol. 2 (The Return)LastBornDiroba – STANCE MUSIC EPDeep London, Zee Nxumalo & Maphepa – Weekend SpecialGaba Cannal – uMnikelo (feat. Zain SA & Vhuvi)Sbu YDN, Mdoovar & Miči – Be YoursSmash SA – Kulungile EPDa Muziqal Chef & GL_Ceejay – IsinamuvaBusta 929, Zwesh SA & Predope The Vocalist – Ukuzithola EPCaltonic SA & Perspectiv Soul – Resilience 2 EPCandy Flow RSA, DBN Gogo & ShennyDaDeejay – Phunyuka (feat. Loony Q)Jay Music , Thuto The Human & DJ Clock – DnB Beat (Revisit)DrumPope & Drip Gogo – Buyele’khaya (feat. Rooted & Henwood)Peekay Mzee – Lion of 3StepAmaQhawe – Abafana Banamalini (feat. Pushkin & Springle)Beast Viking – Ngelinye (feat. Msongi & Ze2)Vusinator – Tsakane (feat. BoituM)Tumisho & DJ Manzo SA – WelcomeNandipha808 & Kaytee NA – HealingThama Tee & Cowboii – O’nthabisa ThataKue K, TitoM & Yuppe – Abo Dingane (feat. $ADDYDE$NOWBOII, Undisputed Soul & Bangs MuziQ)Mukololo, Mazet & Megadrumz – Zwiya Deeper [Zwiya Difha] (feat. DJ Skizoh BW, Lucia Dottie & Maq D)Major_Keys & Slidoo Man – UmsebenziDjy Thakzin – Limitless (feat. Nizhe DeSoul & Lady T)Warren Justin, J Slayz & Tango Supreme – Club55 (feat. Major League Djz)Yashna & NatiQ106 – ForeverThembi Mona – Bayeke (feat. Cairo CPT)Boips – Adrenaline Rush EP - Murumba Pitch - Impi EPLindough Mshayeli (Album)Yogilocco - The Way It Goes EPThabang Phaleng - with you (Extended Mix) (feat. TimAdeep & Trust SA)Dearson - Ensimini EPVA - Sanelow Grooves, Vol. 6VA - Groove in the Garden Vol.2BusyExplore, Cyatt RSA & D-tip - Friend In Deep, Vol. 3Andy Compton & The Rurals - South African Flavours, Vol. 2Gumz - Music Is Art (Album)OneDown & Shona SA - Flute Song (feat. Thee Suka)T3bo Go & Skiira - The DarksideAfro Victimz - Tribute To Afro BrotherzEdisonSoul - Albert Einstein 2.0Devine Maestro, Thap’Soul, NexVocals & Massive R - Never Thought (Beat Soul Alternative Mix)Devine Maestro, Mark Lane & Marleysoul - Phumelela (Mazimba Remix)CHOPSTAR - Humans and Music EPNovatron & Carter IV - Two Tone EPNovatron, Carter IV & DoouShii - Project 6 (feat. Mellow & Sleazy)Shashie, 2Point1, Shejay Glam & Muziqal Guru - Ditoro (feat. Kabelo Daylight & Fader)Mpumi Landan - Pressa (feat. Nizhe DeSoul & Tyfam) Nothing But Deep & Soulful House Session's With D-TSI 

[aricastmblr]

지민 (Jimin) 'MUSE' Highlight Medley BTS BANGTANTV

13 jul 2024 #Jimin_MUSE#지민#Jimin 지민 (Jimin) 2nd Solo Album 'MUSE' 📅 July 19, 1PM (KST) | 0AM (ET) 🛒 https://jimin.lnk.to/MUSE

BIGHIT_MUSIC X

지민 (Jimin) 'MUSE' Highlight Medley (https://youtu.be/iLtCSBGdMqU) #지민 #Jimin #Jimin_MUSE

BIGHIT MUSIC facebook official

지민 (Jimin) 'MUSE' Highlight Medley

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지민 (Jimin) 'MUSE' Highlight Medley

Jimin "MUSE" — Tracklist

1- REBIRTH (INTRO) 2- INTERLUDE : SHOWTIME 3- SMERALDO GARDEN MARCHING BAND (FEAT. LOCO (Pre-release Single) 4- SLOW DANCE (FEAT. SOFIA CARSON) 5- BE MINE 6- WHO (Main Track) 7- CLOSER THAN THIS

Descripción de las pistas de 'MUSE':

1- REBIRTH (INTRO) - Género de fusión basado en R&B y gospel 2- INTERLUDE : SHOWTIME - canción instrumental que se conecta con la pista 3 4- SLOW DANCE (FEAT. SOFIA CARSON) - canción de R&B de ritmo medio 5- BE MINE - Canción de género afro-beat 6- WHO (Main Track) - sexy y atrevida, pero profundamente romántica.

[umlewis]

"It’s @.premosupremo & @.theweekanne vs. Lewis Hamilton in an RC race showdown! 💥 @.lewishamilton shares his adventures hiking Mount Kinabalu ⛰️ and his love for Afro beats 🎶🔥" - september 26, 2024 📷 @.hitz / instagram

[firelise]

Hi, I'm Camille. I'm Black Dominican-American and sometimes I make gifs. Here's things I've made & a PSA on my favorite things as of 2024:

TV Faves

Currently Watching: The Heart Killers, Shrinking, ThamePo

The Get Down

Warrior Nun

Interview with the Vampire

Russian Doll

Reservation Dogs

Ramy

Good Omens

Watchmen

Andor

Loki

Gilmore Girls

The Midnight Gospel

Midnight Mass

Young Royals

Season 2 of Bridgerton (specifically)

Only Friends

Music Faves

Black women in general

Indie Hip Hop/Neo Soul

Reggaeton/Dembow/Afro-Beats

Beyoncé Giselle Knowles Carter

Solange

Franklin Ocean

Lorde

Aminé

Doechii

Rico

Amaarae

Tems

Chloe x Halle

Victoria Monet

Jazmine Sullivan

Nao

Little Mix

Movie Faves

Titanic

Pride & Prejudice

Atonement

Everything, Everywhere, All at Once

Snowpiercer

Your Name Engraved Herein

Crooklyn

The Handmaiden

Get Out

Nope

Chevalier

Brandy's Cinderella

Book Faves

All of James Baldwin, Toni Morrison, Akwaeke Emezi & Octavia Butler's works

Aristotle & Dante

Song of Achilles

Percy Jackson (& HOO)

Things I don't tolerate

Homophobia

Transphobia

Zionism

Celebrities with rape/assault charges

Rosalía, J Balvin, J Lo, racist White Latinos & White Spaniards in general

Beyoncé slander

Things I mildly dislike

Taylor Swift

[djangoblack]

Django Black Ibiza Blackout Party Mix 2024 (Afrohouse) | Django Black

📀 Django Black – Ibiza “Blackout” Party Mix 2024 – (Afrohouse) | Django Black https://ift.tt/ArlgJXh Are you ready to set the dance floor on fire with DJANGO BLACK’s “Ibiza ‘Blackout’ Summer Mix 2024”? This mix has all the vibrant Afrohouse rhythms and pulsating beats you need to keep your party going all night. Don’t forget to subscribe to stay updated with the latest tracks and festival vibes! Timestamps: 0:00 – Intro 0:01 – DJANGO BLACK feat PATTY LOU – WAVES (Extended) Download Now! 3:37 – Florence The machine – Spectrum (Say my name) [Marco Generani remix] 8:39 – Dennis Ferrer – Hey Hey (Jack Back Extended Remix) 13:55 – Disclosure – You Me ft. Eliza Doolittle (Rivo Remix) 19:03 – Dido – Thank You (Sentin Klub XIII Soundsystem Remix) 22:58 – Years & Years – Desire (Bask Extended Mix) 26:56 – Nelly Furtado – Say It Right (Faros Remix) 30:17 – Gnarls Barkley – Crazy (Arthur Miro Afro House Edit) 33:56 – Francis Mercier Magic System – Premier Gaou (Nitefreak Extended Remix) 38:21 – Sofiya Nzaw – Mwaki (Laureano Remix) 41:14 – Billy Ocean – Caribbean Queen (merchant solitude edit) 46:28 – Robbie Williams – Feel (Disla Danis Remix) 51:15 – Daryl Hall John Oates – Out Of Touch (Vidojean X Oliver Loenn Afro House Remix) 55:25 – Everything But The Girl – Missing (Mydoz David Hopperman Remix) 59:01 – Diplo HUGEL – Stay High (feat. Julia Church) [VIP] [Official Full Stream] 1:01:15 – RÜFÜS DU SOL – Next to Me (Vintage Culture Remix) 1:07:28 – Calvin Harris ft. Sam Smith – Desire (Rivo Extended Remix) 1:12:29 – (Bounus Track/Deep House) PATTY LOU – You’re Mines Still (Django Black Remix) Extended The video is about Django Black – Ibiza “Blackout” Party Mix 2024 (Afrohouse). but also tries to cover the following subjects: DJANGO BLACK Hits Ibiza Summer Vibes Top Afrohouse Tracks TITLE : Django Black – Ibiza “Blackout” Party Mix 2024 (Afrohouse) Songs is currently on your favorite platforms: Spotify: https://ift.tt/iJjgTwV Soundcloud: https://ift.tt/vqUxsaM Subscribe To My Channel For More Official Music: https://www.youtube.com/@djangoblack-official/?sub_confirmation=1 Stay Connected With Me: Instagram: https://ift.tt/WUpndbt Facebook: https://ift.tt/xKa4Bsm Website: https://ift.tt/uKFSw3M ========================= Other Videos You Might Be Interested In Watching: Django Black Ft. Patty Lou – “Waves” – (Cover Art Video) | Django Black ========================= About Django Black: Django Black are an electronic music group of visionary producers, DJs, and artists converged, driven by a shared passion for music and a desire to break free from industry norms. Django Black is more than a collective; it’s a movement—a rebellion against the status quo. Their fusion of Afro house, pop, soul, and dance music defies convention, forging a unique sonic identity that transcends genres. Through their beats, Django Black amplifies the voices of the marginalized, weaving a tapestry of empowerment and unity. For all Inquiries, bookings, remixes, colabs, please use the contact information below: Email: mgmt@djangoblack.com Subscribe to my channel for more great music: https://www.youtube.com/@djangoblack-official/?sub_confirmation=1 ========================= #djangoblack #ibizasummer2024 #afrohouse #blackout #summermix #partyplaylist #musicfestival #2024hits Disclaimer: We do not accept any liability for any loss or damage which is incurred from you acting or not acting as a result of reading any of our publications. You acknowledge that you use the information we provide at your own risk. Do your own research. Copyright Notice: This video and our YouTube channel contains copyrighted music and images. Any public, media and any other business usage is subject to business licence. Unauthorised usage and publications are prohibited. © Django Black from Django Black https://www.youtube.com/watch?v=Ipp7eaXkF28 via Django Black https://ift.tt/Yj8gk1c May 15, 2024 at 11:02PM

[gsohb]

Hip-Hop Royalty: Capital Steez

"Dear diary, what a day it's been." - from Free The Robots

Prior to 2023, if you had asked me who Capital Steez was, I honestly would've drawn a blank.

This isn't a note on the ferocious talent of this young man, but more so an admission of how much of an old ass, I actually am.

But sure enough, in 2023, I became familiar with the music of Steez, and needless to say, I haven't stopped listening, since.

STEEZ was born Courtney Everald Dewar Jr. on July 7th, 1993 in Brooklyn, New York (city). He attended the well known Edward R. Murrow High School.

According to his wiki, STEEZ was a happy kid. Always with a smile on his face, he would don a short afro and skinny jeans.

During the late 2000's, STEEZ co-founded the PRO ERA rap collective with childhood friend and fellow rapper Joey Badass.

Have you ever heard of the Beast Coast Movement? Well, it was (and is) a thing.

Beast Coast Movement

Apparently it was a term that STEEZ used to describe the musical conglomerate that was PRO ERA, Flatbush Zombies, and The Underachievers.

Unfortunately, on December 23rd, 2012, Courtney ended his life.

But, I don't want this entire to piece to be about his passing. I would like to discuss his talent and legacy left on hip hop.

Lol! Apparently, he had a sense of humor, too.

His Music

I always know when a song, particularly a rap song is good, because I'll be listening to it, and say, "This is what I'm talking about!"

It's like when you've been looking for a particular brand of butter for months. Yeah, the others are good and get the job done, but THIS kind of butter makes food fun and nutritious.

That's the feeling I got when I first listened to Apex.

First what I love about this video is how fun it is. I appreciate the jovial, fun energy that's only complimented by half serious, half jokey lyrics.

Maybe I'm biased, because this is one of my favorite types of rap styles.

Also, do you hear that beat?

Another one I really enjoy listening to is Free The Robots.

Okay, first of all. THIS VIDEO.

This video definitely is giving me liminal space vibes. Anyone else? No?

I really appreciate how there's different clips, and videos from different sources. Feels like STEEZ was trying to convey a message with all the clips arranged like so.

Now, with the music: I feel hypnotized. Just listening to this makes me feel dreamy, but also really really dreary. You ever seen Requiem For A Dream? | Yeah, that kind of dreamy/dreary.

Which is coincidental, because throughout the song, STEEZ mentions how destructive drugs have been to him personally and the world at large.

Free The Robots

STEEZ also touches on politics, very heavily here, such as 9/11 and certain ways he'd like past presidents to be dealt with. :)

AmeriKKKan Korruption | King Capital

STEEZ posing with left hand over left eye, while draped in a large American flag.

So, there is an album.

Or rather, a mixtape.

Capital STEEZ had released a solo mixtape titled AmeriKKKan Korruption, on April 7th, 2012.

The mixtape contained a total of 14 tracks, although a number of other rappers, producers and PRO ERA members have graciously contributed to its track count.

After his passing, in 2013 there had been an announcement by friend and fellow rapper Joey Badass that a posthumous album, titled King Capital would be released. While a song did come of it (King Steelo), the album King Capital would never actually be released.

On January 2nd, 2018, Joey Badass stated to fans that due to legalities, the album's release would be delayed to later that year.

As of 2024, the project King Capital is still unreleased.

His Legacy

I'm not sure what things would have looked like for STEEZ had he survived throughout the years.

What I will say, is that a talent and voice like he had is desperately needed now. In fact, maybe STEEZ's energy is still alive and well in some other rapper who just may have the talent, but hasn't been tweeted about by XXL.

Maybe we need to begin searching out talented artists, and boosting them up ourselves.

Also, it goes without mentioning, that it was said that STEEZ had been dealing with some emotional battles. I want to say that if you find yourself dealing with emotional, mental issues, getting help doesn't make you weak.

But taking your life doesn't make you weak either. It just means the help you needed didn't arrive on time.

God bless everyone, and long live STEEZ.