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AUDIO: Mixtape—A House Divided Against Itself Cannot Stand

20 MAY 2014

Paris DJs Soundsystem

– A House Divided Against Itself

Cannot Stand –

Tropical Grooves

& Afrofunk International Vol.5

(Digital Compilation, Paris DJs)

Calling all intergalactic Afro-funk cosmonauts and tropical grooves aficionados !! After exploring GOODNESS, FIRE, WARRIOR and ELECTRIC themes, Paris DJs felt it was time to concentrate their research on the UNITY concept, on the global cultural unity that is expressed through all strands of groovy, funky, psychedelic and moving afrofunk, afrobeat, ethio-jazz, highlife, afrojazz, afrosoul, Carribean Funk and other Tropical Grooves to be found on this planet today.Buy on Bandcamp, JunoDownload, iTunes, Amazon.fr, Amazon.co.uk, Amazon.com, Amazon.de,Amazon.co.jp, etc.

Paris DJs Soundsystem – A House Divided Against Itself Cannot Stand – Tropical Grooves and Afrofunk International Vol.5
(Digital Album) Paris DJs PARISDJS058-D, 2014-05-20Tracklisting :

01 Franck Biyong & The Diamane Bantu Messengers – Ambom / Cameroon-France
02. Jujjumusic feat. Emmanuel Pi Djob – We Shall Overcome / France-Cameroon *
03. Lord Echo – A Straight Version of Terabu / New-Zealand *
04. Jungle Fire – Tokuta (Grant Phabao Remix) / USA-France
05. London Afrobeat Collective – Prime Minister / UK
06. The Afrobiotics – What Goes Around / Australia *
07. The Brand New Life – Bara Mbaye / USA-Senegal
08. Gato Loco – Cumbia Call / USA *
09. Ginferno – Erta Ale / Spain
10. Dexter Story & Wondem – Sinesrat / USA *
11. The Cactus Channel – Jorge Buccio / Australia
12. Shogun Orchestra – Black Lotus / New Zealand
13. Kaveri Special – Hei Suomenmaa / Finland
14. Jessie Evans – Evalution feat. Jimi Tenor + Machete Horns / Germany
* unreleased tracks

Credits :
Audiovisual concept by Djouls & Ben Hito
A&R : Djouls with the help of Loik Dury
Audio mastering by Grant Phabao
Artwork by Ben Hito

Press Release :
Calling all intergalactic Afro-funk cosmonauts and tropical grooves aficionados !!

After exploring GOODNESS, FIRE, WARRIOR and ELECTRIC themes, Paris DJs felt it was time to concentrate their research on the UNITY concept, on the global cultural unity that is expressed through all strands of groovy, funky, psychedelic and moving afrofunk, afrobeat, ethio-jazz, highlife, afrojazz, afrosoul, Carribean Funk and other Tropical Grooves to be found on this planet today.

This new compilation in the ‘Tropical Grooves & Afrofunk International series’ is called ‘A HOUSE DIVIDED AGAINST ITSELF CANNOT STAND’. This unity theme is one that came out of nearly every discussion with the musicians from the worldwide ‘afro scene’. Even if it might seem a bit utopic, it’s something that is becoming a reality from Paris DJs’ viewpoint – you wouldn’t believe how much the most sincere musicians, bands, labels, DJs, record collectors and stores are connected throughout the world…

For this 5th volume of the series, graphic designer Ben Hito conceived another of his FANTASTIC artworks which was published on Paris DJs social networks and sent out by email to a selection of bands, including all the ones selected in the previous volumes.
Only 12 days later, the submissions had to be closed because too much bombs, superb tunes and crazy groovers had landed on the label’s desk! A few tracks were even kept on the side for an upcoming funk/soul compilation, and 14 were assembled into the program you have here, ready to reach your music-loving ears.

From Cameroon and Senegal, to Australia and New Zealand, USA, UK, Spain, Germany up to Finland, ‘A House Divided Against Itself Cannot Stand’ is a joyous tour du monde uniting many strands of music born in Africa.

TRACK BY TRACK INFO :

01 Franck Biyong & The Diamane Bantu Messengers – Ambom / Cameroon-France

Credits :
Taken from the 2012 album ‘Ki I Ye Yi‘
Recorded at Afrolectric Music Studios, Njopam Studios, T.I.M.E.C. Studios Winter 2012
Engineered and mixed by Grant Phabao & Franck Biyong
Mastered by Grant Phabao
© 2012 Afrolectric Music

Written by Swala Emati & Franck Biyong
Composed by Fabien Preaux & Franck Biyong
Arrangements by Nicolas Sakelario, Fabrice Fila
Published by Afrolectric Music (SACEM)
ISWC n° T-702.855.055.4

Musicians / Band Members :
Drums: Desire Nkouandou
Percussion: Desire Nkouandou, Franck Biyong
Keyboards: Grant Phabao
Bass: Franck Biyong
Rhythm Guitars: Grant Phabao, Franck Biyong
Tenor Sax: Fab Smith
Alto and Baritone Sax: Nicolas Sakelario
Spoken Voice: Oloo Bwemba
Backing Vocals: Swala Emati, Franck Biyong
Lead Vocals: Swala Emati, Franck Biyong

About Franck Biyong :
Franck Biyong is a Cameroonian Guitarist, composer and singer, creator of the Afrolectric sound fusing Afrobeat, Electro-Funk, Jazz and rock sounds. Attracted to music at a very early age, he spent most of his childhood in West Africa (Gabon, Nigeria, Ivory Coast) where he learned music. He left Africa for Europe where he started his musical career. Franck released 9 albums and operates outside the lines which map the trajectories of African musicians in and out of the continent. Doing so, he gained a reputation over the last ten years as one of the very few authentic innovators of modern African music, blessed with a solid and sophisticated production, a celebration of diverse influences driven by a heavyweight spatial sound.

Franck Biyong about Paris DJs :
Hum…I mean…Hum…potentially the best French based label in activity these last ten years or so? What do you think?

02. Jujjumusic feat. Emmanuel Pi Djob – We Shall Overcome / France-Cameroon *

Credits :
Musicians / Band Members :
Emmanuel Pi Djob : vocals
Tony Allen : drums
Sylvain Daniel : bass
Eric Durand : percussions
Julien Raulet : guitars
Franck Chauvier : keyboards
Martial Reverdy : soprano sax

Produced by Julien Raulet
Mixed by Lionel Puyal
Mastered by Grant Phabao

Composed by Julien Raulet (SACEM)

About Jujjumusic :
Jujjumusic is another side of Julien Raulet, guitarist of Fanga and leader of The Afrorockerz, another exploration of afrobeat. On this kind of seventies jam track he was dreaming of Fela and Tony Allen meeting James Brown and Miles Davis in the seventies, so he went along and just recorded it. With the powerfull voice of Emmanuel Pi Djob, a talented gospel soul singer from Montpellier, the song gets spiritual like it’s supposed to be in a shrine or a church.

Jujjumusic about Paris DJs :
Keep on doin it !

Links :
Jujjumusic : facebook | soundcloud | youtube

03. Lord Echo – A Straight Version of Terabu / New-Zealand *

Credits :
Produced by Lord Echo
Composed by Michael August

About Lord Echo :
Lord Echo is an eccentric and reclusive musician/producer based in Wellington, New Zealand, who records for for Wonderful Noise (JP), Bastard Jazz (NY) and Jakarta (EU). ‘Terabu’ was a track from his first album from 2010, ‘Melodies’, and featured in this compilation is a straight version of the tune. The final mix of ‘Terabu’ was cut together using bits of this and bits of a dub. Some of his friends complained about the dubs… so Lord Echo thought maybe this straight version is better?

Links :
Lord Echo : bandcamp | discogs | facebook | juno | soundcloud

04. Jungle Fire – Tokuta (Grant Phabao Remix) / USA-France

Credits :
Composed by Steve Haney (BMI #14663815)
Remix, additional production and audio mastering by Grant Phabao
Organ by Guillaume Méténier aka Soul Sugar
© 2013 Jungle Fire / T.I.M.E.C. / Paris DJs

About Jungle Fire :
The Jungle Fire band digs deep into afro/latin funk with an approach that is both authentic and highly explosive! Comprised of musicians from the Los Angeles region, Jungle Fire pulls from only those who are dedicated to preserving, protecting and progressing LA’s funk and latin scenes. Members have performed with Stevie Wonder, Joe Bataan, Breakestra, Ozomatli, Quantic, Alice Russell, Celia Cruz, Orgone, The Greyboy Allstars and the list goes on. Summer of 2012 saw the release of Jungle Fire’s debut vinyl 45 released on indie label Colemine Records, making big waves worldwide, to be followed by a second 7 inch this spring…

Grant Phabao is an amazing producer and multi-instrumentalist, recognized by many as ‘the best sound engineer in Paris’. Backed by underground networker/A&R Djouls and designer Ben Hito, in the footsteps of his regular mixes on Paris DJs he’s been putting out release after release every week for months already, relentlessly. A steady flow of singles and albums including collaborations with the most gifted musicians from the Afro/Reggae/Funk scene, including, Ebo Taylor, George Clinton, The Cactus Channel, Alice Russell, Shawn Lee, Franck Biyong, Lee Fields, Antibalas, The Souljazz Orchestra, The Lone Ranger, Carlton Livingston, Echo Minott, The Jays, The Silvertones and the list goes on. Summer 2013 should see the release of the Grant Phabao Afrofunk Arkestra album, following up on reggae albums from The Silvertones (feb 2013) The Jays (march 2013)…

Jungle Fire and Grant Phabao’s musical universes collide with style & fashion on this brand new Paris DJs single featuring the magical keys of Guillaume Méténier aka Soul Sugar. The resulting combination is a unique ‘Afrobeat meets Ska’ concept, a blend of styles from L.A. to Paris creating a bridge between South America, Nigeria and Jamaica! An explosive dancefloor filler for sure.

“Love it, terribly effective, hope you’ll press it on vinyl!” – Betino’s Record Shop (Paris)
“Skanking Juggernaut! Sheer Genius!!” – Craig Charles Radio Show (BBC6, UK)

05. London Afrobeat Collective – Prime Minister / UK

Credits :
Musicians / Band Members :
Funke Adeleke : vocals
Lee Crisp : congas
Zak Cohen : percussions
Farivar Gorjian : drums
John Mathews : bass
Alex Farrell : guitar
Alex Szyjanowicz : guitar
Andy Watts : trumpet
Edmund Swinburn : tenor sax
Klibens Michelet : baritone sax

Recorded at Perry Vale Studios, London
Composed by London Afrobeat Collective (PRS 130671FQ)
Produced, Mixed and Mastered by Sonny Livinsgston and L.A.C at Musikbox, London
© 2014 London Afrobeat Collective

About London Afrobeat Collective :
L.A.C are a ten piece band who create afrobeat for the 21st century. Respectful of the roots but always exploring and innovating, their mission is to bring everybody together with one thing only: a very loud and funky party.

London Afrobeat Collective about Paris DJs :
Paris Djs, you guys absolutely rock!! The amount of great music coming out of your label is just insane, thank God for you!!

06. The Afrobiotics – What Goes Around / Australia *

Credits :
Musicians / Band Members : Tristan Ludowyk, Lamine Sonko, Zvi Belling Chris Port, Simon Edwards, Nick Lester
Composed by Tristan Ludowyk, Lamine Sonko (AMCOS/APRA n° GW41510326)
Recorded at Avacan
Produced by Tristan Ludowyk & Zvi Belling
Mixed and mastered by Tristan Ludowyk

About The Afrobiotics :
The Afrobiotics are a six piece Melbourne based band that breathe new life into the sound of West Africa and bring a powerful message of resistance to the next generation of afro-beat. Mr Fantastic (Lamine Sonko) is a Senegalese griot musician who has recently migrated to Australia. He is a ‘Culture Keeper’ bringing traditional Sabar music and dance forms to the band’s compositions as well as a first hand afro-beat authenticity. The songs flip in and out of traditional tongue, street pidgin chants and English verse regularly punctuated by impossible percussion.

The Afrobiotics about Paris DJs :
Paris DJs got their finger on the pulse on all things afro! It’s great to be part of the next generation.

Links :
The Afrobiotics : official | facebook | soundcloud | youtube

07. The Brand New Life – Bara Mbaye / USA-Senegal

Credits :
Musicians / Band Members :
Walter Fancourt : Tenor Sax
Casey Cranford : Alto Sax/Bari Sax
Sean Smith : Trumpet
Mamadou Mbenge : Tamas a.k.a. Talking Drums/Lead Vocals
Daniel Yount : Drum Set/Dun Duns/Shakeres/Backing Vocals
Evan Frierson : Congas, Shakeres
Atiba Rorie : Djembe
Seth Barden : Electric Bass/Backing Vocals
Ben Rayle : Electric Guitar

Recorded at Rubber Room Studios
Produced by Will Stephens and The Brand New Life
Mixed by Will Stephens at Bit Heart Studios
Mastered by Nick Petersen at Track & Fields Recordings
Composed and published by The Brand New Life

About The Brand New Life :
Since stepping onto the world beat music scene in 2009, The Brand New Life has been uplifting audiences with a sound that is as enlivening as the name implies. The eight-piece band has become recognized as one of the East Coast’s top Afrobeat groups, sharing the stage with world-renowned all-stars such as Nigerian Afrobeat royalty Seun Kuti & Egypt 80 and American Afrobeat collective Antibalas. With an adventurous original repertoire, The Brand New Life avoids being classified as purely Afrobeat by drawing on a number of musical influences from indie pop/rock to modern jazz. The result is a rousing, danceable melting pot of sound, powered by fierce polyrhythm and forceful horns that can be heard on their 2013 release ‘The Brand New Life EP,’ and their 2014 release ‘Coconut Husband’.

The Brand New Life about Paris DJs :
We are very excited to be apart of this Paris DJs compilation. We appreciate Paris DJs for bringing afro-funk groups together like this on an international level. It is a very exciting and special thing! We believe that our track ‘Bara Mbaye’ is perfect for this compilation because it features a unique collaboration between an American band and a West African griot from Senegal (Mamadou Mbenge).

08. Gato Loco – Cumbia Call / USA *

Credits :
Composed by Stefan Zeniuk : ASCAP 882639567 / ISWC T9058003024
Published by Zeniuk : ASCAP

Musicians / Band Members :
Stefan Zeniuk : tenor sax
Jackie Coleman, Jesse Selengut : trumpets
Tim Vaughn, Ric Becker : trombones
Joe Exley : tuba
Clifton Hyde : baby tuba, guitar
Ari Folman-Cohen : bass
Kevin Garcia : drums
Rich Stein : percussion
Recorded at Brooklyn, NYC
Produced by Stefan Zeniuk & Joe Perretore
Mixed by Joe Perretore
Mastered by Grant Phabao

About Gato Loco :
Gato Loco was born from the streets of New York. Exotic and foreign, yet simultaneously urban and familiar. Their live show delivers an instant party, filled with celebration and joy; like a decadent latin mambo ballroom, thrown in the midst of a 21st century rock show: this is BIG music.

Gato Loco about Paris DJs :
We love Paris DJs! Always consistently surprising us with new sounds and cool bands from around the world. Keep up the good work.

09. Ginferno – Erta Ale / Spain

Credits :
Produced by Luca Petricca
Recording and Mixing by Luca Petricca and Karim Burkhalter at Reno Studios (Madrid), assisted by Dan Hammond in December 2012 – January 2013
Creepy Cloud and Ahriman´s Dance produced by Ginferno. Recording and mixing by Oswaldo Terrones at Red Bull Studios (Madrid), July 2012
Mastering by Andreas Schoenrock at Studio Schoenrock (Stuttgart)
Written & composed by Ginferno (SGAE 13.575.309)
ISWC # T-210.003.275-2
Published by Bonatarda (SGAE)

GINFERNO Y LOS SAXOS DEL AVERNO:
Daniel Fletcher : guitar, vibraphone, organ, backing vocals
Cesar Martínez : drums, percussion
Javier Díez-Ena : double bass, electric bass, theremin, backing vocals
Kim Warsén : vox, percussion, vibraphone
Dani Niño : baritone sax, alto sax
Pablo Hernández : soprano sax
Carlos Mejías ‘Chepe’ : alto sax
Ariel Brínguez : tenor sax
Federico Levenfeld : percussion
Luis Taberna : percussion

About Ginferno :
If there were any hipster band with actual musical education, better drugs, good taste and, well, a mind of their own, they just might sound a little bit like Ginferno.

‘Experimental’. ‘Arty’. ‘Eclectic’. ‘Danceable’. Adjectives, innit? Boring clichés, and they’ve all been used at some point to describe the sound of Ginferno. But what can you do? Ginferno’s sound is ginfernal. It’s an assault, it’s The Ex with Gettatchew Mekurya, combined with the dirty rhythms of Johnny Burnette, the martial rawness of Einstürzende Neubauten, the free-funk of James Chance and other no-wave heroes, the accessible atonality of The Residents, the enchanting mystery of Mulatu, the barrel-tasting energy of Man… Or Astroman?, the soft sonic tissue of Martin Denny and the indescribable impact of all those Cambodian rock, Turkish funk, African garage and Samoan psychedelia compilations. So yes, the aforementioned adjectives apply. Sorry.

‘Erta Ale’ is as ambitious as they come. The band hooked up with Madrid’s brass quartet par excellence, Los Saxos Del Averno, with whom they had already released a 7″ single on Lovemonk, to bring together musical extremes and make it seem effortless. And they pulled it off, too. Funk, mambo and rock on ‘Mambo Rabbits’; Mardi Gras-like euphoria, voodoo drums and waltzing surf on ‘TransAntilles’; sinuous rockabilly and tribal punk on ‘San Vicente Rambla’; classic rhythm & blues played with the energy of today on ‘Your Face’; spastic swing on ‘Ahriman’s Dance’; spoken word over groovy echoes of Ethiopia on the title track; conflictive tribal waltz with nervous horns on ‘Creepy Cloud’; jazzy post-punk on ‘Allt Är Väl’; laid-back French pop vibes on ‘Roadside Picnic’… You get the idea, right? No you don’t.

10. Dexter Story & Wondem – Sinesrat / USA *

Credits :
Produced, mixed & mastered by The Life Force Trio
Composed by Dexter Story
Published by Dexter Story Music Publishing (BMI # 714225964)

About Dexter Story & Wondem :
Wondem (meaning ‘brother’ in Amharic) is Dexter Story’s upcoming Plug Research album inspired by Ethiopian, Somalian, Eritrean, Sudanese and Kenyan culture, and by his passionate and talented colleagues in the Los Angeles-based ethio jazz ensemble Ethio Cali. Although he is not “habesha” (meaning of direct Ethiopian descent), he has assembled a body of work that honors the rich musical heritage of East Africa while infusing his background in soul, jazz and funk. Produced by the prolific DJ and producer Carlos Niño, Wondem guest appearances include Mark de Clive-Lowe, CFO’s Damon Aaron, vocalist Nia Andrews, Te’Amir Sweeney and members of Ethio Cali.

11. The Cactus Channel – Jorge Buccio / Australia

Credits :
Musicians / Band Members :
Darvid “Mo” Thor – Guitars
Henry “Hendogg” Jenkins – Fender Bass
Hudson “The Hudson” Whitlock – Drums/Percussion
Lewis “Coolman” Coleman – Guitars
Campbell “Handsome” Wheeler – Alto Saxophone/Percussion
Callum “Phat Fingers” Riley – Organ/Tambourine
Adam Friedman – Trumpet
Kate “The Charming” Charlwood – Tenor Saxophone
Lauren ” Loznosorous” Mullarvey – Tenor Saxophone
Daniel “Beast” Sutton – Trumpet/Percussion

Recorded at The Aviary
Produced by Tristan Ludowyk & Bob Knob
Mixed by Bob Knob & Tristan Ludowyk
Mastered by David Walker at Stepford Audio
Composed by Hudson Whitlock, Campbell Wheeler, Callum Riley, Henry Jenkins, Lauren Mullarvey, Lewis Coleman, Darvid Thor (AMCOS #GW44761170)

About The Cactus Channel :
It’s soul music, baby, but not as we know it. The backbeat and the handclaps are still there and the horns still sound. The bass bumps, the organ screams and the guitars still twang, but the singer has left the room. Everything is shades of blue. This is soul music for the after hours. For the solitary dancers and the lonely hearts. The soundtrack to solitary headlights on a midnight highway. What to call it? Who cares. Can you dance to it? Just try not to. No one’s telling you to throw your hands up in the air, but no one would be surprised if you did. It’s dark here, so you can do your own thing.

12. Shogun Orchestra – Black Lotus / New Zealand

Credits :
Musicians / Band Members :
Lucien Johnson : Saxophone
Toby Laing : Trumpet
Nick Van Dijk : Trombone
Chris Yeabsley : EP30
Justin Clarke : Guitar
Tim Jaray : Bass
Paul Hoskin : Bass

Recorded at Bays
Produced by Lucien Johnson
Mixed by Mike Fabulous
Mastered by Mike Gibson
Composed by Lucien Johnson (APRA # GW44554088)

About Shogun Orchestra :
Shogun Orchestra was created by saxophonist Lucien Johnson with his Wellington musician friends after traveling through Africa and the Caribbean experiencing life and music in these locations. They have released two albums, Shogun Orchestra (2012) on Jakarta Records and Black Lotus (2013) on Economy Records.

Links :
Shogun Orchestra : bandcamp | discogs | facebook | juno

13. Kaveri Special – Hei Suomenmaa / Finland

Credits :
Musicians / Band Members :
Kimmo Kivistö : drums, vocals
Tuomas Palonen : vocals, guitar
Tino Puisto : bass
Jonne Renvall : vocals, guita

Recorded at : Das Båt Studios, Helsinki
Produced by : Jukka Nurmela, Kaveri Special
Mixed by : Tarmo Simonen
Mastered by : Tarmo Simonen

Composed by Tuomas Palonen, Jonne Renvall, Tino Puisto, Kimmo Kivistö
Published by Monamour Records (Finnish copyright bureau Teosto and Nordic Copyright Bureau NCB)

About Kaveri Special :
‘Well recommended listening’ Soul Safari blog (NED)
‘You crazy Finnish people! I like your album!’ OYE Record Shop, Berlin (GER)

Kaveri Special are four guys from Finland who share a love for sunny and funky tropical rhythms. Their eponymous debut album, released in vinyl and online in March 2013, features songs that pay tribute to classic African guitar music from the 70s and 80s, particularly highlife and soukous music. The songs on the album are all written by the band. At live gigs they have also been performing covers by Kenya’s Orchestra Super Mazembe and Nigeria’s Prince Nico Mbarga. The lyrics of the band’s own material are all in Finnish and include such topics as trains, elevators, and dogs. The word ‘kaveri’ itself means ‘friend’ in Finnish and the band wishes to become friends with audiences around the globe.

The album was recorded and mixed in autumn 2013 in Helsinki. The band wanted to go for a classic 70s sound filled with warmth and vintage charm. The band was joined by guest musicians, Benin-Finnish Felix Adje and Nigerian-Finnish Ike Chime, who both played percussions while mr. Chime also sang in one of the tunes (Rantakoira). Recently, Felix Adje has also joined the band in live gigs.

Kaveri Special was formed in 2012. They rehearse in Lauttasaari, a sunny island of parks and beaches near Helsinki centre. In the winter though, temperature often approaches -20 degrees Celsius and the sun shines for less than six hours. So, playing soukous is a nice way to keep your fingers warm.

Kaveri Special about Paris DJs :
Paris DJs = kuuminta hottia!

14. Jessie Evans – Evalution feat. Jimi Tenor + Machete Horns / Germany

Credits :
Musicians / Band Members :
Jessie Evans : Bass, 808, Synthesizer, Hammond B3
Regis Molina : Baritone, Tenor and Alto Saxophones
Jimi Tenor : Flute
Toby Dammit : Drums, Percussion
Daniel “El Congo” Allen : Flugelhorn
Maya, Joy and Pablo Alban-Zapata, Isabella Rivera : Vocals

Composed by Jessie Evans (GEMA #14069261)
ISWC : T-803.301.997-6
Recorded by Adam Greenspan at Seedy Underbelly, Los Angeles
Produced by Jessie Evans + Toby Dammit
Mixed by Toby Dammit and Ingo Krauss at Candy Bomber, Berlin
Mastered by Tom Meyer @ Master and Servant

About Jessie Evans :
Jessie Evans is an American born singer, saxophonist, record producer and visual artist currently residing between Berlin and Sao Paulo.

Between burlesque tragi-comic performance, and sultry dancefloor, Jessie Evans fuses no-wave, disco, Afrobeat, pop, reggae and Latin chaos, to create her own brand of SPACE VAMP, exceeding any musical label.

“Evalution ” is the love-child of the finish Afrobeat flutist Jimi Tenor, the hot Cuban duo Machete Horns and drummer extraordinaire, Toby Dammit (Iggy Pop).

Jessie Evans about Paris DJs :
Beautiful artwork and seriously cool style, thanks for including me !

Djouls

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>via: http://www.parisdjs.com/index.php/post/Paris-DJs-Soundsystem-A-House-Divided-Against-Itself-Cannot-Stand-Tropical-Grooves-and-Afrofunk-International-Vol-5

VIDEO + AUDIO + INTERVIEW: Marlena Shaw

Apr 27, 2014

Grooves & Samples #37:

Marlena Shaw

– California Soul (1969)

Grooves & Samples is a frequent dive into

old dusty crates of jazz, funk, soul and beyond

by GREGOR

People who never heard of Marlena Shaw might actually recognize her voice: the clever sample from Marlena Shaws 1973 album Live in Montreux combined with the drum intro from Dave Brubeck’s Take Five founded the layers for St. Germain’s year 2000 massive loungehit Rose Rouge. The album Tourist, where Rose Rougeappears on, has sold more than 4 million copies, making St. Germain a household name on many lounge compilations.

The song sampled by St. Germain, The Woman of the Ghetto, is also the vocal sample for one-hit-wonder Blue Boy inRemember Me from 1997. You can hear Marlena in the intro and scatting further on and even the title from the Blue Boy hit is lifted from the end of the song. Just listen.

Marlena started her career with a single for Cadet Records, making quite an impression in 1966 with a rare vocal version of Zawinul’s/Adderley’s instrumental Mercy, Mercy, Mercy backed with Wade in the Water – both instant mod classics. Her renditions of jazz, soul and pop tunes didn’t stay unnoticed and shortly after Marlena joined the Count Basie Orchestra, of course taking care of the vocals.

We’ll take a look and listen at California Soul, featured on her 1969 album The Spice of Life. Originally recorded by The 5th Dimension a year earlier, the Ashford & Simpson written song (famous for I’m Every Woman, Solid as a Rock, Ain’t no Mountain High Enough) soon became a floorfiller and with such a groove, Marlena’s version was impossible to ignore.

Thus thought DJ Premier, DJ Shadow, Stereo MC’s, Quasimoto, Deee-Lite, DJ Food and The Game -among many others- sampling multiple elements from the wonderful uplifting song: drums, string, vocals… you pick.

Although Marlena is a recording artist since the late 1960’s, she didn’t release that many records, but her influence is undeniable and she’s still going strong today, performing on a tender age of 71. So: always be nice to the eldery, and keep diggin’.

>via: http://thefindmag.com/articles/grooves-samples-37-marlena-shaw-california-soul-1969/

__________________________

Interview With Marlena Shaw

Marlena Shaw talks to 441 about her career and the making of Lookin’ For Love

Where were you born?

I was born in Valhalla, NY

How did you get started?
I didn’t know anything about the music business. I was trying to make money for the weekend. I had my kids at that point. My girlfriends and I were at this joint and after a couple of beers they said, “you can sing better than that. Ask the man if you can sing.” This was in Springfield, Massachusetts at the Famous Star. I was 19 or 20 years old then. The guy playing the piano, Jim Arqiro – his trio has played with Susan Anton, he conducted for me when I was with Sammy Davis Jr. He was playing “All Of Me” in the wrong key. I walked over and played the piano in the right key. We laugh about that now.

What was it like working with Count Basie?
Intense. Touring with him, it was just being at the right place at the right time with the right people. The make up of the band went so well with me. He was a master psychologist; he knew how to work you. I learned quite a bit working with him, about tempos and rhythms. It’s interesting how you fit a voice in the middle of a big band. You never fail to learn something. Learning comes with osmosis. I’m working again with big bands and am having a lot of fun these days. I’m going to be performing soon with the Count Basie band at Macanaw Island… we’re just signing the paperwork now. I toured with his from 1968 until about 1972 or 1973. The first time I met him was in Las Vegas. By that time I had “Mercy, Mercy, Mercy.” I met his accountant at the Playboy Club where I was performing and he asked me if I had any copies of the record on me, and just like I do now, I had them in my purse.

You were the first woman signed to Blue Note Records. How did that happen?
But I was told I was supposed to be signed with United Artists. Shirley Bassey was the star and did not want other females on the label.

How’d you come up with the title “Who Is This Bitch Anyway”?
There were a couple of stories behind that. I was more interested in the kind of title Richard Pryor kind of title, like “That Nigger’s Crazy.” It was about the freedom of thought and how you said things during that period ~ 1974. It was coming out of rage and how things were going socially. I was also performing in St. Louis, and one of my hits, “Just Don’t Want to be Lonely” off the album From The Depths of My Soul was out. There was this guy playing it on the jukebox over and over and over. That guy was there all day and by the end of the day was getting a little bleary eyed. By the end of the day the manager came over and was going to pull the plug on the machine, but the guy protested, saying “The lady who sings this song is right there” at which point the manager turned around saying, “Who is this bitch, anyway?”

How’d you get involved with the Jazz Cruise?
I love them. I look forward to them every year. Joe Williams used to encourage me to send in material to who’s hiring. I’m afraid of the water, but I do have sea legs! I find it’s really friendly on a ship. It’s a great opportunity to hear other artists and musicians… all the camaraderie. It’s great to see everyone else. As far as the audience, I’m a people person and story teller, and it’s a great place to get a lot of information from the fans.

Tell us about recording Live In Tokyo and Lookin’ For Love.
I can hardly remember feeling the first one – it was such a unique experience in a nightclub, a very intimate situation. It had been a while since I recorded live. A lot of my performing has to do with rapping with my audience, and being that it was in Japan I had to cut it down, so it was a little different from what I’m used to. But once you get your rhythm down, it’s the music that you’re trying to get across, it’s your personality that you’re trying to get across. I’d get attention over the years; it was just that personality thing. But working with Rickey Woodard – he’s got such a sound, not like other sax players.

Looking For Love was a helluva experience. I felt like I was mic’d from my toenails to the top of my head. It was funny – one time my stomach growled and all you could hear was this “grrrr,” sounded like crashing cymbals, and they said, “I guess that’s the last song.” I work with Dave Hazeltine a lot. In live situations, I look at Dave a lot, but during the recording of “Don’t Know What Love Is,” I didn’t look at him but I could hear him breathing. It was easy to get your solo going in the making of this CD with just the two of us without bass or drums. It was really a one-take kind of thing. It was so beautifully mic’d I could hear him breathing with the piano; it was really like air. It was recorded at Sony Studios in Tokyo – a really beautiful studio.

How did you find it to get around Japan?
I’ve been going back and forth over 20 years, my first time was touring with Sammy Davis, Jr. in ’86. We worked Buddakan or these martial arts venues that hold 50,000 people, so we had a much different experience. I was part of a big show with important entertainers like he was, so the whole emphasis is not on you; you’re playing catch up. It was fine, but there was nobody to help me understand what was going on. These older cats were really laid back so there was no one there to introduce you.

The gigs I’m doing now are in much smaller clubs. It was funny, this promoter told me, “I’m going to make you an important star in Japan.” And I said, “Do I have to go to everybody’s house?” I’ve had such great times there, and am really surprised by the generosity of spirit. Knowing that someone’s driven six hours to see you in concert, it’s very humbling. I know the Creator didn’t make a mistake to give you a talent, and I’m pleased to be a steward to it.

I loved the way “Looking For Love” was recorded. I had been on too long of a tour and this was recorded at the end of the tour. When you’re that tired there’s no time for artiface, and it’s hard to show soulfulness. Like the difference in song stylings, from standards to material that really hasn’t been worked. I’m crazy about everything that’s been changed, such a different attitude. Such different attitudes from song to song. Like from “Everything Must Change” to “Sweet Georgia Brown” – it shows different my attitudes and my personality. A critic said I was like a chameleon with different personalities on each song. I can get down and dirty or I can be very sweet.

I’m sure it’s all right with me. I love the stuff that works so splendidly on stage. That’s something I’ve always wanted to do – be onstage. As a little girl I envisioned Lena Horne walking down the street, hearing me sing Cole Porter’s “It’s All Right With Me” through the 3rd floor window of my Grandma’s house.

On “Hope In A Hopeless World”
It pays to have friends in the record business. I spoke with Leo Sacks. Asked if he knew a writer. Of a song for something social and spiritual. He put me in touch with Roy. I didn’t know someone else had recorded it in the early ‘90s. It’s very relevant, especially now.

On “Mercy, Mercy, Mercy”
When I first recorded “Mercy, Mercy, Mercy” I never associated it with love gone wrong or that no matter how you treat me, just have mercy on me. I had the idea of Cannonball Adderley playing it in my head. Now it’s tongue in cheek for me. I’ve lived long enough to know human beings have no mercy!

How do you pick your material?
I like variety, a lot of different things. First it’s based on lyrics and then I go for the music. But it’s all a part of the creative process. I could explain it to you but the next time it would be different. The only thing of consistency would be the lyrical content.

Any future projects in the works?
There is an ongoing project. I’d like to do a gospel album. And a rap album, but not rap in the sense people think, but more like a testimony. (And I’m trying to downsize now and buy this million dollar house down the street.) And I’m in the midst of giving a lot of music to the UNLV (University of Nevada at Las Vegas) archives. Yes, I live in Vegas now, and am very proud of my work with the UNLV jazz ensemble, and also with high school. The Jazz Band at the Academy Las Vegas came in 1st place at the Lionel Hampton weekend in their division.

Any advice for the newcomer?
Learn the piano, because not all of you will become rock stars. Yes, learn an instrument, because it will help you with your own keys, your own arrangements, and you won’t always be at the mercy of the musicians. You’ve got to get to know something about what you’re doing. Not everyone knows how to help you.

Where are you touring?
In the next few months I’ll be with the FSB big band in England. I played with a 5 piece group with Nathan Haines on Sax in London. He did an album called Squire For Hire. I’m playing in Seattle, and the St. Lucia Jazz Festival, and a tour of Japan. I’ll be in Japan for two and a half weeks during June/July. Oh, there’s my Lemon Chicken. Mmmm. Can you see that?

Do you cook?
I’ve got 5 children and 7 grand children and a close to 6’4” foot, 250 lbs husband, so I’ve learned out of necessity. I used to keep a vegetable garden, now I just have a pot garden. I’m too busy – 3 years ago I spent 210 days on the road, and that’s just too much. I was back and forth three times to Amsterdam, including the Hague. It doesn’t keep me thin, young or rich, but it does keep me fit. I love it though. Doing different kinds of things – from big band to five piece groups to R&B. Like the “California Soul” success. Ashford and Simpson wrote that. My version is in The Italian Job and in England it was part of a KFC commercial, so I’ve been enjoying like a kind of a rebirth in the U.K. and Scotland.

>via: http://www.441records.com/interviews/I_mshaw.html

PUB: Drunken Boat Poetry Book Contest

Drunken Boat Poetry Book Contest

Online submission deadline: June 25, 2014

Drunken Boat is accepting submissions of poetry, hybrid poetry, and poetry in translation for our inaugural book contest, judged by Forrest Gander. Deadline: June 25. Prize: $500, publication, 20 copies, and a launch at AWP. Manuscripts should be between 30 and 120 pages. Details:drunkenboat.submittable.com/submit.

>via: http://www.newpages.com/classifieds/writingcontests/

PUB: BLR’s first Annual Contest

BLR’s first Annual Contest

Nonfiction and Long Poems/Poem Series will open on May 1, 2014 & flash fiction and poetry will open on July 1, 2014.

Submissions through Submittable only.

This year we are honored to have as our guest judges:

Andrew McFadyen-Ketchum (Longish Poems/Poem Series)
Sharman Apt Russell (Nonfiction)
Katherine E. Young (Poetry)
Stefanie Freele (Flash Fiction)

Winners in each genre will receive a $100 prize and publication in BLR Anthology Volume II, to be released in early 2015. One runner-up from each genre will receive publication and two free copies of the anthology, and finalists will receive notation in the anthology and be considered for publication either online or in print.

Please submit your entry fee and your work to Blue Lyra Review Submittable (link available after May 1 2014). You have the option to purchase the 2013 Anthology for a small additional six dollars. The $9 fee covers all categories, for any one entry. For example, the entry fee covers one 5,000 word nonfiction essay; one long poem of 2-6 pages or a series of strongly linked smaller poems up to 6 pages; three flash fiction pieces (each under 1000 words; or three poems (1-2 pages each).

You may submit multiple entries. We accept only unpublished work. We allow simultaneous submissions, but we ask that you notify us promptly of publication elsewhere. Please keep the blind reading & judging in place. What does this mean? To avoid being disqualified, do not send us an email about your withdrawal but go into your Submittable account and withdraw the piece, or if it is one poem or flash fiction piece from a group of submissions, then add a note that one of the pieces has been withdrawn.

No extensions to the deadline. We firmly stand by this.

Blue Lyra Review announces the following contests:

(1) The Blue Lyra Longish Poem Prize – one poem of 2-6 pages, or 2-6 pages of strongly linked shorter poems. Judge: Andrew McFadyen-Ketchum, author of Ghost Gear. $9 per entry, $15 with anthology. May 1 – June 30.
(2) The Living Earth Creative Nonfiction Prize – 5000 word maximum and no theme so long as it has something remotely to do with this Earth (which means anything). Judge: Sharman Apt Russell, author of Standing in the Light: My Life as a Pantheist and Diary of a Citizen Scientist. Guidelines online & Submittable link. Prize: $100 per category. $9 per entry, $15 with anthology. May 1 – June 30.
(3) Blue Lyra Flash Fiction Prize – 1000 word max. Judge: Stefanie Freele, author of Surrounded by Water. $9 per entry, $15 with anthology. July 1 – Aug 31.
(4) Blue Lyra Poetry Prize – 65 line max. Judge: Katherine E. Young, author of Day of the Border Guards. Guidelines online & Submittable link. Prize: $100 per category. $9/3 entries, $15 with anthology. $9 per entry, $15 with anthology. July 1 – Aug 31.

Winners will be announced in November-December 2014. Submissions through Submittable only.

Entries ONLY accepted during the above dates. Others may be included for publication in either the print or online editions.

Our readers (who we are super grateful for) include:

Ann Beman
Michelle Brafman
Brittany D. Clark
Risa Denenberg
Donelle Dreese
Anthony Frame
Iris Graville
Sara Henning
Brett Elizabeth Jenkins
Hart L’Ecuyer
Kelly Miller
Lauren Michele Plitkins
Nichole L. Reber
Nomi Stone
Annaliese Wagner

While we read “blind,” please note our policy on Conflicts of Interest: Students, faculty, staff, associates or administrators currently affiliated with the judges are ineligible for consideration or publication in that category.

Blue Lyra Review adheres to the CLMP Contest Code of Ethics. You can find the CLMP Code of Ethics and our Contest Procedures here, and email any questions to bluelyrapress@gmail.com.

>via: http://bluelyrareview.com/submissions/contests/

PUB: BLACK THOUGHT: Call for Submissions

BLACK THOUGHT: Call for Submissions

Dear reader,

Literary Orphans Journal, a Chicago-based online literary magazine, is a collaborative writing and arts platform, designed to present original literary work of quality, illuminated by cutting-edge photography and visual crafts, while celebrating individualism with a belief that such exposure will instigate a flowering of personal agency, and contribute to new and progressive understandings of social diversity across geographic spaces.

Literary Orphans Journal is proud to announce its upcoming “Black Thought” issue. Named after the lead emcee of the Grammy Award-winning group The Roots, the “Black Thought” issue aims to capture the fluidity of African-American literature, as reflected by its creators.

This issue will publish literature from black people who identify as queer or transgender, or are stout atheists, or who deal daily with mental illness, or who love fantasy and science fiction and comic books, who struggle with their identities within the “black community.”

Art is inherently political, with one’s skin color politicized and defined by others for centuries. To reclaim agency over identity within and outside the bounds of art, of literature, “Black Thought” will feature writers who have to find their artistic voice and direction while simultaneously fighting against labels and preconceived notions of what a black writer should look like, sound like, and produce.

Poetry

3-5 poems per submission; one poem per page.
Simultaneous submissions are acceptable; please notify us immediately if submission is accepted elsewhere.
Manuscript should be submitted in 12 pt Times New Roman font, single-spaced.
Formatting (line breaks, stanza breaks, punctuation, etc) must be present at time of submission.

Prose (Fiction & Creative Nonfiction)

All genres are acceptable.
500 – 5,000 word length maximum. Novel excerpts are acceptable.
Simultaneous submissions are acceptable; please notify us immediately if submission is accepted elsewhere.
Manuscript should be submitted in 12 pt Times New Roman font, double-spaced.

Art & Photography

All mediums are welcome
300dpi minimum resolution
1200px longest side
Title, Medium, Year (Skyfall, Oil Painting, 2014)
Please include artist statement, if applicable

SUBMIT TO
BLACK THOUGHT: Fiction, Non-fiction, Poetry, Visual, ALL FORMS

About the Special Executive Editor:
Mensah Demary is editor in chief of Specter Magazine. His fiction and nonfiction has appeared or is forthcoming in Thought Catalog, PANK, Metazen, Little Fiction, Whiskey Paper,Fourculture, and elsewhere. Originally from New Jersey, Mensah lives & writes in Brooklyn. For more information, find Mensah at his website or on Twitter.

>via: http://literaryorphans.org/ttl/black-thought-call-submissions/

FOOD: Curry Rice

Veggietorials

May 10, 2014

Curry Rice

by Cobi

Author: Cobi Kim

Cuisine: Asian

Serves: 6-8

Prep time: 20 mins

Cook time: 5 mins

Total time: 25 mins

Ingredients

3 cups jasmine rice (cooked in 3¾ cups water)
1 cup sweet onion, diced
2 cloves garlic, minced
1 small bunch cilantro ( leaves removed, stems chopped)
2T curry powder
¾ cup chopped pecans
½ cup chopped dried cranberries
2T olive oil
salt

Instructions

Cook the jasmine rice and set aside to cool.
Begin with a large pan or wok on med high heat.
Add 2T olive oil and sauté the onions and garlic with the curry powder plus a generous pinch of salt until fragrant.
Add chopped cilantro stems, cranberries, pecans .
Add cooked and cooled rice to the sauté mixture.
Stir until all ingredients are combined and the rice has an even golden color.
Remove from heat. Add cilantro leaves right before serving.

Notes

If cilantro is not your thing, you can substitute parsley, green onions or even mint.
I added the nuts for a crunchy texture but they’re totally optional.
Use garbanzos, lentils or your favorite bean to bump up the protein.
Serve with greens and you’ve got a complete meal!

>via: http://veggietorials.com/curry-rice/

VIDEO: ‘Holler If Ya Hear Me’

MAY 9, 2014

Meet Cast Of

Tupac Shakur-Inspired Musical

‘Holler If Ya Hear Me’

& Watch Sneak Peek

At Some Of Their Performances

BY TAMBAY A. OBENSON

After about 2 years in development, it’s finally arrived!

The Tupac Shakur-inspired stage musical with Kenny Leon directing, is titled Holler If Ya Hear Me (the title of a track from 2Pac’s second solo album, Strictly 4 My N.I.G.G.A.Z.), and is now set to make its debut this spring (previews begin June 2) on Broadway at the Palace Theater.

So it’s not a Tupac biopic per say. Director Leon first mentioned the project 2+ years ago, while doing press for The Mountaintop (Katori Hall’s award-winning play), stating:

“The idea was always to make a musical inspired by his music and not to do an autobiographical approach to his life or anything like that… And because I always thought that Tupac was a prophet and I thought if everybody could hear his words and hear his stories, they would see what I see.”

The project has since gone through a series of workshops, some of which we mentioned on this site, and I should note, it’ll be the second Broadway show that Leon is directing this year – the other being Denzel Washington in another revival of Raisin In The Sun, which is currently running.

So a busy year already for Mr Leon.

The news of‘s debut was announced via press release below, which also came with the below full show poster. Casting hasn’t been announced yet however.

Here’s the Holler If Ya Hear Me official synopsis:

The world inside Tupac Shakur’s music and lyrics blazes to life in a non-biographical story about friendship, family, revenge, change and hope. Inner city lives struggle for peace against the daily challenges they face in this entertaining original musical. Through the poetry of one of the 20th century’s most influential and culturally prominent voices, we are given a window into realities of the streets still relevant today.

Actor/musician/poet Saul Williams stars in the production, and is joined by Tony Award winner Tonya Pinkins. Rounding out the cast are Christopher Jackson, John Earl Jelks and Saycon Sengbloh.

Joining director Kenny Leon and author Todd Kreidler on the creative team are Tony Award winner Wayne Cilento, and musical supervisor Daryl Waters.

The design team includes sets and video by Tony Award winner David Gallo, costumes by Reggie Ray, lighting by Mike Baldassari and sound by John Shivers and David Patridge.

Holler If Ya Hear Me is produced on Broadway by Afeni Shakur, Eric L. Gold, Chunsoo Shin and Jessica Green.

For tickets and more info, visit: www.HollerIfYaHearMe.com.

In the newly-released video below, meet the cast of Holler If Ya Hear Me and enjoy a sneak peek at some of their performances:

>via: http://blogs.indiewire.com/shadowandact/meet-cast-of-tupac-shakur-inspired-musical-holler-if-ya-hear-me-watch-sneak-peek-at-some-of-their-performances

POV: 45-Minute Conversation Between Neil deGrasse Tyson & Nichelle Nichols

MAY 29, 2014

Listen To A Wonderful

45-Minute Conversation Between

Neil deGrasse Tyson

& Nichelle Nichols

BY TAMBAY A. OBENSON

Neil deGrasse Tyson

Nichelle Nichols

I loved this conversation between Neil deGrasse Tysonand Nichelle Nichols.

The recording itself is maybe 3 years old, from what I could determine, but it’s all quite refreshing, and still very much worth listening to, full of plenty of useful information, personal anecdotes, insight and more, so check it out below.

Of course they discuss the story of how Martin Luther King Jr. persuaded Nichols to remain on the original Star Trek series as Lt. Uhura, when she almost left the show after its first season, to pursue her Broadway dreams.

But they discuss a lot more, all in a very casual, engaging manner. It’s good stuff, and was recorded on Tyson’sStarTalk program.

Listen:

>via: http://blogs.indiewire.com/shadowandact/listen-to-a-wonderful-45-minute-conversation-between-neil-degrasse-tyson-nichelle-nichols

NIGERIA + VIDEO: #BringBackOurGirls: 234: Bringing the Nigerian Schoolgirls Into View

///////////////////////////////////////////////////////////////////////////////////////////////////////////////////

May 28, 2014

Bringing the Nigerian Schoolgirls

Into View

By JAMES ESTRIN

> We highly recommend viewing this slide show in full-screen mode.

Hauwa Mutah wants to be a biochemist. Monica Enoch loves to sing. Dourcas Yakubu is a shy girl who exchanged hand-written notes with a boy who called her “the remote control of my life.”

SHOWCASE

Nigeria’s Missing Girls

A photographer who worked in Guinea-Bissau to show the dignity and resilience of its people is aghast at how her photographs were used – without her permission – to represent girls kidnapped in Nigeria.

The Real Story About the Wrong Photos»

These teenagers are among as many as 276 schoolgirls who were kidnapped last month from Chibok, a poor, remote northern Nigerian village, by the Islamic militant group Boko Haram. Their story has become global news, with plenty of images of protests in Nigeria and beyond (and some that were mistakenly used of girls from Guinea-Bissau in a social media campaign). But there has been little discussion of the girls as individuals, daughters, sisters and friends with dreams and hopes.

Glenna Gordon covered some of those protests in Lagos and Abuja, Nigeria, but still felt she was missing something.

She realized that although she could not photograph the girls, she could photograph their personal possessions and present the items — dresses, notebook, letters — as nicely as possible.

An article of clothing owned by Comfort Ngala Bullus, one of the more than 200 girls who were kidnapped on April 15.
An article of clothing owned by Comfort Ngala Bullus, one of the more than 200 girls who were kidnapped on April 15. / Glenna Gordon

“I kept thinking about how these girls are missing and how they’re missing from our pictures of the protests,” she said. “I felt the girls were getting lost.”

Ms. Gordon has been photographing in Africa since 2006 and has been working with young women in northern Nigeria for the last two years. She decided to try to cover the story as soon as she heard about the abductions.

But it has become very difficult to get to Chibok in the last two weeks.

Ms. Gordon said there were military roadblocks and rumors of an impending Boko Haram attack.

She met relatives of the girls in Abuja and Maiduguri, including Sunday Samuel, who owns a computer shop and is a cousin of two of the kidnapped girls. He helped Ms. Gordon contact several parents, and she interviewed them by phone and explained what she wanted to do. She arranged for them to send some of their daughters’ notebooks, dresses, jewelry and shoes from Chibok to Maiduguri by bush taxi and then on to Abuja by bus.

Margaret Pogu, a 16-year-old known as Maggie, loves playing with her friends. Her father is a teacher in Chibok.

Margaret Pogu, a 16-year-old known as Maggie, loves playing with her friends. Her father is a teacher in Chibok. / Glenna Gordon

Ms. Gordon borrowed a photo studio and pored over the items, gleaning clues about the girls.

She learned that their handmade blue gingham cotton uniforms were all slightly different. One uniform was restitched three times — maybe the girl couldn’t afford to make a new one and kept repairing the old one. Another uniform was nicely made but utilitarian, so maybe a mother — not a teenage daughter — made it. And the smallest one was still dirty; Ms. Gordon thought the girl had to wait until she had money to buy soap and wash it.

Ms. Gordon filled in the details with more phone conversations with the girls’ parents.

Elizabeth Joseph likes to play hide-and-seek, and to read her Bible by lantern. She is the fourth of nine children, and her father always drops her off at the boarding school on the back of his motorcycle.

Monica Enoch sings with her father, who is a pastor. Her friend Saratu Emmanuel lost her family in a Boko Haram attack on a nearby village and went to live with Monica. Both girls are now captives of Boko Haram.

Hauwa Ntaki studies English and in a handwritten letter sent a million greetings to her brother, a thousand greetings to his friends and none to his enemies. She is third in her class at the boarding school and loves volleyball.

The students were kidnapped on the day they were taking their final exams. Schools in the area had been closed because of threats by Boko Haram, which roughly translated means “Western education is forbidden.” Even for poor girls from a remote village, an education can provide greater opportunities than their mothers and grandmothers could have dreamed of.

In Ms. Gordon’s photos, the abducted girls are no longer anonymous, faceless victims. They are teenagers — at times hard-working, endearing, proud and even judgmental.

“I wanted this to be about these girls,” Ms. Gordon said, “and nothing else.”

Follow @scarlettlion, @JamesEstrin and @nytimesphoto on Twitter. Lens is also on Facebook.

>via: http://lens.blogs.nytimes.com/2014/05/28/bringing-the-nigerian-girls-into-view/?_php=true&_type=blogs&_r=0

HISTORY + VIDEO: The Dunbar Centennial at The University of Dayton

The Dunbar Centennial

at The University of Dayton

During the weekend of Oct. 20, 1972, Black American poets, artists, critics, and scholars gathered at the University of Dayton to celebrate the centennial of the birth of Paul Laurence Dunbar. The event, organized and hosted by Herb Martin, saw the likes of Margaret Walker Alexander, Etheridge Knight, Sonia Sanchez, Nikki Giovanni, Raymond Patterson, Paulene Myers, Paula Giddings, Gwendolyn Etter-Lewis, Lorenzo Thomas, Mr. and Mrs. Alvin Aubert, and a host of others, including associate producer RonPrimeau. Here’s his recollection:

     I had known Herb Martin for about six months when he sent out word that he was planning a Dunbar Centennial for the fall of 1972. Together with two colleagues and six students, I headed off for what would be a life-changing experience.

     Dunbar was out of favor in the academic world of that time. Many were embarrassed by dialect or found the Dayton laureate to be inconsistent with their activist politics. Herb sent out invitations, and-to his surprise-over 25 poets and scholars came out of curiosity, respect, and a too-little expressed love for Dunbar.

     I remember that Herb was beyond nervous. He really had no idea how he was going to pay for the burgeoning event, nor was he sure how the loosely structured series of readings and panels would work. The festivities began with all attendees planning how to perform their way through the entire Dunbar canon of poems. Luckily, Margaret Walker led off and showed everyone what Herb came to call later “how to sight read Dunbar.” You could feel the tension released as she read brilliantly poem after poem and the audience recalled or learned for the first time just how wonderful Dunbar’s music could be. I can still see poets packed into our state of Michigan rental cars as we helped transport guests back and forth from hotels to the University of Dayton campus.

    Never had I seen such an array of talent in one place: Alvin Aubert, Nikki Giovanni, Michael S. Harper, Etheridge Knight, Gloria C. Oden, Sonia Sanchez, Raymond Patterson, Lorenzo Thomas, John Oliver Killen, Paule Marshall, J. Saunders Redding and the very young Alice Walker (whom I did not know and who I asked to squeeze in the back seat “with the poets”). Margaret Walker’s performance still rings in my ears. She made everyone else better than they knew how and created a confidence and respect that grew throughout the several days of tributes, explorations, and reexaminations of Dunbar’s work.

The restoration of Dunbar’s reputation and the reluctant partnership of Dunbar and Martin had begun in earnest.

Here are some film and audio highlights. The participants in the Friday night audio are reading Paul Laurence Dunbar in addition to some who are reading their own works. The 35-minute reading by Margaret Walker Alexander is from Saturday and features her own “For My People,” a poem she describes as her “signature piece.” We have more archived audio from the Saturday of the conference and we hope to post it in the near future. If for any reason you cannot open the film highlights it might be because you need the QuickTime Player. You can download that for FREE here.

Audio of Margaret Walker Alexander (with Herb Martin introduction) 35:30

Audio of Sonia Sanchez, Friday night. Oct. 20, 1972

Audio of Rob Jackson, Friday night. Oct. 20, 1972

Audio of Raymond R. Patterson, Friday night. Oct. 20, 1972

Audio of Quincy Troupe, Friday night. Oct. 20, 1972

Audio of Paula Marshall, Friday night. Oct. 20, 1972

Audio of Michael S. Harper, Friday night, Oct. 20, 1972

Audio of Lorenzo Thomas, Friday night. Oct. 20, 1972

Audio of Gloria Oden, Friday night, Oct. 20, 1972

Audio of Etheridge Knight, Friday night, Oct. 20, 1972

Audio of Alvin Aubert, Friday night, Oct. 20, 1972

Audio of Margaret Walker Alexander, Friday night. Oct. 20, 1972

Margaret Walker and others discussing Paul Lawrence Dunbar

Margaret Walker, left, (in white hat) poet novelist, behind Margaret Walker (only afro showing) is Paula Giddings, critic, Raymond Patterson, poet, Alvin Aubert, poet (with camera), Lorenzo Thomas, poet (in black), Gwendolyn Etter-Lewis (grad student then, linguistic critic now).

Margaret Walker, poet/novelist, Paula Giddings, critic and former editor at Howard University Press, Mrs. Alvin Aubert (wife of the poet), Paulene Myers, actress (with back to camera).

Paulene Myers, actress (with back to camera), Raymond Patterson, poet, Margaret Walker, Paula Giddings’s afro towering over Margaret Walker, Herbert Martin (center), Gwendolyn Etter-Lewis, critic, unidentified woman,Lorenzo Thomas, poet.

Were you there in 1972? Do you have any photos of the event? Would you be willing to share them with us? Contact David, please?

Used with the permission of The Ohio Historical Society

MORE ON PAUL LAURENCE DUNBAR

Here’s a timeline of his all-too-brief life:

Thanks to the efforts of a dedicated team (including Herb Martin) you can learn almost everything there is to know about Paul Laurence Dunbar at this website at the University of Dayton.

You can learn about his life, read his poems and even hear Herb reading a collcction of them (mp3 files…just perfect for your iPod).

One Entry Entries.

kenning editions :
April 14th, 2010 at 1:38 pm[…] Walker, Paula Gidding, Herbert Martin, Gwendolyn Etter-Lewis, and Lorenzo Thomas, L-R, sourced from report on the 1972 Dunbar Centennial at the University of Dayton at Jump Back Honey. See also Nielsen’s blog post on Thomas’ work, “But Which Way Is Redemption?”; […]

>via: http://www.jumpbackhoney.com/?page_id=14