rex4539 Posted June 30, 2021 Share Posted June 30, 2021 https://www.qobuz.com/us-en/album/rage-against-the-machine-rage-against-the-machine/0074645295923 Link to comment
Popular Post christopher3393 Posted July 15, 2021 Popular Post Share Posted July 15, 2021 The Hip-Hop Song That's Driving Cuba's Unprecedented Protests "Patria y Vida" DuckToller and semente 1 1 Link to comment
rex4539 Posted July 15, 2021 Share Posted July 15, 2021 https://www.qobuz.com/us-en/album/chaos-ad-sepultura/0603497866267 Link to comment
christopher3393 Posted November 18, 2021 Share Posted November 18, 2021 EUROPEAN BORDER / Titi Robin "Mera Bhatakna" (extrait musical) / "Balles perdues" (extrait écrit au générique final) semente 1 Link to comment
Popular Post semente Posted January 31, 2022 Author Popular Post Share Posted January 31, 2022 Strange Fruit: The most shocking song of all time? Billie Holiday recorded her iconic version of Strange Fruit on 20 April 1939. Eighty years on – in the first of our Songs that Made History series – Aida Amoako explores how a poem about lynching became a timeless call to action. “Can you imagine never having heard this song before and realising what the strange fruit hanging from the poplar trees is? That’s something that unfolds in the time of listening, so that image of bulging eyes and twisted mouth jumps out at the listener.” Cultural critic Emily J Lordi is describing the particular power of a song that still shocks 80 years after it was first performed. On 20 April 1939, the jazz singer Billie Holiday (born Eleanora Fagan in 1915) stepped into a studio with an eight-piece band to record Strange Fruit. This jarring song about the horrors of lynching was not only Holiday’s biggest hit, but it would become one of the most influential protest songs of the 20th Century – continuing to speak to us about racial violence today. continues here -> https://www.bbc.com/culture/article/20190415-strange-fruit-the-most-shocking-song-of-all-time Strange Fruit Southern trees bear a strange fruit, Blood on the leaves and blood at the root, Black bodies swinging in the southern breeze, Strange fruit hanging from the poplar trees. Pastoral scene of the gallant south, The bulging eyes and the twisted mouth, Scent of magnolias, sweet and fresh, Then the sudden smell of burning flesh. Here is fruit for the crows to pluck, For the rain to gather, for the wind to suck, For the sun to rot, for the trees to drop, Here is a strange and bitter crop. christopher3393, DuckToller and orresearch 2 1 "Science draws the wave, poetry fills it with water" Teixeira de Pascoaes HQPlayer Desktop / Mac mini → Intona 7054 → RME ADI-2 DAC FS (DSD256) Link to comment
Popular Post christopher3393 Posted March 12, 2022 Popular Post Share Posted March 12, 2022 semente, diggle and DuckToller 3 Link to comment
christopher3393 Posted April 28, 2022 Share Posted April 28, 2022 Old school classic here in the states: Pete Seager, "We Shall Not Be Moved" semente 1 Link to comment
Iving Posted July 10, 2022 Share Posted July 10, 2022 Can protest songs really make a difference? A project funded by the UK’s Arts and Humanities Research Council, has analysed protest songs from the 1600s to today, creating the first official database of English protest songs. https://www.bbc.co.uk/news/av/entertainment-arts-62086924 [Just refresh if Sign-In pop-up] semente 1 Link to comment
Popular Post semente Posted December 6, 2022 Author Popular Post Share Posted December 6, 2022 Meet Linton Kwesi Johnson: Many of Linton Kwesi Johnson’s early poems deal with the conflict between members of the black British community and a police force which, in the 1970s in particular, was guilty of institutionalised racism. ‘Sonny’s Lettah’ draws attention to the Sus, or ‘Suspected Person’, Law, which in effect led to police stopping, searching and arresting a disproportionate number of black youths. Johnson translates a typical written form – the letter – into an oral tale, differentiating the stanzas of the poem through rhythm, timbre and intonation in performance. Sonny’s report to his mother on the attack suffered by his little brother and his own impulsive reaction to the policemen’s violence begins with conventional, affectionate but respectful formality. As the violence is described, however, the beat of the poem becomes more emphatic and the conflict is captured in the rhythm Johnson creates. As the poem progresses we learn that one of the policemen has died and Sonny has been charged with murder. The alternate ‘an’ and ‘mi’ lines describing the fight create a picture of a macabre rhythmical dance with a deeply tragic end when the policeman, ‘an crash/an ded’. The poem concludes with a return to the affectionate formality of the opening. https://www.poetrybyheart.org.uk/poems/sonny-lettah/ Dear Mama, Good Day. I hope dat wen deze few lines reach yu, they may find yu in di bes af helt. Mama, I really don’t know how fi tell yu dis, cause I did mek a salim pramis fi tek care a likkle Jim an try mi bes fi look out fi him. Mama, I really did try mi bes, but nondiles mi sarry fi tell you seh poor likkle Jim get arres. It woz di miggle a di rush howah wen evrybady jus a hosel an a bosel fi goh home fi dem evenin showah; mi an Jim stand up waitin pan a bus, nat cauzin no fus, wen all af a sudden a police van pull-up. Out jump tree policeman, di hole a dem carryin batan. Dem waak straight up to mi an Jim. One a dem hol awn to Jim seh him tekin him in; Jim tell him fi let goh a him far him noh dhu notn an him naw teef, nat even a butn. Jim start to wriggle di police start to giggle. Mama, mek I tell yu whe dem dhu to Jim Mama, mek I tell yu whe dem dhu to him: dem tump him in him belly an it turn to jelly dem lick him pan him back and him rib get pap dem lick him pan him hed but it tuff like led dem kick him in him seed an it started to bleed Mama, I jus coudn stan-up deh and noh dhu notn: soh me jook one in him eye an him started to cry mi tump one in him mout an him started to shout mi kick one pan him shin an him started to spin mi tump him pan him chin an him drap pan a bin an crash an ded. Mama, more policeman come dung an beat mi to di grung; dem charge Jim fi sus, dem charge me fi murdah. Mama, don fret, dont get depres an doun-hearted. Be af good courage till I hear fram you. I remain your son, Sonny orresearch, sphinxsix and christopher3393 2 1 "Science draws the wave, poetry fills it with water" Teixeira de Pascoaes HQPlayer Desktop / Mac mini → Intona 7054 → RME ADI-2 DAC FS (DSD256) Link to comment
Popular Post DuckToller Posted December 6, 2022 Popular Post Share Posted December 6, 2022 1 hour ago, semente said: Meet Linton Kwesi Johnson: Many of Linton Kwesi Johnson’s early poems deal with the conflict between members of the black British community and a police force which, in the 1970s in particular, was guilty of institutionalised racism. ‘Sonny’s Lettah’ draws attention to the Sus, or ‘Suspected Person’, Law, which in effect led to police stopping, searching and arresting a disproportionate number of black youths. Johnson translates a typical written form – the letter – into an oral tale, differentiating the stanzas of the poem through rhythm, timbre and intonation in performance. Sonny’s report to his mother on the attack suffered by his little brother and his own impulsive reaction to the policemen’s violence begins with conventional, affectionate but respectful formality. As the violence is described, however, the beat of the poem becomes more emphatic and the conflict is captured in the rhythm Johnson creates. As the poem progresses we learn that one of the policemen has died and Sonny has been charged with murder. The alternate ‘an’ and ‘mi’ lines describing the fight create a picture of a macabre rhythmical dance with a deeply tragic end when the policeman, ‘an crash/an ded’. The poem concludes with a return to the affectionate formality of the opening. https://www.poetrybyheart.org.uk/poems/sonny-lettah/ Dear Mama, Good Day. I hope dat wen deze few lines reach yu, they may find yu in di bes af helt. Mama, I really don’t know how fi tell yu dis, cause I did mek a salim pramis fi tek care a likkle Jim an try mi bes fi look out fi him. Mama, I really did try mi bes, but nondiles mi sarry fi tell you seh poor likkle Jim get arres. It woz di miggle a di rush howah wen evrybady jus a hosel an a bosel fi goh home fi dem evenin showah; mi an Jim stand up waitin pan a bus, nat cauzin no fus, wen all af a sudden a police van pull-up. Out jump tree policeman, di hole a dem carryin batan. Dem waak straight up to mi an Jim. One a dem hol awn to Jim seh him tekin him in; Jim tell him fi let goh a him far him noh dhu notn an him naw teef, nat even a butn. Jim start to wriggle di police start to giggle. Mama, mek I tell yu whe dem dhu to Jim Mama, mek I tell yu whe dem dhu to him: dem tump him in him belly an it turn to jelly dem lick him pan him back and him rib get pap dem lick him pan him hed but it tuff like led dem kick him in him seed an it started to bleed Mama, I jus coudn stan-up deh and noh dhu notn: soh me jook one in him eye an him started to cry mi tump one in him mout an him started to shout mi kick one pan him shin an him started to spin mi tump him pan him chin an him drap pan a bin an crash an ded. Mama, more policeman come dung an beat mi to di grung; dem charge Jim fi sus, dem charge me fi murdah. Mama, don fret, dont get depres an doun-hearted. Be af good courage till I hear fram you. I remain your son, Sonny LKJ was my first encounter with spoken word / dub in 1979/1980. It shaped my sensibility on the subjects he sings about, at least it had then ... christopher3393, semente, orresearch and 1 other 2 1 1 Link to comment
Popular Post DuckToller Posted December 6, 2022 Popular Post Share Posted December 6, 2022 On 7/10/2022 at 8:20 PM, Iving said: Can protest songs really make a difference? A project funded by the UK’s Arts and Humanities Research Council, has analysed protest songs from the 1600s to today, creating the first official database of English protest songs. https://www.bbc.co.uk/news/av/entertainment-arts-62086924 [Just refresh if Sign-In pop-up] Here's the missing link https://oursubversivevoice.com/ sphinxsix, orresearch, christopher3393 and 1 other 1 3 Link to comment
Popular Post sphinxsix Posted December 6, 2022 Popular Post Share Posted December 6, 2022 We gonna smash their brains in Cause they ain't got no fink in 'em We gonna smash their brains in Cause they ain't got no fink in 'em Some a dem say dem a niggah haytah An' some a dem say dem a black beat ah Some a dem say dem a black stab bah An' some a dem say dem a paki bash ah Fashist an di attack Noh baddah worry 'bout dat Fashist an di attack Wi wi' fite dem back Fashist an di attack Den wi countah-attack Fashist an di attack Den wi drive dem back We gonna smash their brains in Cause they ain't got no fink in 'em We gonna smash their brains in Cause they ain't got no fink in 'em BTW Fight Dem Back, often abbreviated FDB, is a now defunct Australian and New Zealand anti-racist internet group. It concentrated its attention on the Australian & New Zealand white nationalist, fascist and neo-Nazi scenes. The group is named after a reggae song by Linton Kwesi Johnson semente, orresearch and christopher3393 2 1 Link to comment
Popular Post sphinxsix Posted March 9, 2023 Popular Post Share Posted March 9, 2023 ‘Punk was my weapon’: the rebel power of culture in siege of Sarajevo christopher3393 and semente 1 1 Link to comment
semente Posted July 31, 2023 Author Share Posted July 31, 2023 "Science draws the wave, poetry fills it with water" Teixeira de Pascoaes HQPlayer Desktop / Mac mini → Intona 7054 → RME ADI-2 DAC FS (DSD256) Link to comment
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