Fat Freddy's Drop - Bluey

Meet the Artist behind the music, in this case, Sydney Sëymour

1) If you could have any talent in the world, what would it be?
Already have everything, just need to remember it

2) What's the craziest or most out-of-character thing you've ever done?
I ve created a neuroscience clinic when i was 24 yrs old without any diploma in neuroscience or psychology, and now this project is helping hundreds of peoples every year. neuroscenter.com/

3)What's your favorite thing about the place where you live?
Barcelona is very open and easy to socialize and i love that

Original Artist: @sydneyseymour
Remix Artist: @charlie3m
Mastering: @niju-1
Label: @hugrecords

PREMIERE | Seymour - Religious Truth (CharlieM Remix) ||Hug Records||

A theme runs through Blak resistance: we are still quarry – and a quarry - for empire, capitalism and colonialism. Boe Spearim speaks strong that the Frontier Wars have never stopped, just transformed, and examines the history of Blak resistance up to today. He says allies must respect the first environmentalists, to learn from the history of constant resistance, work with mob, and show up in places like the Pilliga.

Boe Spearim, Frontier Wars Unending:-The original Land Defenders lead today’s resistance

Taken from "Numero Deux". Originally released in 2001 on Schema’s sister label Milano 2000 (Europe) and Chicago cult label Guidance Recordings (U.S.A. and Japan), the album is considered a classic in Trip-Hop history and got international acclaim by taste makers like Thievery Corporation, Zero 7 and Four Tet, which remixed “Così ti Amo”.

Jazz and funk textures, dreamy keyboard melodies, Balearic guitar vibes and sultry female vocals create an engaging montage of sublime Mediterranean flavored Trip-Hop soundscapes.

Imagine DJ Shadow and Ennio Morricone scoring the soundtrack of a Jean Luc Godard film and you’ll get the picture!

The album has been remastered and features two previously unreleased tracks and new liner notes by Emanuele Sacchi (Rumore magazine / Hong Kong Express)

Buy it here: http://ow.ly/E2Nv9

The Dining Rooms - Pure & Easy

Rally outside ABC headquarters in Southbank in Brisbane on 8 March 2024.

Speakers include: Dr Liz Strakosch, Doykeit Collective and Jewish Council of Australia, Nick Chesterfield Samuel Watson, Cassie from the Australian Services Union, Benedict Coyne (human rights barrister), and Jonathan Sriranganathan (Greens candidate for Brisbane City Mayor.

Reinstate Antoinette Lattouf

song written by: Carlo Santone, Julian Marley, Nattali Rize
production: One Rebel / Mista Savona
Mixed: James Bonzai Caruso

http://www.onerebelcreative.com
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More info: 



Nattali Rize & Julian Marley - Natty Rides Again

Airileke Live WOMADELAIDE 2014

Dig Down

Initially, this mix was recorded from vinyl and meant to be sent on a CD by post to my grandparents: all the way to Mexico. 
After, I thought... it could touch the nostalgic soul of more people
I decided to share it here too...
Enjoy! <3

Noche de Luna en Jalapa

http://anitaodaydoc.com/index.html

Anita O'Day was never just another big-band canary. That's not to say that she lacked the physical attributes to compete with the other Swing era vocalists — frilly eye candy occasionally taking the microphone to offer jaunty riffs on the latest pop tunes — who sat on stage with the Glenn Miller, Benny Goodman and Harry James ensembles.

There's a photo of O'Day on the cover of her autobiography, "High Times, Hard Times," in which she is perched, nylon-clad legs crossed, on top of a piano in a pose that could have been an inspiration for Michelle Pfeiffer's sexy lounge singer in "The Fabulous Baker Boys." The elegance was always a veneer covering an inner toughness, the hard life lessons learned that made her a superb jazz singer, one of the best of her generation — or of any generation. At a time when most female vocalists tended to emphasize the sweet timbres of their voice, she chose to follow a path blazed by the one major jazz singer who emphasized message over medium — Billie Holiday.

Like Holiday, O'Day combined the soaring freedom of a jazz instrumentalist with the storytelling lyricism of a poet. She often said she was a "stylist," not a "singer," which was correct, but only in a minimal sense.

From the moment she broke through to a national audience via the briskly swinging encounter with trumpeter Roy Eldridge in the Gene Krupa Band's recording of "Let Me Off Uptown" to her splendid Verve recordings of the '50s, and her comebacks in the '70s and again in the '90s, she was instantly recognizable, an utter original. Yes, "stylist," but much more. Like Frank Sinatra, she balanced the rhythmic songs that were generally considered to be her forte with an approach to ballads that varied from seductive intimacy to sardonic irony.

When I wrote about her in 1990, she was as feisty as ever, personally — discussing another hard-luck encounter with the vagaries of the record business — and still singing with the killer phrasing that made every song an adventure. Eight years later, I reviewed her again, this time after she had made an astonishing return to singing after a near-fatal encounter with pneumonia and blood poisoning. And again she was remarkable, as she was in her final performances before her death — to the very end, never just another big-band canary.


Boe Spearim, Frontier Wars Unending:-The original Land Defenders lead today’s resistance

Nick Chesterfield

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