Loomnie

Thanks to reader Anton for the link.

This is a synopsis:

Elder’s Corner is musical journey through pivotal moments in the colorful history of Nigeria as told through the lives and careers of the nations foremost music legends. It is a story about the eroding effects of colonialism, bitter ethnic clashes, politics, oil, power, money and their combined effects on a nation that recently celebrated its 50th year of self rule.

Click here to support the project.

It’s a man’s world by Joy Denalane, Bilal, Tweet, Dwele – and the Dresden Soul Symphony. Enjoy!

Sister Fa is a Berlin-based Senegalese hip-hop artiste. More about her here.

It is actually the Copenhagen Phil (Sjællands Symfoniorkester)

Have a nice Sunday.

Nafees Ahmad’s interpretation of Take Five.

Thanks to Kerim and Marian

Aloe Blacc singing I Need a Dollar. This is his homepage.

Enjoy!

H/T Scarlet Lion.

The latest from the Playing for Change folks.

Jesus Diaz of Gizmodo describes it:

There’s Roberto Luti in Italy on steel guitar, Washboard Chaz in New Orleans adding more percussion and then Roselyn Williams fires up her amazing voice to sign Jaggers’ lyrics from Kingston, Jamaica. From there, it just keeps getting better and better. At the end of the process, those parts get remixed in a central studio to make the cover you are listening to now. Or the cover I’m listening to now, because I have it on a loop. I just can’t have enough of it.

In FT:

The Gaga and the Fry

I ask if [...] she has in fact created Gaga, so that she can have a grandiose alter ego to absorb all the attention, criticism, adulation and insanity while the quiet, steady, industrious Stefani Germanotta gets on anonymously with the professional nuts and bolts in the background. I couldn’t be more wrong.

“I actually don’t identify myself as two separate people and I don’t view Lady Gaga, me, as the protector of Stefani … I do see myself to be in an endless transformative state in the way that those performers you’ve mentioned were. I just am committed wholeheartedly to theatre with no intermission.”

We talk about masks and Oscar Wilde and the nature of performance and the need of artists to pursue their vocations. She quotes to me the line of Rilke that she had famously tattooed on to her left arm: “In the deepest hour of the night, confess to yourself that you would die if you were forbidden to write. And look deep into your heart where it spreads its roots, the answer, and ask yourself, must I write?” It’s quite a big tattoo…’ she confesses.

I counter with another quote about writing from Thomas Mann: “A writer is a person for whom writing is more difficult than it is for other people.” She gets the point of it straightaway.