In Pursuit Of African Music Cds & Vinyl

Kaakie, R2Bees, Sarkodie, FUSE ODG, D Black, E.L For 2013 Channel O Africa Music Video Awards On Saturday

After a few more calls and conversations, I found my destination. First I would head to Los Angeles, California to Amoeba Music ,probably the only mega-music store remaining in the US, and browse their African music section to see if they had anything of interest. Second, I would make plans to travel to Africa later in 2012 or early 2013 for recordings of local contemporary music. Sterns suggested a trip to South Africa, as the formidable Gallo Record Company still owns over 75% of recordings ever made in South Africa. Fortuitously, I had already made arrangements to attend a friends wedding in San Diego, California when I learned about Amoeba Music, so I quickly changed my plans to include a short trip to Los Angeles. I just returned yesterday, and wanted to report my findings with a live video of my travels to the place, and a brief summary of what I discovered. You will hear and see more of the music I acquired there in due time, but for now let me share my journey in search of African music treasures.
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African Swahili music lives on in Oman

That is why in the nation hugging the edge of the Arabian Peninsula, musicians wearing traditional Omani long white robes and hand woven hats beat African rhythms on their drums, swaying to music more easily found on the African continent than in the Middle East. “The music runs deep in us and is embedded in our culture, passed on by our ancestors,” said Kareema Ismail, a singer and dancer. “The Swahili beats in our music is a long tradition from Zanzibar. It is not something that will be replaced by contemporary music.” The oldest independent state in the Arab world, Oman has been ruled by the al-Said family since 1744. Zanzibar became a major trade hub, a slave center and the economic engine for the Omani empire. Its most powerful ruler, Sultan Said bin Sultan al-Said, made the archipelago the capital of Oman in 1840. Reflecting its history and relative openness, thanks to its long history as a seafaring nation, all of the music of Oman blends different traditional music and Arabic pop, as well as classical music, promoted by its biggest fan in Oman, the ruler Sultan Qaboos bin Said.
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Among those taking to the stage on Saturday night will be, Victoria Kimani, Wizkid, Burna Boy, The Soil, Buffalo Souljah, Aka featuring Da L.E.S., KCee, Lizha James, Cassper Nyovest featuring Okmalumkooklat, Khuli Chana, and Mafikizolo. In the host hot seat is the one-two star-studded combination of Nigerian muso Naeto C and South African hip hopper AKA both artists already having proved their popularity with Channel O viewers over the past few years. The only category not voted for by Channel O viewers is the Special Recognition, which this year is being awarded to Nigerian R&B duo P-Square. Twin brothers Peter and Paul Okoye, are being honoured for their significant artistic contributions to music, which have helped place African music and its artists firmly on international stages. They follow in the footsteps of the likes of Oscar Oskido Mdlongwa (2012); Nigerias Koko Master DBanj (2011); Somalian born KNAAN (2010); South African Brenda Fassie (2009) and Ghanas George Lee (2008). So tune in at 20:00 CAT when the 2013 Channel O Africa Music Awards finally get underway!
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MUSIC; African Music and African-American Audiences

The question is especially pointed with respect to music, because if there is anything approaching a common currency throughout the black world, it is music. For decades, African, African-American and Afro-Caribbean music have borrowed freely from one another, a process often closely tied to issues of culture, politics and identity. Most explanations for the paucity of black faces in such audiences center on one of two notions: cultural tensions between Africans and African-Americans, and differences in their aesthetic preferences. Proponents of the first view maintain that there are irreconcilable cultural differences between Africans and African-Americans. Some American promoters of African music have gone so far as to claim that at heart, Africans don’t really sympathize with the African-American experience, and in turn, African-Americans are ignorant of and uncaring about their African heritage; and that this cultural dissonance shows up in concert demographics. Proponents of the second view contend that African-American music is overly commercial and that audiences are not interested in any music that has not been highly processed and spoon-fed to them by the music industry. But such arguments fail to shed light on the root causes of this situation.
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