Podcasts about Asian Dub Foundation

Fosforo 1755: I brani della striscia numero 3 della settimana: Tandem Playlist; Asian Dub Foundation - 1000 Mirrors (ADF30 Remaster); Baba Sissoko - Mediterranean Blues; Steve Howe - Spring Rhyme; Nat King Cole - Destination Moon; Isaiah Hull and Jaso - U are beautiful _3; Lionel Loueke and Dave Holland - Yaoundé; Fosforo va in onda ogni giorno alle 01:20 e alle 18:00. Puoi ascoltare le sequenze musicali di Rufus T. Firefly sulla frequenza di Radio Tandem, 98.400FM, o in streaming e anche in podcast.Per info: https://www.radiotandem.it/fosforo

For this BONUS Patron-curated episode, we invited patrons of the podcast to send in their favorite political and/or protest songs. They came up with a surprisingly eclectic playlist of songs that will make you angry, fired-up and ready to (metaphorically) rumble! Fight The Power, indeed!! Songs discussed in this episode: War - Bob Marley (Live 1977 at The Rainbow, London); Happy New Year (Prince Can't Die Again) - Mac McCaughan; Haillie Sellasse, Up Your Ass - Propagandhi; Ignoreland - R.E.M.; Nobody Knows - School Of Language; Porcupine or Pineapple? - Brakes; Lowest of the Low - The Barricade; Charles Windsor - McCarthy; I Pity The Country - Willie Dunn; Living For The City - Stevie Wonder; An Old Colonial's Hard Luck Story - X-tal; The Ghost of Tom Joad - Bruce Springsteen (with Tom Morello); Fight The Power - Public Enemy; Power, Power (Live, 1992) - The Dead C; Urban Guerilla - Hawkwind; Please Don't - David Byrne & Fatboy Slim (featuring Santigold); The Body Electric - Hurray For The Riff Raff; Major John - The Wake; Where's All The Money Gone? - Asian Dub Foundation; The Three Great Alabama Icons - Drive-By Truckers; Holiday In Cambodia - Dead Kennedys; Divide and Conquer - Husker Du

... y más nuevas canciones de Billie Eilish, Finneas, Bleachers, Field Music, Personal Trainer, Alison Moyet y Asian Dub Foundation (con Iggy Pop).Escuchar audio

In this episode, we throw the book at The Equals and their 1967 non-hit, "Police on my Back." Written by the indestructible Eddy Grant, the debate centers around the song's rude boy narrative (Stratton 2013) and the question of the narrator's guilt or innocence. The next in the line up is The Stacattos (from South Africa). These guys mess the song up in interesting ways, but is it a social statement? Was the original? Well, on "Sandinista," The Clash made the song famous and it's taken on new dimensions since then, so after those perps, we end with Asian Dub Foundation and Zebda's 2003 version, which'll drive you wild with its hybrid instrumentation and high energy. It's an open and shut case!!

Listen to a conversation with Hena Zuberi the director of Justice for All. In this interview we hear about the systemic human rights abuses and legislative undercutting of minority rights taking place in India today under the right wing nationalist BJP government. Hena breaks down the religious nationalist politics of Hindutva in the BJP context. Additionally this conversation visits the importance of looking critically at western government complicity with the BJP government and the importance of looking critically at this issue today. More information on Justice For All here: https://www.justiceforall.org On this edition you we hear "Fly Over" by the Asian Dub Foundation. Free City Radio is hosted and produced by Stefan @spirodon Christoff and airs on @radiockut 90.3FM at 11am on Wednesdays and @cjlo1690 AM in Tiohti:áke/Montréal on Tuesdays at 1pm on @ckuwradio 95.9FM in Winnipeg at 8am on Tuesdays, on @cfrc 101.9FM in Kingston, Ontario at 11:30am on Wednesdays. Now also broadcasting on @cfuv 101.9 FM in Victoria, BC on Wednesdays at 9am. Also Free City Radio is a podcast through both Spotify and Apple Podcasts, please encourage a friend to tune-in !

In this episode we invite esteemed author RJ Smith to tell us about his career, his adopted Los Angeles, and his new biography of Chuck Berry.We start in Detroit, where RJ was raised on a diet of AM radio, the Stooges and Creem magazine, then follow him to New York and his decade of writing for the Village Voice. He talks about the impact of Lester Bangs and Robert Christgau before explaining why he followed the Voice's executive editor Kit Rachlis to California and the L.A. Weekly. We hear how he became fascinated by the pre-rock history of African-American L.A. and how that led to the publication of The Great Black Way (2008). His fourth book, Chuck Berry: An American Life, gives us the opportunity to discuss the problematic brilliance of St. Louis's "Black bard of white teen angst", a half-century after the creepy novelty comedy of 'My Ding-a-Ling' gave the Black-rock pioneer a No. 1 hit on both sides of the Atlantic.We return to our L.A. theme to hear clips from a 1991 audio interview in which Tracy "Ice-T" Marrow talks to Andy Gill about the birth of gangsta rap and his thrash-metal side project Body Count. RJ recalls his own writing about West Coast hip hop before we say a sad goodbye to the great Wilko Johnson and hear the-then Dr. Feelgood guitarist speaking to Mick Gold in 1975.Mark quotes from some of the pieces he's added to the RBP library, including interviews with Long John Baldry and Olivia Newton-John, after which Jasper wraps matters up with remarks on articles about Deadmau5 and Asian Dub Foundation.Many thanks to special guest RJ Smith. Chuck Berry: An American Life is published by Omnibus in the UK and Hachette in the US and is available now from all good bookshops.Pieces discussed: Chuck Berry, Chuck Berrier, Chuck Berriest, Interview with RJ Smith, Charles Brown, N.W.A., Ice-T audio, Dr. Feelgood, Wilko Johnson, Rab Noakes, Long John Baldry, Free, Captain Beefheart, B. Bumble and the Stingers, Simon and Garfunkel, Olivia Newton-John, Deadmau5 and Asian Dub Foundation.

In this episode we invite esteemed author RJ Smith to tell us about his career, his adopted Los Angeles, and his new biography of Chuck Berry.We start in Detroit, where RJ was raised on a diet of AM radio, the Stooges and Creem magazine, then follow him to New York and his decade of writing for the Village Voice. He talks about the impact of Lester Bangs and Robert Christgau before explaining why he followed the Voice's executive editor Kit Rachlis to California and the L.A. Weekly. We hear how he became fascinated by the pre-rock history of African-American L.A. and how that led to the publication of The Great Black Way (2008). His fourth book, Chuck Berry: An American Life, gives us the opportunity to discuss the problematic brilliance of St. Louis's "Black bard of white teen angst", a half-century after the creepy novelty comedy of 'My Ding-a-Ling' gave the Black-rock pioneer a No. 1 hit on both sides of the Atlantic.We return to our L.A. theme to hear clips from a 1991 audio interview in which Tracy "Ice-T" Marrow talks to Andy Gill about the birth of gangsta rap and his thrash-metal side project Body Count. RJ recalls his own writing about West Coast hip hop before we say a sad goodbye to the great Wilko Johnson and hear the-then Dr. Feelgood guitarist speaking to Mick Gold in 1975.Mark quotes from some of the pieces he's added to the RBP library, including interviews with Long John Baldry and Olivia Newton-John, after which Jasper wraps matters up with remarks on articles about Deadmau5 and Asian Dub Foundation.Many thanks to special guest RJ Smith. Chuck Berry: An American Life is published by Omnibus in the UK and Hachette in the US and is available now from all good bookshops.Pieces discussed: Chuck Berry, Chuck Berrier, Chuck Berriest, Interview with RJ Smith, Charles Brown, N.W.A., Ice-T audio, Dr. Feelgood, Wilko Johnson, Rab Noakes, Long John Baldry, Free, Captain Beefheart, B. Bumble and the Stingers, Simon and Garfunkel, Olivia Newton-John, Deadmau5 and Asian Dub Foundation.

Bollywood, punk, dub, sitar as guitar, politics and the kitchen sink comes close to describing Asian Dub Foundation but not quite! Noisy shoegazers Loop return with the first new music in 32 years and more! --- Support this podcast: https://anchor.fm/thebottomforty/support

Music sampling has become a predominantly digitalized practice. It was popularized with the rise of Rap and Hip-Hop, as well as ambient music scenes, but it has a history stretching back to the earliest days of sound recording and experimental music making from around the world. Digital tools and networks allow artists to sample music across national borders and from diverse cultural traditions with relative ease, prompting questions around not only fair use, copyright, and freedom of expression, but also cultural appropriation and "copywrongs." For example, non-commercial forms of sharing that are now commonplace on the web bring musicians and their audiences into closer contact with emerging regimes of commercial web-tracking and state-sponsored online surveillance. Moreover, when musicians actively engage in political or social causes through their music, they are liable to both commercial and state forces of control. Shifts back to corporate ownership and control of the global music business—online and offline—highlight competing claims for commercial and cultural ownership and control of sampled music from local communities, music labels, and artists. Each case study is based on archival research, close listening, and musical analysis, alongside conversations and public reflections from artists such as David Byrne, Annirudha Das, Asian Dub Foundation, John Cage, Brian Eno, Sarah Jones, Gil Scott-Heron, Karlheinz Stockhausen, Dunya Yunis, and Sonia Mehta.  Sampling Politics: Music and the Geocultural (Oxford UP, 2021) provides ways to listen and hear (again) how sampling practices and music making work, on its own terms and in context. In so doing, M.I. Franklin corrects some errors in the public record, addressing some longstanding misperceptions over the creative, legal, and cultural legacy of music sampling in some cases of rich, and complex practices that have also been called musical "borrowing," "cultural appropriation," or "theft." This book considers the musicalities and musicianship at stake in each case, as well as the respective creative practices and performance cultures underscoring the ethics of attribution and collaboration when sampling artists make music. Marianne Franklin is Professor of Global Media and Politics at Goldsmiths, University of London Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Music sampling has become a predominantly digitalized practice. It was popularized with the rise of Rap and Hip-Hop, as well as ambient music scenes, but it has a history stretching back to the earliest days of sound recording and experimental music making from around the world. Digital tools and networks allow artists to sample music across national borders and from diverse cultural traditions with relative ease, prompting questions around not only fair use, copyright, and freedom of expression, but also cultural appropriation and "copywrongs." For example, non-commercial forms of sharing that are now commonplace on the web bring musicians and their audiences into closer contact with emerging regimes of commercial web-tracking and state-sponsored online surveillance. Moreover, when musicians actively engage in political or social causes through their music, they are liable to both commercial and state forces of control. Shifts back to corporate ownership and control of the global music business—online and offline—highlight competing claims for commercial and cultural ownership and control of sampled music from local communities, music labels, and artists. Each case study is based on archival research, close listening, and musical analysis, alongside conversations and public reflections from artists such as David Byrne, Annirudha Das, Asian Dub Foundation, John Cage, Brian Eno, Sarah Jones, Gil Scott-Heron, Karlheinz Stockhausen, Dunya Yunis, and Sonia Mehta.  Sampling Politics: Music and the Geocultural (Oxford UP, 2021) provides ways to listen and hear (again) how sampling practices and music making work, on its own terms and in context. In so doing, M.I. Franklin corrects some errors in the public record, addressing some longstanding misperceptions over the creative, legal, and cultural legacy of music sampling in some cases of rich, and complex practices that have also been called musical "borrowing," "cultural appropriation," or "theft." This book considers the musicalities and musicianship at stake in each case, as well as the respective creative practices and performance cultures underscoring the ethics of attribution and collaboration when sampling artists make music. Marianne Franklin is Professor of Global Media and Politics at Goldsmiths, University of London Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Music sampling has become a predominantly digitalized practice. It was popularized with the rise of Rap and Hip-Hop, as well as ambient music scenes, but it has a history stretching back to the earliest days of sound recording and experimental music making from around the world. Digital tools and networks allow artists to sample music across national borders and from diverse cultural traditions with relative ease, prompting questions around not only fair use, copyright, and freedom of expression, but also cultural appropriation and "copywrongs." For example, non-commercial forms of sharing that are now commonplace on the web bring musicians and their audiences into closer contact with emerging regimes of commercial web-tracking and state-sponsored online surveillance. Moreover, when musicians actively engage in political or social causes through their music, they are liable to both commercial and state forces of control. Shifts back to corporate ownership and control of the global music business—online and offline—highlight competing claims for commercial and cultural ownership and control of sampled music from local communities, music labels, and artists. Each case study is based on archival research, close listening, and musical analysis, alongside conversations and public reflections from artists such as David Byrne, Annirudha Das, Asian Dub Foundation, John Cage, Brian Eno, Sarah Jones, Gil Scott-Heron, Karlheinz Stockhausen, Dunya Yunis, and Sonia Mehta.  Sampling Politics: Music and the Geocultural (Oxford UP, 2021) provides ways to listen and hear (again) how sampling practices and music making work, on its own terms and in context. In so doing, M.I. Franklin corrects some errors in the public record, addressing some longstanding misperceptions over the creative, legal, and cultural legacy of music sampling in some cases of rich, and complex practices that have also been called musical "borrowing," "cultural appropriation," or "theft." This book considers the musicalities and musicianship at stake in each case, as well as the respective creative practices and performance cultures underscoring the ethics of attribution and collaboration when sampling artists make music. Marianne Franklin is Professor of Global Media and Politics at Goldsmiths, University of London Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Music sampling has become a predominantly digitalized practice. It was popularized with the rise of Rap and Hip-Hop, as well as ambient music scenes, but it has a history stretching back to the earliest days of sound recording and experimental music making from around the world. Digital tools and networks allow artists to sample music across national borders and from diverse cultural traditions with relative ease, prompting questions around not only fair use, copyright, and freedom of expression, but also cultural appropriation and "copywrongs." For example, non-commercial forms of sharing that are now commonplace on the web bring musicians and their audiences into closer contact with emerging regimes of commercial web-tracking and state-sponsored online surveillance. Moreover, when musicians actively engage in political or social causes through their music, they are liable to both commercial and state forces of control. Shifts back to corporate ownership and control of the global music business—online and offline—highlight competing claims for commercial and cultural ownership and control of sampled music from local communities, music labels, and artists. Each case study is based on archival research, close listening, and musical analysis, alongside conversations and public reflections from artists such as David Byrne, Annirudha Das, Asian Dub Foundation, John Cage, Brian Eno, Sarah Jones, Gil Scott-Heron, Karlheinz Stockhausen, Dunya Yunis, and Sonia Mehta.  Sampling Politics: Music and the Geocultural (Oxford UP, 2021) provides ways to listen and hear (again) how sampling practices and music making work, on its own terms and in context. In so doing, M.I. Franklin corrects some errors in the public record, addressing some longstanding misperceptions over the creative, legal, and cultural legacy of music sampling in some cases of rich, and complex practices that have also been called musical "borrowing," "cultural appropriation," or "theft." This book considers the musicalities and musicianship at stake in each case, as well as the respective creative practices and performance cultures underscoring the ethics of attribution and collaboration when sampling artists make music. Marianne Franklin is Professor of Global Media and Politics at Goldsmiths, University of London Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Music sampling has become a predominantly digitalized practice. It was popularized with the rise of Rap and Hip-Hop, as well as ambient music scenes, but it has a history stretching back to the earliest days of sound recording and experimental music making from around the world. Digital tools and networks allow artists to sample music across national borders and from diverse cultural traditions with relative ease, prompting questions around not only fair use, copyright, and freedom of expression, but also cultural appropriation and "copywrongs." For example, non-commercial forms of sharing that are now commonplace on the web bring musicians and their audiences into closer contact with emerging regimes of commercial web-tracking and state-sponsored online surveillance. Moreover, when musicians actively engage in political or social causes through their music, they are liable to both commercial and state forces of control. Shifts back to corporate ownership and control of the global music business—online and offline—highlight competing claims for commercial and cultural ownership and control of sampled music from local communities, music labels, and artists. Each case study is based on archival research, close listening, and musical analysis, alongside conversations and public reflections from artists such as David Byrne, Annirudha Das, Asian Dub Foundation, John Cage, Brian Eno, Sarah Jones, Gil Scott-Heron, Karlheinz Stockhausen, Dunya Yunis, and Sonia Mehta.  Sampling Politics: Music and the Geocultural (Oxford UP, 2021) provides ways to listen and hear (again) how sampling practices and music making work, on its own terms and in context. In so doing, M.I. Franklin corrects some errors in the public record, addressing some longstanding misperceptions over the creative, legal, and cultural legacy of music sampling in some cases of rich, and complex practices that have also been called musical "borrowing," "cultural appropriation," or "theft." This book considers the musicalities and musicianship at stake in each case, as well as the respective creative practices and performance cultures underscoring the ethics of attribution and collaboration when sampling artists make music. Marianne Franklin is Professor of Global Media and Politics at Goldsmiths, University of London Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Music sampling has become a predominantly digitalized practice. It was popularized with the rise of Rap and Hip-Hop, as well as ambient music scenes, but it has a history stretching back to the earliest days of sound recording and experimental music making from around the world. Digital tools and networks allow artists to sample music across national borders and from diverse cultural traditions with relative ease, prompting questions around not only fair use, copyright, and freedom of expression, but also cultural appropriation and "copywrongs." For example, non-commercial forms of sharing that are now commonplace on the web bring musicians and their audiences into closer contact with emerging regimes of commercial web-tracking and state-sponsored online surveillance. Moreover, when musicians actively engage in political or social causes through their music, they are liable to both commercial and state forces of control. Shifts back to corporate ownership and control of the global music business—online and offline—highlight competing claims for commercial and cultural ownership and control of sampled music from local communities, music labels, and artists. Each case study is based on archival research, close listening, and musical analysis, alongside conversations and public reflections from artists such as David Byrne, Annirudha Das, Asian Dub Foundation, John Cage, Brian Eno, Sarah Jones, Gil Scott-Heron, Karlheinz Stockhausen, Dunya Yunis, and Sonia Mehta.  Sampling Politics: Music and the Geocultural (Oxford UP, 2021) provides ways to listen and hear (again) how sampling practices and music making work, on its own terms and in context. In so doing, M.I. Franklin corrects some errors in the public record, addressing some longstanding misperceptions over the creative, legal, and cultural legacy of music sampling in some cases of rich, and complex practices that have also been called musical "borrowing," "cultural appropriation," or "theft." This book considers the musicalities and musicianship at stake in each case, as well as the respective creative practices and performance cultures underscoring the ethics of attribution and collaboration when sampling artists make music. Marianne Franklin is Professor of Global Media and Politics at Goldsmiths, University of London Learn more about your ad choices. Visit megaphone.fm/adchoices

Music sampling has become a predominantly digitalized practice. It was popularized with the rise of Rap and Hip-Hop, as well as ambient music scenes, but it has a history stretching back to the earliest days of sound recording and experimental music making from around the world. Digital tools and networks allow artists to sample music across national borders and from diverse cultural traditions with relative ease, prompting questions around not only fair use, copyright, and freedom of expression, but also cultural appropriation and "copywrongs." For example, non-commercial forms of sharing that are now commonplace on the web bring musicians and their audiences into closer contact with emerging regimes of commercial web-tracking and state-sponsored online surveillance. Moreover, when musicians actively engage in political or social causes through their music, they are liable to both commercial and state forces of control. Shifts back to corporate ownership and control of the global music business—online and offline—highlight competing claims for commercial and cultural ownership and control of sampled music from local communities, music labels, and artists. Each case study is based on archival research, close listening, and musical analysis, alongside conversations and public reflections from artists such as David Byrne, Annirudha Das, Asian Dub Foundation, John Cage, Brian Eno, Sarah Jones, Gil Scott-Heron, Karlheinz Stockhausen, Dunya Yunis, and Sonia Mehta.  Sampling Politics: Music and the Geocultural (Oxford UP, 2021) provides ways to listen and hear (again) how sampling practices and music making work, on its own terms and in context. In so doing, M.I. Franklin corrects some errors in the public record, addressing some longstanding misperceptions over the creative, legal, and cultural legacy of music sampling in some cases of rich, and complex practices that have also been called musical "borrowing," "cultural appropriation," or "theft." This book considers the musicalities and musicianship at stake in each case, as well as the respective creative practices and performance cultures underscoring the ethics of attribution and collaboration when sampling artists make music. Marianne Franklin is Professor of Global Media and Politics at Goldsmiths, University of London Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Music sampling has become a predominantly digitalized practice. It was popularized with the rise of Rap and Hip-Hop, as well as ambient music scenes, but it has a history stretching back to the earliest days of sound recording and experimental music making from around the world. Digital tools and networks allow artists to sample music across national borders and from diverse cultural traditions with relative ease, prompting questions around not only fair use, copyright, and freedom of expression, but also cultural appropriation and "copywrongs." For example, non-commercial forms of sharing that are now commonplace on the web bring musicians and their audiences into closer contact with emerging regimes of commercial web-tracking and state-sponsored online surveillance. Moreover, when musicians actively engage in political or social causes through their music, they are liable to both commercial and state forces of control. Shifts back to corporate ownership and control of the global music business—online and offline—highlight competing claims for commercial and cultural ownership and control of sampled music from local communities, music labels, and artists. Each case study is based on archival research, close listening, and musical analysis, alongside conversations and public reflections from artists such as David Byrne, Annirudha Das, Asian Dub Foundation, John Cage, Brian Eno, Sarah Jones, Gil Scott-Heron, Karlheinz Stockhausen, Dunya Yunis, and Sonia Mehta.  Sampling Politics: Music and the Geocultural (Oxford UP, 2021) provides ways to listen and hear (again) how sampling practices and music making work, on its own terms and in context. In so doing, M.I. Franklin corrects some errors in the public record, addressing some longstanding misperceptions over the creative, legal, and cultural legacy of music sampling in some cases of rich, and complex practices that have also been called musical "borrowing," "cultural appropriation," or "theft." This book considers the musicalities and musicianship at stake in each case, as well as the respective creative practices and performance cultures underscoring the ethics of attribution and collaboration when sampling artists make music. Marianne Franklin is Professor of Global Media and Politics at Goldsmiths, University of London

“牙买加音乐在英国”话题继续，本期集中讨论的范围是80s末 90s 初开始到当代： 从 Massive Attack 开始的 Trip-hop，为什么我们认为这个流派的定义有点儿“伪”？ 80s 末90s 初英国音乐风格各异，当时比较流行的俱乐部音乐 Acid House 发展到breakbeat(对应美国当时的Hip-Hop golden age)，接着产生了 Jungle ，从 disco 时代传承下来俱乐部跳舞文化一直影响英国音乐至今； 这个时期俱乐部音乐与雷鬼的差异已经很大，其中有一位特色融合音乐人 Rebel MC; Public Enemy 对 breakbeat 音乐的影响非常深远，在美国反而没有被继承； 伦敦超级组合 Soul II Soul 的制作人 Nellee Hooper 为 Björk 制作的首张专辑 “Debut”（1993） 是当时英国音乐的交汇； 90s 初也出现了 Asian underground 运动，主要为印巴裔英国人和加勒比黑人，代表团体有 Asian Dub Foundation, Fun ‘Da' Mental; 90s 初期每一年的breakbeat 变化都很大，产生了许多分支，Jungle 就是雷鬼风格强烈的一种，大概从94年开始，可以理解为一种remix手段，当年诸多ragga名曲皆有remix版本，推荐入⻔ Soul Jazz 公司的”Rumble In the Jungle” 和 Sound Murderer 的拼盘”Wired For Sound”； 90s后期，Breakbeat 进入 Drum n Bass/ Big Beat 时代，依然有诸多艺人受到⽛买加音乐的影响，比如 Leftfield， Freestylers； Big Beat也有很多对Old School Hip-Hop致敬的成分，比如Skint和Ninja Tune公司，甚⾄导致一堆老派人重出江湖，比如 Double Dee & Steinski, Mantronix； 00s 初 UK Garage（受纽约的 Garage House 影响）和 2 Step 出现； 而 Grime 的产生其实比较神奇，非常原创，早期场景中最重要的⼈基本都来自 Pay as you go cartel以及Big Apple Records周边，和dubstep基本是平⾏发展的； Dizzee Rascal 的专辑”Boy In Da Corner”(2003) 是我们的最爱！ 法国的雷鬼乐应用其实非常多，从80s末开始的法国说唱就有很多牙买加元素，欧洲的跳舞音乐好多也是雷鬼的节拍； 德国dub techno的开创者Basic Channel是资深雷⻤乐爱好者，他们化名的团体Rhythm&Sound有着最顶级的⾳响，俩⼈还有个公司专⻔再版⽼雷鬼，把Wackies公司介绍给了更多听众； Playlist: Massive Attack - “Blue Lines” T99 - “Anasthasia” Rebel MC - “Street Tuff” Soul II Soul - “Back To Life” Björk - “Crying” Fun ‘Da' Menta - “English Breakfast” Dizzee Rascal - “Fix Up, Look Sharp” Big Red - “Red-Emption” Rhythm & Sound with Jennifer Lara - “Queen In My Empire” CJ Lewis - “R To The A” 老林特意为节目挑选的 Spotify 歌单：

Groupe mythique né dans les années 90. La musique d'Asian Dub Foundation est un mélange de fusion, de jungle, de basse dub de guitare enragée aux couleurs sud asiatique et rap militant ! Ils ont collaboré avec Radio Head , Sinead o Connor ou encore Iggy Pop... A l'occasion de leur nouvel album “ACCES DENIED”...le groupe était de passage à Paris pour un concert exceptionnel à la Cigale, le guitariste et co-fondateur du groupe Steve Chandra Savale a choisi DREAMANDCO pour une interview exclusive juste avant de monter sur scène, et à écouter maintenant … __________________________________________________________________________________________________________________________ Présentation : Sebastien DC Montage : Aurélien Prieto Gardez le contact avec DREAMANDCO sur : Instagram : DREAMANDCO Facebook : www.facebook.com/dreamandco Twitter : twitter.com/dreamandco

Listen to the 91st edition of Free City Radio. On this program we hear from Amélie Nguyen of the Centre international de solidarité ouvrière (CISO) and Mostafa Henaway of the Immigrant Workers Centre, who were speaking at the Cinema Politica screening of the film "Made in Bangladesh" that took place in Dec. 2021 at Concordia University in Tiohti:áke / Montréal. The film is a drama that details the efforts of women in Dhaka, Bangladesh, who are organizing within the context of systemic injustice in the workplace, a textile factory, struggling to have a worker union recognized. Info on the film by Rubaiyat Hossain here : https://www.khonatalkies.com/mib.php In this presentation, Amélie and Mostafa speak about the international nature of the systemic exploitation that textile workers face and the global systems of injustice that many textile corporations sustain, including the Montréal based Lamour and Gilden, who have direct links to exploitation of textile workers in Bangladesh and Haiti. Info on CISO : https://www.ciso.qc.ca Info on the Immigrant Workers Centre : https://iwc-cti.ca Information on Cinema Politica which hosted this conversation here : https://www.cinemapolitica.org This edition includes music by Asian Dub Foundation. Audio recorded by Shengmei Rui. Free City Radio is hosted and produced by Stefan @spirodon Christoff Graphic is from the flag of Bangladesh.

#releaseoftheday - Sentience Machine (UK) Ep. 6 Interviews with The Best Indie Artists and Music Business Professional all over the World. Sentience Machine is rising from the embers of the global pandemic with a defiant new rock sound for the next generation. The band's rebellious and anarchic spirit has been captured in their gritty debut single ‘Black Mirror', reflecting on Orwellian oppression and the violation of our privacy and data. The record received rave reviews from Steve Savale of pioneering UK group Asian Dub Foundation and singer Charlotte Kelly of legendary group Soul II Soul. The London based band have unleashed second single ‘Microscopic Enemy,' which is a powerful and emotive response to lockdown suppression, triggered by the perpetual feeling of imprisonment generated by the new reality we face. Sentience Machine is fronted by UK psychedelic trance DJ and singer Psibindi, guitarist and producer Edward Abela, drummer Jamie Steenbergen, guitarist Ben Turner and bassist Stephen Clift. The band are preparing to return to the stage, ready to unleash an explosion of energy!

Ba'r Poull is a musical radioshow. It programs "live in concert" extracts only. Come to visit our FB page : facebook.com/barpoull

Listen to the Oct 13th broadcast of Free City Radio on @radiockut, featuring an interview with author Timothy Mitchell who wrote Carbon Democracy. Info on the book : https://www.versobooks.com/books/1020-carbon-democracy "How oil undermines democracy, and our ability to address the environmental crisis. Oil is a curse, it is often said, that condemns the countries producing it to an existence defined by war, corruption and enormous inequality. Carbon Democracy tells a more complex story, arguing that no nation escapes the political consequences of our collective dependence on oil. It shapes the body politic both in regions such as the Middle East, which rely upon revenues from oil production, and in the places that have the greatest demand for energy. Timothy Mitchell begins with the history of coal power to tell a radical new story about the rise of democracy. Coal was a source of energy so open to disruption that oligarchies in the West became vulnerable for the first time to mass demands for democracy. In the mid-twentieth century, however, the development of cheap and abundant energy from oil, most notably from the Middle East, offered a means to reduce this vulnerability to democratic pressures. The abundance of oil made it possible for the first time in history to reorganize political life around the management of something now called "the economy" and the promise of its infinite growth. The politics of the West became dependent on an undemocratic Middle East. In the twenty-first century, the oil-based forms of modern democratic politics have become unsustainable. Foreign intervention and military rule are faltering in the Middle East, while governments everywhere appear incapable of addressing the crises that threaten to end the age of carbon democracy—the disappearance of cheap energy and the carbon-fuelled collapse of the ecological order. In making the production of energy the central force shaping the democratic age, Carbon Democracy rethinks the history of energy, the politics of nature, the theory of democracy, and the place of the Middle East in our common world." Music on this edition by Roots Manuva and Asian Dub Foundation. Free City Radio is edited by Stefan @spirodon Christoff

En 2003, la Mafia k1 Fry sort son premier album collectif : La Cerise sur Le Ghetto. Tout le monde est là : Manu Key, le 113, Intouchable, Rohff, Teddy Corona. Même Kery James a fait le déplacement. Seul manque à l'appel DJ Mehdi. Dans le DVD qui accompagne l'album, le fameux Si Tu Roules avec la Mafia il s'en explique un peu : Après ça, la Mafia k1 fry se moque gentiment de lui, et de ses sons trop rock'n'roll. Mais c'est comme ça : l'énergie créative qui lui reste, Mehdi a envie de la mettre ailleurs. Il veut écrire sa vie avec une autre bande-originale et une autre bande de potes, qui sont les gars d'Ed Banger ou de Kourtrajmé. Entre eux, ils s'appellent entre eux les PDK (Professionnels du Kiff) et les PDV (Professionnels du Voyage) - et ils n'ont pas tort. Pour lui, les choses bougent vite au début des années 2000 : il bosse avec Keziah Jones, Matthieu Chedid, Asian Dub Foundation, il collabore avec Desplechin sur la bande-originale de Rois et Reines, compose celle de Sheitan, Taxi 3, Mégalopolis, il traîne avec la clique de Kourtrajmé. Et c'est grâce à un autre CD/DVD, qui sort 2 ans après celui de la Mafia k1 fry, qu'on peut mesurer la distance qu'il a parcouru. C'est l'époque ‘Des friandises pour ta bouche' : une bande-son qu'il compose par pur plaisir, sans ambition commerciale, artistique, acoustique. Juste, Mehdi essaie de partager la musique qu'il a dans sa tête, et l'esthétique de Kourtrajmé ressemble davantage à sa vie.Et puis en 2006 - il sort un deuxième album en son nom. Cette fois il ne se considère plus comme un espion mais comme un type qui a eu une chance folle d'en arriver là. “Lucky Boy” : c'est le nom de ce disque dont la pochette, iconique, est dessinée par So-Me. Pendant 45 minutes, DJ Mehdi se présente tel qu'il est. Inclassable. On entend de la funk, des nappes digitales. Et quand les gens lui demandent comment il qualifierait ce disque, il l'affirme. C'est un disque de hip-hop, un disque de breakdance. Parce que, dit-il, le hip hop des années 2000 c'est ça, c'est un son nouveau. D'ailleurs, Booba ne s'y trompera pas en lui demandant de faire l'instru de ‘Couleur Ebène' en 2006. Et c'est grâce à cette vision, cette modernité qu'on entendait peu en France à l'époque que DJ Mehdi va s'imposer aussi à l'internationale. Mais ça, c'est une autre histoire, qu'on vous raconte au prochain épisode. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Una notte di beat globalisti con gli Asian Dub Foundation e i Transglobal Underground, gruppi storici della scena britannica tornati alla ribalta con due bei lavori tanto critici verso la realtà del presente quanto festosi e trascinanti

Founder of the Dhol Foundation, Johnny Kalsi has played with Transglobal Underground, Afro Celt Sound System, Asian Dub Foundation and many many more. We chat to him about festivals, touring, and THE UNIVERSE...

This episode we're joined by the comedian Stewart Lee who is asking you to reimagine Willie of Winsbury, an odd tale of illicit love, a pansexual ghost, and denunciation of property rights. Stewart unpicks some of the rich symbolism at the heart of this beguiling popular folk song and we explore how one man's accident in the mid-20th century may (or may not) have come to dominate the song's recent history of interpretation. Check out Stewart's documentary King Rocker here. Watch Stewart's chart topping track ‘Coming Over Here' with Asian Dub Foundation here. /// TAKE PART /// Charts: example score, chords & lyrics (.pdf) Playlist: Spotify playlist for existing versions of Willie O' Winsbury Find a quick guide on how to submit here. Stewart will be back again to listen to your takes in the second part of this episode released Monday 17 May. Remember to get your takes to us by Monday 10 May to feature! Drop us a message if you have any questions. /// COMMUNITY /// If you're interested in getting deeper into the conversation, come and join our group on Facebook. There's been some amazing chats over the last month with people sharing demos, feedback and ideas. /// MUSIC CREDITS /// 6:27 - Coming Over Here - Asian Dub Foundation 11:09 - Prayer for a Saint - Ustad Saami 18:55 - Willie O' Winsbury - Dick Gaughan 21:55 - Willie O' Winsbury - Anais Mitchell & Jefferson Hamer 24:27 - Willie O' Winsbury - Dick Gaughan 30:41 - Willie O' Winsbury - Anne Briggs 33:38 - Willie O' Winsbury - Sweeney's Men 38:17 - Lord Thomas of Winesbury and the King's Daughter - Barbara Dickson 40:33 - Willie O' Winsbury - Offa Rex 45:00 - Polly on the Shore - Stewart Lee and Stuart Estell   Facebook Instagram Twitter   Latest news and more at oldtunesfreshtakes.com   Hosted by @jacktherobot and @hevelwood

Listen to the 34th edition of Free City Radio. A conversation with community activist May Chiu, from Chinois progressistes du Québec, recorded today on the major protest that took place this past week to demonstrate against systemic racism and specifically to protest anti Asian racism in Québec and beyond. Also an interview recorded this morning with Nandini Sundar a professor of sociology at the Delhi School of Economics, who breaks down the political shift taking place in India under the Bharatiya Janata Party (BJP) right now. Nandini speaks about the political context leading-up to the current farmers movement and also the corporatist drive taking place to turn communal farmers land specifically in the Punjab region into corporate oriented agricultural territories, which has sparked mass and ongoing protests. Nandini draws a line between the BJP policy surrounding agriculture to a wave of right wing nationalist policies in India under the BJP, including the repression of civil rights in Kashmir, also the so-called "citizenship law" which works targets the rights of Muslims with precarious citizenship status. I recorded this interview after hearing about Nandini's work through India Civil Watch International. Music in this show by Anarchist Mountains Trio (with @pjs11 + @spirodon + @thenewobjective) via @amekcollective and Asian Dub Foundation.

En el viaje de vuelta del canciones encadenadas que empezamos el martes tomamos un camino distinto para conectar la música de Amaral con la de los londinenses Asian Dub Foundation. Por nuestra pletina pasan invitados como Mercedes Sosa, con quien reivindicamos la cultura en tiempos de pandemia, también La Pegatina, Rozalén, Fetén Fetén o Julieta Venegas. Especial mención merece Ana Tijoux, que nos sirve para tomar el pulso de la situación política, social y musical de Chile. Ella nos conecta directamente con ADF y terminamos profundizando en Access Denied, el disco que ha puesto a los británicos de nuevo en boca de expertos. No te lo puedes perder.

Recuperamos el formato canciones encadenadas en 2021 con dos nombres que jamás pensaríamos que podemos conectar. Pero una vez más demostramos la interconectividad y transversalidad de la música a través de colaboraciones, remezclas, versiones y puentes que nos ayudan a justificar propuestas como la que os hacemos esta semana. El punto de partida es la presentación de "Access Denied", el noveno disco de Asian DubFoundation que, como siempre, nos brinda una interesante dosis de dub, punk rock, electrónica y sonidos asiáticos, además de mucho y muy interesante mensaje en sus letras. El viaje de hoy nos llevará por Sinead O'Connor, Boy George, Linton Kwesi Johnson y Moby hasta desembocar en Amaral.

Episodio con chicha... ¡y con chiles, porque se incorpora Danny Trejo! Él viene, se va la señora mayor que pintaba cuadros y descubrimos, por fin, al salido del ladrón de braguitas. Con Jose Ceballos y XeviPanda Edita: Jose Ceballos Música: Brian Retzell, Bell Biv Devoe, Savvun, Trevor Morris, Asian Dub Foundation, Yeghshe Manukyan y Andrew Lockington Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Playlist: Arturo Sandoval - guachi guaroFontella Bass - Talking about FreedomGrand Master Flash & The Furious 5 - The MessageThe Isley Brothers - It's your thingCurtis Mayfield - We the peopleJordan John - Coconut BridgeFive Alarm Funk - Chaos is a ladderOld School Funky Family - Cupid's FunkDIANA ROSS & THE SUPREMES - Automatically SunshineThe Lionyls - FeverGorillaz - Feel Good IncThe Allergies - FelonyTHE GLADIATORS - Soul RebelBURNING SPEAR - Slavery DaysGrand Analog - Everyday AlwaysThe Specials - Embarrasses by youDianna Ross - My MistakeThe Lovers Key - Saturday NightHeartstreets - I wanna danceDear Friend - Who'd ya write aboutThe Grooveliner - Come to meBootsy Collins - Bootsy off BroadwayAsian Dub Foundation, Asian Dub Foundation - 1000 MirrorsJamilla Woods - Sun RaSara Diamond - Glass of whiskyBadge Époque Ensemble - Unity

1. Earth Mother Fucker – I Fuck Therefore I Am (Live at the Smokehouse)2. Alien – Follow the Trail of Dead Bodies3. Danielle Dax – Hammerheads 4. Asian Dub Foundation feat. Stewart Lee – Comin’ Over Here (Nothing But Fins edit)5. Big Thief – Shark Smile6. Divide and Dissolve – Denial 7. Tom Waits – Starving in the Belly of a Whale8. Cinder Well – No Summer9. Yeah Yeah Noh – Let’s Start a War (John Callaghan remix)

Listen to the 25th edition of Free City Radio. On this edition we start with Daria Ivanochko, who is a representative from the Canadian Union of Public Employees (CUPE) speaking on the importance of union power within the context of the pandemic. A look at the ways that this global health crisis has reoriented popular thinking about the rights of essential workers and how to build on that. Info on CUPE: https://cupe.ca Also we go to Detroit and hear from community activist Bianca García on the efforts of community activists to mobilize against Trump. Bianca speaks about the complexities around the importance of the community networks who stepped up in the Detroit area to vote against fascism and Trump. Bianca works with La Casa Guadalupana in Detroit. https://lcgdetroit.org Finally we hear from author Nandita Sharma who recently published "Home Rule: National Sovereignty and the Separation of Natives and Migrants" via Duke University Press. Nandita offers a critical take on nationalisms and the importance of deconstructing the layered relationship between political conceptions of borders and colonial orientations toward the earth and cultures. Info: https://www.dukeupress.edu/home-rule Music on this edition by Asian Dub Foundation, Galya Bisengalieva and Rosalía. Free City Radio is hosted by Stefan @spirodon Christoff and is also a community radio show that broadcasts on Wednesdays at 11h on @radiockut in Montréal.

"Diljit Dosanjh support of the farmers movement deserves a dedicated Bhangra set with some of DJ Rekha’s favorites from his repertoire. Plus, new tunes from Talal Quereshi, Asian Dub Foundation, and a revisit of a poignant track from Riz Ahmed. Jatt Fire Karda - Diljit Dosanjh LSD - Talal Qureshi, Shamsher Rana 00:00 - Intro 01:44 - Bachaa - Diljit Dosanjh 04:51 - Kharku - Diljit Dosanjh 08:34 - Shoulder - Diljit Dosanjh 11:12 - Jatt Fire Karda - Diljit Dosanjh 13:39 - Veer Vaar - Diljit Dosanjh 15:56 - 5 Taara - Diljit Dosanjh 18:51 - El Sueño - Diljit Dosanjh, Tru-Skool 23:36 - Big Scene - Diljit Dosanjh 26:02 - Proper Patola - Diljit Dosanjh, Badshah 28:29 - This Singh is So Stylish - Diljit Dosanjh 34:51 - Ki Banu Duniya Da - Diljit Dosanjh, Gurdas Mann 41:51 - Mic Break 44:22 - LSD - Talal Qureshi, Shamsher Rana 48:02 - Aag - Talal Quereshi, Naseebo Lal 51:41 - Coming Over Here - Asian Dub Foundation 54:50 - Once Kings - Riz Ahmed 58:30 - Outro 59:17 - Finish "

La última canción del año en el programa es el tema que sale mañana en el que Los Planetas enarbolan la bandera contra la propaganda, la incompetencia y el conformismo y que tiene portada llamativa de Aramburu. Llega después de su versión de El mató a un Policía Motorizado y más atrás de aquella "Nueva normalidad". No fue el único viaje a Granada porque antes nos quedamos con otra de las muestras que irán soltando con cuentagotas David y María bajo el nombre de No Sé a Quién Matar antes de que llegue su álbum después de la primavera. Si hablamos de listas y nos vamos a UK hasta 43 diferentes álbumes han ocupado el número 1 por encima de los 32 del año pasado y los 19 de 2018. Apenas en 2015 la cifra fue de 39. Y ese último puesto de honor lo ha ocupado Paul McCartney con su cierre de trilogía. A la par la venta de vinilos ha crecido tanto que se puede equiparar a los dorados tiempos de apogeo del brit pop con nombres como el de Oasis. Y siguiendo con las listas Asian Dub Foundation con el comediante Stewart Lee de refuerzo quieren llegar al número 1 con su proclama anti-Brexit justo ahora que es el momento histórico. Noticia del día es que Chvrches nos dan pistas del sonido de su próximo disco y citan por un lado a Cure, Depeche Mode y Brian Eno y por otro a Billie Eilish. Novedades foráneas son el cuarto single de Oldfield Youth Club del que el otro día escuchábamos la otra cara, el Ep de canciones clásicas de Julia Stone en el que vuelve al sonido folk pop de otrora junto a Angus, el "Are you listening?" de Saskia Griffiths Moore que no pudo venir a presentar en abril y la aventura de Rita Csany al frente de The Anahit. Novedad de aquí es el nuevo grupo (Pagano) después de Los Navegantes de Antonio Fidel, músico de apoyo de Los Burros o El Último de la Fila. Recordamos a Armando Manzanero con la lectura de dos de sus temas más clásicos en la interpretación de Three Degrees y Dionne Warwick. Escuchar audio

So important. So funny...

Beastie Boys - Cats On Trees - Mr. Scruff - Asian Dub Foundation - uèi - San Salvador - SKIP&DIE - Flowering Inferno & Quantic T'as passé la semaine à trimer à côté de la photocopieuse au boulot ou à l'agence dite du boulot ? T'es bloqué dans les bouchons de ta rocade préférée ? Le coin du Périf enchantant et ses Playlists guillerettes vont essayer de te faire passer un bon moment même si tu roules au pas. Courage !

Hello les amis! Un joli podcast de noyel pour animer votre réveillon déconfiné. Une émission pleine de blagues et de bon son, animée par les soins de Marion, Nicks, Bruno & Flo.

Hello les amis! Un joli podcast de noyel pour animer votre réveillon déconfiné. Une émission pleine de blagues et de bon son, animée par les soins de Marion, Nicks, Bruno & Flo.

Welcome to another episode of Back to BritPop, Steven Chandra Savale of Asian Dub Foundation and I manage to avoid talking about BritPop altogether!Its a real fascinating insight into the founding years of ADF, Stevens first forays into writing and recording music and the latest accidental Brexit number one plans with new single 'Coming over here' which features Stewart Lee. Visit the web sight to get the details of how you can download and support the cause!asiandubfoundation.com If you want to support the podcast financially, you can buy me a virtual coffee via the link below (£3)Buy me a coffee on ko-fiMy other podcast - The Movie Bunker website is below;moviebunkerpodcast.comThank you for listening and don't forget to follow me on the socials!TwitterFacebookInsta

Une très belle 400 ème émission, où la bamboche et l'éclectisme musical sont de mise pendant près de 3H. Avec Marion, Pépère, Nico L, Bruno & Flo.

Une très belle 400 ème émission, où la bamboche et l'éclectisme musical sont de mise pendant près de 3H. Avec Marion, Pépère, Nico L, Bruno & Flo.

John Pandit of the Asian Dub foundation came by the Boxout.fm HQ for an informal chat with DJ Mocity for the latest episode of Fresh Out The Box where they discuss about the band's journey and sound.

“From Genesis to Revelation. Here I come. Here I come to dub the nation!” ― Lee "Scratch" Perry C'est sur cette citation d'un grand nom du Dub, que l'on vous confie cette émission consacrée à ce style musical... qui en a influencé tant d'autres... avec, King Tubby, Mad Professor, Lee "Scratch" Perry, Zion Train, Asian Dub Foundation, Adrian Sherwood... Stay Tuned

Una notte di beat globalisti con gli Asian Dub Foundation e i Transglobal Underground, gruppi storici della scena britannica tornati alla ribalta

Notícias do mundo da música debatidas por quem escreve e fala sobre música e cultura. O Papo é Pop é um programa da Rádio Planet Rock. Apresentação: Bruno Eduardo, Carlos Eduardo Lima e Marcos Bragatto O Papo é Pop na Rádio Planet Rock: Toda terça-feira às 19h O Papo é Pop nas plataformas de streaming: Quarta-feira, 12h. Apoie o nosso programa: www.apoia.se/opapoepop --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Parece mentira con la que estamos pasando, todos en general y la industria de la música y del espectáculo en particular, y que siga saliendo tanta cantidad y tanta calidad de buena música. Y aquí, en De Música Ligera, estamos para darte buena cuenta de ello. Esta semana te traemos el último adelanto del nuevo (y primer) disco de Ginebras, que sale mañana al mercado; los más recientes temas de Kitai, Matt Bellamy, Nawja Nimri y Bruna; te presentamos también los últimos trabajos de Grises, Fleet Foxes y Asian Dub Foundation; el primer avance del segundo disco de Delaporte; descubrimos a Los Manises y acabamos bailándonoslo todo con una remezcla de David Kano de un temaquer de El Columpio Asesino. Y ¿sabes lo mejor? Que la semana que viene habrá más. Gózatelo.

Une playlist riche et variée, comme il faut pour vous détendre les esgourdes et tout le reste d'ailleurs...

Tonight DJ Baagi returns to host a show on Beats of Resistance and Solidarity from the Asian and Pacific Islander communities worldwide. This episode features Omar Offendum, Shadia Mansour and more artists from Syria, Palestine and Afghanistan rapping about the political impact of war on their communities, and of gender oppression within their communities. And for the new fascist time we are living in, she'll be going back for more DrumNbass and Jungle beats from the UK-Based South Asian, anti-racist group Asian Dub Foundation. And special guest Sharif Zakout from the Arab Resource and Organizing Center joins us! Community Calendar Several SF Chinatown community organizations and activists are sponsoring “Light Up the Night From Charlottesville to Chinatown: No Hate,” a candlelight vigil and program in the memory of slain activist Heather Heyer.  The event will be held on Friday, Aug. 25 from 6:30 pm to 8:30 pm at the Chinese Culture Center, 750 Kearny St., San Francisco. This event occurs the night before the “Patriot's Prayer” and will send a message that Chinese Americans and Asian Americans reject the hatred and fear being sown by the white supremacists. The candlelight vigil in honor of Heather Heyer will begin at 8 pm on the pedestrian bridge between the Chinese Culture Center and Portsmouth Square Park. For more information, visit www.nomoreexclusion.org. Also on Friday, Brick and Mortar features The Kominas and SETI X starting at 8 p.m. The post APEX Express – Beats of Resistance and Solidarity appeared first on KPFA.

60 Minutes of relax with Music On The Air, another week of good vibes with French D.J. From Dublin www.musicontheair.com