Monday, May 17, 2010

Works Cited (for Aloha Azucar Agogho Afro America)

Works Cited

Abreu, Christina. "Celebrity, crossover, and cubanidad: Celia Cruz as 'La reina de salsa,' 1971-2003." Latin American music review/Revista de música latinoamericana 28.1. 2007.
Bible Study Tools. Revelation 3:6. 16 May 2010 .
Contreras, Felix. "Celia Cruz: Her Life and Music." 21 May 2005. NPR Music. 13 April 2010 .
CUBANOCAST. Cuando Sali de Cuba Guillermo Portabales. 27 March 2007. 29 April 2010 .
Far Side Music. The History of Japanese Music. 5 May 2010 .
King, John. Nalu Music. 2007. 20 April 2010 .
National Geographic Music. Afrobeat Music. 16 May 2010 .
Nneka. NnekaWorld. 2010. 20 April 2010 .
Paoletta, Michael. "Gilberto Hits The Right 'Tempo'." Billboard 27 January 2001: 12.
Polynesian Voyaging Society. Cultural Exchanges. 5 May 2010 .
Scaruffi, Piero. Deee-Lite. 1999. 20 April 2010 .
The Independent: Music. "Bebel Gilberto: She can blame it on the bossa nova." The Independent 25 July 2003.
Towa Tei. Biz. 2010. 20 April 2010 .
Wikipedia. Batucada. 13 May 2010. 14 May 2010 .

Nneka: Africans (2010)

“Africans”
Composer: Nneka
Performed by Nneka, c. 2010

Nigerian recording artist Nneka (nee Nneka Egbuna) may be a newcomer to the music scene in the United States, but it’s been a long road to obtaining the coveted record label—10,000 miles, to be exact (Nneka).
Nneka’s third album, “Concrete Jungle,” compiles the best songs of her first two albums (Nneka).

When I heard that Nneka’s musical style has been compared to icons like Bob Marley, Lauren Hill and her fellow countryman Fela Kuti, I was very skeptical.  All three of the aforementioned artists devoted their songs to self-expression as well as activism.  Reggae legend Bob Marley sang for freedom in simple songs like “Redemption Song,” as well as romantic tunes like, “Is This Love?”  Lauren Hill was the “It girl” of the late 1990s, rapping with her quick wit and singing with a soulful rasp that expressed joy, pain, and passion.  Hill’s music empowered women with songs like, “Doo Wop (That Thing)” and revealed her tender side with songs like “Zion,” a heartfelt tribute to the experience of having her first child bearing that name.

No Nigerian artist has made an indelible mark on music like Fela Kuti. Kuti pioneered Afrobeat, which combined Yoruban music with jazz and funk.  His lyrics had the audacity to poke fun and criticize the military dictatorship running Nigeria in the 1970s (National Geographic Music).

Believe the Hype
Nneka is well worth the hype.  Her music infuses influences of both Bob Marley and Fela Kuti, but her courage, vision, and sound are all her own.  She manages to voice the generation of youth with the wisdom of her predecessors.  Her sound may be innovative, but it is a far cry from “overproduced” pop ubiquitously heard on the radio today.

Even her visual image is an authentic expression.  She wraps her natural afro in scarves and kerchiefs, where other songstresses would have wigs and weaves.  In the “Africans” music video, Nneka’s face is clean and pure--devoid of makeup.  In a visually-obsessed United States, will she have the makings of a star?
Other American stars think so.  Nneka’s authenticity and raw talent gained the attention of Lenny Kravitz and Lauren Hill.  According to Nneka’s website, both heard her and said, “I want this girl opening my show!”

Delivering the Message of “Africans”
This song starts like a folk song with one guitar like a local singer-songwriter at a lonely coffee shop.  Then suddenly, the reggae rhythm emerges.  Nneka’s voice enters softly, with a recognizable Nigerian accent that offers an authenticity; often foreign artists mask their accents to sound American. 
Nneka’s voice grows in intensity towards the chorus, where she pleads to her listeners to “wake up and stop sleeping.” Her voice is gentle, yet the words are powerful.  The softness of her voice draws you in for the message.

She urges Africans to stop blaming “colonial fathers.” It is clear that the intention of the message is to extend to Africans all over the world, no matter if they are on the continent of Africa or North America.  “Those who have ears let them hear,” Nneka quotes Revelations 3:6 in the final verse, literally preaching to the world (Bible Study Tools). 

Nneka is a breath of fresh air.  When she preaches, it is delightful to listen to hear message.  As the quote would suggest, she may not reach the pop diva status of Beyonce, but those who have the ears will hear the talent that she wields under her flourishing afro.


“Africans”
Music and Lyrics by Nneka

You keep pushing the blame on our colonial fathers,
You say they came and they took all we had possessed,
They have to take the abuse that they have caused our present state with their intruding history,
Use our goodness and nourishment in the name of missionary,
Lied to us, blinded slaved us, misplaced us, strengthen us, hardened us then
they replaced us now we got to learn from pain
Now it is up to us to gain some recognition
If we stop blaming we could get a better condition

Chorus:
Wake up world,
Wake up and stop sleeping,
Wake up Africa,
Wake up and stop blaming,
Open your eyes,
Stand up and rise,
Road block oh life penalty

Why do we want to remain where we started,
And how long do we want to stop ourselves from thinking,
We should learn from experience that what we are here for this existence,
But now we decide to use the same hatred to oppress our own brothers,
It is so comfortable to say racism is the cause,
but this time it is the same colour chasing and biting us,
Knowledge and selfishness that they gave to us,
This is what we use to abuse us 
[Repeat chorus]
Those who have ears let them hear,
Brothers who are not brainwashed take ruins and rest,
Pick them up and stick them back together,
This is the only way we can change this African weather,
Lied to us, blinded slaved us, misplaced us, 
Strengthen us, hardened us then,
They replaced us now we got to learn from pain,

[Repeat chorus]
You got to wake up please,
You got to,
(Wake up Africa wake up and stop blaming)
Blaming ha ha ha,
Open your eyes--your eyes,
Stand up and rise,
Road block oh life penalty
[Repeat chorus] 

Batucada: Towa Tei featuring Bebel Gilberto (1996)

"Batucada"
Composer: Towa Tei, 1996
Performed by Bebel Gilberto, c. 1996

“Batucada” released in 1996 by Towa Tei featuring Bebel Gilberto draws from the tribal ceremonies of Angola to the beaches of Brazil to the night clubs of Tokyo and Los Angeles.  This upbeat, danceable track is alluring enough to convince a musical skeptic that electronic music can have soul. 
Japanese art student-turned-deejay Towa Tei debuted as a member of “Deee-Lite” in  1990 with hits like “Groove is in the Heart” (Scaruffi).  As a solo artist, Tei redefined lounge music to include samples of world music as well as guest artists featured in many of the tracks.  Turntablists like Tei have the luxury of extrapolating any sound known to a recorder and juxtaposing it to another without having to learn to play any instrument.

Gilberto supplies her seductive, yet languid “come hither” voice to the multi-layered rhythm that Towa Tei provides. As daughter of legendary bossa nova artist João Gilberto and singer Miúcha, her contribution to the song adds an integrity that no one else could bring.  Gilberto describes singing in English, “it's just the sexiest, like wearing high heels" (The Independent: Music). However being in high heels isn’t her most comfortable way to be.  Gilberto shies away from being called the "queen of contemporary bossa nova." "That's too pretentious,” she says.  “I am flattered, though, when people say I brought something new to bossa nova” (Paoletta).

International Appeal
In the late 1950s, Brazilian artists such as Antonio Carlos Jobim ushered in a new era called the bossa nova.  This music that sprung from the beautiful beaches of Ipanema and Copacabana fused jazz harmonies with a smoother, often slower samba beat.  The first bossa nova records by João Gilberto quickly became huge hits in Brazil. Bossa nova was introduced to the rest of the world by American jazz musicians in the early 1960s, and songs like "The Girl from Ipanema", which remains the biggest Brazilian international hit, eventually became jazz standards.

Origins of Batucada
Batucada is a substyle of samba and refers to an African influenced Brazilian percussive style, usually performed by an ensemble, known as a Batería. It is considered by some to be the epitome of the percussive ensemble. Batucada is characterized by its repetitive style and fast pace (Wikipedia).

Kaleidoscope of Sound
Traditionally a batucada would include a wide variety of instruments such as a repinique, a high-pitched tom-tom (whose player is traditionally the leader of the ensemble), a surdo, (a large drum providing downbeat, the bass downbeat of the rhythm), a tamborim, (a small drum), bells (agogô, bongo, and cowbell,) shakers (ganzáafuche, and maracas) of various types, caixa (a thin snare drum), cuica (a single headed drum with a stick mounted inside the drum body), a timba (a long drum that is used to produce low tones,) pandeiro (similar to a tambourine,) a reco-reco (known in Spanish as the guiro), and an apito, (a small wooden whistle).
However in Tei’s rendition on a batucada, he utilizes samples of these instruments to create a synthesized version of the celebratory sounds and voices.  Music critic Piero Scaruffi  called Tei’s “Batucada”  an effervescent, deconstructed Brazilian pop.  Scaruffi brilliantly pointed out, “The feeling is joyous, but only on the surface: a sudden pause, a distortion, a solo are enough to cast a sinister shadow on the game” (Scaruffi).  The “sinister shadows” are a result of the echoing and reverberating sounds that only a studio can create.


Batucada
Composer: Towa Tei, 1996
Performed by Bebel Gilberto, c. 1996


Batucada is free
It's the voodoo in me
And the rhythm you hear
Will make you dance

Batucada is strong
And it won't make you wrong
Till you're lost in the song
And in the dance

Tonight I'm gonna sing and dance
Be wild and free
And light a candle
For the goddess of the sea

Batucada is on
Batucada come on
Watch the dance and the down
Fall in the sea 
Batucada, batucada...
Batucada, batucada...
Tonight I'm gonna sing and dance
Be wild and free
And light a candle
For the goddess of the sea

Batucada is on
Batucada come on
Watch the dance and the down
Fall in the sea

Batucada, batucada...
Batucada, batucada...

A Batucada vem surgindo 
E vem com o vento, ficou 

Batucada, batucada...
Batucada, batucada... 


Celia Cruz: Cuando Sali de Cuba (1966)

“Cuando Sali De Cuba” (When I Left Cuba)
Composer: Luis Aguilé, 1963
Performed by Celia Cruz, c. 1966

 “Cuando Sali De Cuba” may be described by some as a “flowery, melancholy style that Latinos find irresistible”, but serves as the U.S. American experience of Cuban refugees like Celia Cruz in the 1960s (CUBANOCAST).  The beauty of this song makes it a universal appeal for many Latin American immigrants, not just those from Cuba.
Even recording artist (and Cuban refugee) Gloria Estefan performed the song as a little girl and lamented, “Every night I say a silent prayer that someday I might go back to the land I love.”

Analysis of the Lyrics
Like a country-western song, the bittersweet refrain of “Cuando Sali De Cuba” shares the pain and anguish of having a loved one miles away.  “I could never die, I don't have my heart here, Somebody is waiting for me, Waiting for me to come back here.”

When Celia Cruz Left Cuba
Celia Cruz’s true life story arguably embodies this song the most.  When Cruz left Cuba in 1960, she believed that she would return.  She then decided to settle in the United States.  Sadly, when her mother died two years later, the Castro government would not allow her to return for the funeral (Contreras).
Unable to return to Cuba, she pursued her music career in New York City.  There she faced audiences that dismissed her as irrelevant to their current musical and cultural preferences (Abreu). The boom in ethnic pride of the 1970s, though, allowed Celia to emerge as the only female superstar of salsa, the "new" sound of Latin music, providing a heroine for young Latina-Americans (as well as the rest of the Latin countries of the world.)

The Queen of Salsa
Sharing her spirit is what Cruz does best.  Usually, her music is an uplifting and inspiring celebration of Cuban culture.  Cruz reigned as “The Queen of Salsa” for six decades; her music still on frequent rotation at any salsa club.
Cruz explained that salsa "is just a marketing term applied to what originally was Cuban music.  Since this type of music was being played by musicians of all nationalities in the United States, it started to evolve with its own 'flavor.' Maybe that's why the term "salsa" ('saucy') stuck" (Abreu).
Her life and colorful career were even featured in a retrospective exhibit at the National Museum of American History in Washington, D.C. called "Azucar, the Life and Music of Celia Cruz" (Contreras).
Her signature song, “Guantanamera,” would be the upbeat counterpart to “Cuando Sali De Cuba.” It’s a love song about a sassy Cuban girl, but is the country’s most noted patriotic song.

Latina Pride
Anyone who has heard a salsa song by Cruz, knows that she is known to exclaim, “Azucar!” which literally means "sugar."  However as the curator of Latino history at the museum Marvette Perez notes, it served Cruz as a "battle cry" and an allusion to African slaves who worked Cuba's sugar plantations (Contreras).
The “ethnic pride boom” of the 1970s was because between 1960 and 1980, the number of Latinos/as in New York City nearly doubled itself, growing from 757, 231 to just over 1.4 million. Immigrants from the Caribbean, specifically the islands of Cuba, Puerto Rico, and the Dominican Republic, made up close to 75 percent of that total population (Abreu 2).
Businesses began to take notice of the population growth and began to accommodate the demand, visibly through an increase in the number of Latino/a restaurants, nightclubs, clothing and craft stores, and cultural centers clustered throughout the city
In the 2008 documentary “Celia the Queen,” Cruz is regaled by other Cuban American artists such as Gloria Estefan and Andy Garcia, who says, “Celia is breath to us; she is oxygen.”  Her appearances on Sesame Street showed the United States that her appeal goes beyond Latin Americans.  At her funeral, her life was celebrated as someone who brought people together and left a legacy that will not soon be forgotten.

“Cuando Sali De Cuba”
Music and lyrics by Luis Aguilé


Nunca podre morirme,
Mi corazon no lo tengo aqui  
Alguien me esta esperando                                    
Me esta aguardando que vuelva aqui

Cuando sali de Cuba,
Deje mi vida deje mi amor
Cuando sali de Cuba,  
Deje enterrado mi corazon.
Late y sigue latiendo
Porque la tierra vida le da,
Pero llegaraun dia
En que mi mano te alcanzara

Cuando sali de Cuba
Una triste tormenta
Te esta azotando sin descansar
Pero el sol de tus hijos
Pronto la calma te hara alcanzar

Cuando sali de Cuba
Cuando sali de Cuba
Deje enterrado mi corazon,
Mi corazon, mi corazon.


Translation:


I could never die,
I don't have my heart here
Somebody is waiting for me Waiting for me to come back here

When I left Cuba,
I left my life, I left my love,
When I left Cuba,
I left my heart buried there
It beats and keeps beating
Because the soil gives him life But there will come a day
When my hand will reach you

When I left Cuba, A sad storm is hitting you It's ravaging you without rest But the sun from your children
Will make you reach peace
 
When I left Cuba,
When I left Cuba,
I left my heart buried there
My heart, my heart...  

Queen Lili'uokalani: Aloha 'Oe (1878)

 “Aloha ‘Oe” (Fond Farewell)
Composer: Queen Lili'uokalani, 1878
Performed by Hawaiian Quintet, c. 1913

With haunting vocals and the unmistakable lull of the ukulele, “Aloha ‘Oe” can be immediately recognized by any kama’aina, or any native Hawaiian.  As a bittersweet leitmotif, this song has captured the spirit of the Hawaiian culture and has been used in many films, radio and television commercials to signify the beauty and passion of the Hawaiian Islands.

The Spirit of Aloha
 Hearing this song always conjures up the “spirit of aloha”, which may mean love, affection, compassion, mercy, sympathy, pity, kindness or grace. Aloha is also a common greeting and expression of farewell.  In this case, “Aloha ‘Oe” means “Farewell to Thee.”
The idea of aloha is so important in Hawaii that the “Aloha Spirit” is even part of State law. The statute reads in part:  “Aloha Spirit is the coordination of mind and heart within each person. It brings each person to the self.”

History of the Song
The last reigning monarch of Hawaiian Islands, Queen Lydia Lili'uokalani wrote “Aloha ‘Oe” in the late 1870s when she was still “Princess Lili'uokalani”. Although she categorized it as a love song, it is considered by most a song of farewell, due to its recurrent lyric theme.“Aloha ‘Oe” may have been performed on the Mainland as early as 1883, by Berger and the RHB at the Triennial Conclave of the Knights Templar (King). The song was first published by the Pacific Music Company in San Francisco the following year.

Analysis of the Lyrics
The song’s lyrics celebrate the beauty of Hawaii’s tropical locale.  From the “rain by the cliffs” to the “`ahihi lehua of the vale,” the images are as distinctive as the “purple mountain majesties” that Katharine Lee Bates wrote in “America the Beautiful.”
The best way to translate lyrics is to experience the song through a hula performance.  With such a slow and melancholy feel, one wouldn’t normally imagine dancing to accompany this song.  However when a hula dancer performs to “Aloha ‘Oe,” it is their job to use their body to interpret and illustrate the beauty and passion the song (also known as a mele.)  The dancer brings the song to life sways her arms to signify the “rain by the cliffs” and “gliding through the trees.” But the most heartwarming aspect of the hula interpretation is “A fond embrace… until we meet again,” the dancer’s hands move from their hearts towards the audience as an offering of love.

International Appeal of “Aloha”
For such a tiny cluster of islands in the center of the Pacific Ocean, Hawaii has made a huge impact on the United States.  From the ceremonial leis donned at graduations to luau themed parties, Hawaiian culture has delighted and enchanted people of all ages.
Although music and dance has always been a part of Hawaiians’  spiritual expression, the music became highly sought-after by mainstream audiences outside of Hawaii from 1915 to 1930.
Hawaiian music too has always been popular in Japan. Japanese emigration to Hawaii began in 1885, and by 1922 Japanese (Nisei) Hawaiians, the Haida Brothers returned to Japan as the country’s first Hawaiian band. During the 1920s and 30s Hawaiian music reached a peak in popularity, with first generation Hawaiians regular visitors (Far Side Music).
Japanese people have enjoyed vacationing in Hawaii so much that their radio stations that feature Hawaiian music thrive (Polynesian Voyaging Society).  Hawaiian music provides the hardworking people tropical escape any time of the day. It’s no wonder that it continues to be popular worldwide!
The music of Hawaii may have evolved from Queen Lili'uokalani’s time, but the passion and Spirit of Aloha remains every time “Aloha ‘Oe” is sung at a luau, used in a video clip, or played on the radio.




Aloha ‘Oe
C:\Users\John\AppData\Local\Microsoft\Windows\Temporary Internet Files\Content.IE5\DNR67D9E\MP900362693[1].jpg

C:\Users\John\AppData\Local\Microsoft\Windows\Temporary Internet Files\Content.IE5\DNR67D9E\MP900362693[1].jpg Words and lyrics by Queen Lili`uokalani
Ha`aheo ka ua i nâ pali 
Ke nihi a`ela i ka nahele 
E hahai (uhai) ana paha i ka liko 
Pua `âhihi lehua o uka


Hui:  
Aloha `oe, aloha `oe 
E ke onaona noho i ka lipo 
One fond embrace, 
A ho`i a`e au 
Until we meet again


`O ka hali`a aloha i hiki mai 
Ke hone a`e nei i 
Ku`u manawa 
`O `oe nô ka`u ipo aloha 
A loko e hana nei

Maopopo ku`u `ike i ka nani 

Nâ pua rose o Maunawili 
I laila hia`ia nâ manu
Miki`ala i ka nani o ka lipo

Translation:



Proudly swept the rain by the cliffs
As it glided through the trees
Still following ever the bud
The `ahihi lehua of the vale 

Chorus:
Farewell to you, farewell to you
The charming one who dwells in the shaded bowers
One fond embrace,
'Ere I depart
Until we meet again
 
Sweet memories come back to me
Bringing fresh remembrances
Of the past
Dearest one, yes, you are mine own
From you, true love shall never depart
 
I have seen and watched your loveliness
The sweet rose of Maunawili
And 'tis there the birds of love dwell
And sip the honey from your lips