Harare

This book focuses on the socio-economic impacts of the COVID-19 pandemic and associated lockdowns on the welfare of the urban poor in the city of Harare, Zimbabwe. The authors look through the lenses of the urban health penalty, the right to the city, complexity theory, and distributive justice theory. These four theories help situate the COVID-19 pandemic and its impacts on the urban poor in the theoretical foundations that raise issues of how the poor are affected by disease/health pandemics, due to their living conditions. Uniquely, the authors use remote ethnography tools such as rich texts, video diaries and photo uploads to provide evidence-based stories of how COVID-19 mobility restrictions have affected poor urbanites in Harare.

In 1972 black people rarely featured in the country’s white-owned official newspapers, unless, perhaps, they were a dead “terrorist”. However, Dr Footswitch’s performance prompted The Rhodesia Herald to print the picture of their guitar player, Manu Kambani, on the front page along with the screaming sentence “Jimi Hendrix is dead but Manu is alive”. With his ability to mimic the mesmerising antics of Jimi Hendrix Manu had impressed everybody and the editor of the paper couldn’t resist printing the story. Heavy criticism from conservative whites followed, accusing the Herald of “lowering the standards.” But the coverage turned Manu into an emblematic figure in Harare, one of Salisbury’s oldest townships, and would influence many youngsters to form their own musical groups. Those bands began fusing Rock music, Congolese Rumba, South African Mbaqanga, soul and traditional beats into an underground music movement that would shape the future of Zimbabwean sound and challenge the colonial establishment.

In 1972 black people rarely featured in the country’s white-owned official newspapers, unless, perhaps, they were a dead “terrorist”. However, Dr Footswitch’s performance prompted The Rhodesia Herald to print the picture of their guitar player, Manu Kambani, on the front page along with the screaming sentence “Jimi Hendrix is dead but Manu is alive”. With his ability to mimic the mesmerising antics of Jimi Hendrix Manu had impressed everybody and the editor of the paper couldn’t resist printing the story. Heavy criticism from conservative whites followed, accusing the Herald of “lowering the standards.” But the coverage turned Manu into an emblematic figure in Harare, one of Salisbury’s oldest townships, and would influence many youngsters to form their own musical groups. Those bands began fusing Rock music, Congolese Rumba, South African Mbaqanga, soul and traditional beats into an underground music movement that would shape the future of Zimbabwean sound and challenge the colonial establishment.

In 1972 black people rarely featured in the country’s white-owned official newspapers, unless, perhaps, they were a dead “terrorist”. However, Dr Footswitch’s performance prompted The Rhodesia Herald to print the picture of their guitar player, Manu Kambani, on the front page along with the screaming sentence “Jimi Hendrix is dead but Manu is alive”. With his ability to mimic the mesmerising antics of Jimi Hendrix Manu had impressed everybody and the editor of the paper couldn’t resist printing the story. Heavy criticism from conservative whites followed, accusing the Herald of “lowering the standards.” But the coverage turned Manu into an emblematic figure in Harare, one of Salisbury’s oldest townships, and would influence many youngsters to form their own musical groups. Those bands began fusing Rock music, Congolese Rumba, South African Mbaqanga, soul and traditional beats into an underground music movement that would shape the future of Zimbabwean sound and challenge the colonial establishment.

In 1972 black people rarely featured in the country’s white-owned official newspapers, unless, perhaps, they were a dead “terrorist”. However, Dr Footswitch’s performance prompted The Rhodesia Herald to print the picture of their guitar player, Manu Kambani, on the front page along with the screaming sentence “Jimi Hendrix is dead but Manu is alive”. With his ability to mimic the mesmerising antics of Jimi Hendrix Manu had impressed everybody and the editor of the paper couldn’t resist printing the story. Heavy criticism from conservative whites followed, accusing the Herald of “lowering the standards.” But the coverage turned Manu into an emblematic figure in Harare, one of Salisbury’s oldest townships, and would influence many youngsters to form their own musical groups. Those bands began fusing Rock music, Congolese Rumba, South African Mbaqanga, soul and traditional beats into an underground music movement that would shape the future of Zimbabwean sound and challenge the colonial establishment.

Graceland Live: Remastered (Live Rufaro Stadium, Harare, Zimbabwe 14 Feb '87) contains the definitive Artists & Rock, World. The Best hits from Paul Simon, Hugh Masekela, Ladysmith Black Mambazo and many more.

Martin Tingvall gewährt auf En Ny Dag Einblick in eine neue Seite seines musikalischen Kosmos. Nachdem er mit dem Tingvall Trio mittlerweile auch international von Erfolg zu Erfolg eilt und zuletzt mit „Vägen“ die No.1 der Jazzcharts und eine Platzierung in den Pop Charts erreichte, das Trio 2010 und 2012 mit dem Kritikerpreis ECHO JAZZ „Ensemble des Jahres, national“ ausgezeichnet wurde und die Fans die Formation 2012 mit dem Publikumspreis ECHO JAZZ „Live Act des Jahres“ ehrten, wendet sich der in Hamburg und Südschweden lebende Pianist auf En Ny Dag kleinen musikalischen Szenen zu, die man trefflich unter der Überschrift „Kopfkino“ zusammenfassen kann. Seine Kompositionen nehmen sich Ruhe und Zeit, der Hörer wird von Tingvall in Stimmungen entführt, die jeder in sich trägt. Melancholie, Fröhlichkeit, Erhabenheit oder „verzaubert sein“ – Momente der Erinnerung, die der Pianist vorbeiziehen lässt. Martin Tingvall begreift sein Solo-Spiel jetzt ausdrücklich als Dialog mit dem Zuhörer.

Saxophonist, penny whistle master, and composer Morris Goldberg is perhaps best known for his association with Hugh Masekela. In 1996 he formed the first version of Ojoyo, a group that features his often-celebratory compositions, folk-like melodies that, like the songs of Abdullah Ibrahim, pay homage to his roots in South Africa. The catchy rhythms which are often irresistible, Goldberg’s memorable themes, and the atmospheric ensembles are quite accessible yet, due to the leader’s alto and penny whistle solos and the contributions of his sidemen, music is creative and has its surprising moments.