The Great Reset Biopolitics For Stakeholder Capitalism [simon Elmer] 2023

After a long stint living in Australia, Zambian rapper Sampa Tembo returned to the country of her birth to make her second studio album. A swaggering celebration of self-love and cultural identity, As Above, So Below sees Tembo incorporate traditional Zambian music as well as cutting-edge hip-hop and subtler stylistic cues from psych, blues, and folk. “It has the traditional spiritual elements,” Tembo tells Apple Music, “but then we are venturing off into worlds that are not considered Zambian music and we are creating a new genre, which is really exciting for me.”

Jacqueline du Pré (January 26, 1945 in Oxford - October 19, 1987 in London) was a British cellist of Jersey origin. She was also the musical partner and wife of the Israeli-Argentine pianist and conductor Daniel Barenboim.

Her story is one of the most legendary of all twentieth century musicians' stories, and also, one of the most tragic. Cellist Jacqueline Du Pré, born on January 26, 1945, in Oxford, England, to Derek and Iris Du Pré. (Despite the family name, Derek Du Pré was not French, but rather of British Channel Island ancestry; he could trace his lineage back to the Norman Conquest). She blossomed young and achieved international fame in a few short years during the mid-1960s, during which same time she joined Daniel Barenboim in one of history's most celebrated musical marriages. But her career was shattered in the early 1970s – not even a decade into its maturity – by multiple sclerosis.

Ole Edvard Antonsen came to my attention, initially, in an accomplished disc of trumpet concertos with the English Chamber Orchestra (EMI, 2/94), where his dazzling virtuosity and lyrical, if unrefined, musicality was refreshing to say the least. This latest recording is less artistically ambitious in its popular vein though this is not the overriding reason why it is ultimately a disappointment. ''Pulling out the stops!'' is a trite and misjudged title, for a start, since the disc is notable more for its arrangements of melodic gems than the rousing voluntaries which most people associate with the 'no holds barred' combination of trumpet and organ. What is more, this admittedly limited instrumental medium has greater expressive potential than one might imagine (listen to the arrangements and performances of Maurice Andre and Marie-Claire Alain) and therefore a more appropriate catch-phrase would not have gone amiss.