Various - rythmes exotiques - World Music Albums : Cape Verde, Africa, South America.


As well, when playing chords that have a string skip, such as drop 3 shapes , you’ll find it easier to use hybrid picking compared to flatpicking.

Paloma Faith calls her fourth album a “social observation record”, and it begins with a spoken-word intro from Samuel L Jackson, who tells us, “Do not be fearful of evolution…

 · The poet who wishes to write a rhyming poem has several different sorts of rhyme from which to choose.

I have no idea as to what equipment this music was performed on. While it’s obviously going for an 8-bit style, it sounds just a bit too advanced for that. I wouldn’t be surprised if it was made on a PC-88 or something like that though.

A pioneer of cross-cultural painting that infused Western modernism and African and Caribbean symbolism, Wifredo Lam (Sagua La Grande, 1902 – Paris, 1982) was in touch with every avant-garde movement at the time, whilst also addressing world problems. His deeply committed work, exploring the diversity of expression and mediums, from painting to drawing, prints and ceramics, took on the same struggle as his friend Aimé Césaire: “to paint the drama of his country, the cause and the spirit of the blacks.” From an early age, Lam became aware of the issue of race and its social and political implications in Cuba, Europe and later in the USA. He was associated with divergent national, social and culture spheres, but always maintained his distance and avoided falling into roles or the impact of identity imposed upon him, with good intentions, by friends and admirers. Lam invented his own unique and original artistic language to defend the dignity of life and freedom.

The exhibition revolves around the genesis of his work, the diverse stages and conditions of reception and the progressive integration of a body of work that was painstakingly put together in Spain, Paris, Marseille and Cuba. It traces the artist’s unique career by way of almost two hundred and fifty works – paintings, drawings, etchings, prints, ceramics - and is completed with over three hundred documents – letters, photographs, magazines and books. This broad range of material casts light upon his work and thought, zooming in on the years he spent in Spain (1923–1938), the remarkable prints from the 1960s and 1970s and his collaborations with eminent writers of his time, in addition to the major works he produced in his native Cuba (1940–1950); In short, it depicts a committed life inside a turbulent century.

Prior to the 1950s and the decolonization of West Africa , due to the very limited travel of native Africans outside their own ethnic group, the djembe was known only in its original area.

The disposition of a place, the character of a chosen setting, reveal it to him. From London (1901) and Venice (1908) he brings back a series of daring canvases in which the Houses of Parliament, bridges, palaces and churches melt into coloured powders. The phenomenon of light is developed so far that reality becomes transformed. There were other works painted in series: Haystacks (1891), Poplars (1892), Cathedrals (1895), Cliffs and Mornings on the Seine (1898) and "Le Bassin des Nympheas (water lilies)" (1900). These celebrated series are like studies that press home the Impressionists' technical research and experiments into experienced sensation. But in each canvas taken separately, Monet constantly proves his inventiveness by meeting the particular needs of the subject. The systematic character of the project, however, is brilliant.

Monet seems to want to reassure himself that his reasoning is well founded. Might this research into sensation not be too easy-going, too skin-deep, as the critics have said? Might he not have been too liberal in "letting the eye live its own life"? Does it open big enough perspectives on man? Monet's passion for work is the sole reply. Without let-up he returns incessantly to the same theme and yet achieves variety. From one canvas to another he varies the angle of view and modifies the underlying plastic geometry. His eyesight may be declining, his age making itself felt, but he succeeds in expressing the passing of time by movement, in portraying in his painting the equivalent of sensation at the time it is actually experienced.

Note: some chain links have more than one artist attached to them for various reasons, . Mark Ronson Feat. Amy Winehouse has been tagged as Mark Ronson Feat. Amy Winehouse, Mark Ronson, Amy Winehouse; The Beatles have been tagged as The Beatles, Beatles.


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