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My name is Fela Anikulapo Kuti. | 0:00:49 | 0:00:52 | |
"Fela" means "he who emanates greatness". | 0:01:00 | 0:01:04 | |
"Kuti" means... | 0:01:08 | 0:01:09 | |
.."one who never dies". | 0:01:13 | 0:01:15 | |
# Teacher, teacher-o na the lecturer be your name | 0:01:15 | 0:01:20 | |
# Teacher, teacher-o na the lecture be the same | 0:01:20 | 0:01:25 | |
# Make-ee no teach-ee me again, oh | 0:01:25 | 0:01:28 | |
# As soon teaching finish yes, da thing-ee it gon die it dey-o... # | 0:01:28 | 0:01:33 | |
The title of this song, Teacher Don't Teach Me Nonsense... | 0:01:33 | 0:01:36 | |
I wrote this song to let the people see that the white men have | 0:01:36 | 0:01:44 | |
taught us everything we know. | 0:01:44 | 0:01:46 | |
But I made people see, also, | 0:01:48 | 0:01:50 | |
that one important thing they taught us was politics. | 0:01:50 | 0:01:54 | |
I started to think of this word "democracy". | 0:01:54 | 0:01:57 | |
Democracy. | 0:01:57 | 0:01:58 | |
"Crazy-demo". | 0:02:00 | 0:02:02 | |
Demonstration of craze. | 0:02:02 | 0:02:05 | |
Crazy demonstration. | 0:02:05 | 0:02:07 | |
-# Demo-crazy -Demo-crazy | 0:02:07 | 0:02:09 | |
-# Crazy demo -Demo-crazy | 0:02:09 | 0:02:12 | |
-# Demonstration of craze -Demo-crazy | 0:02:12 | 0:02:14 | |
-# Crazy demonstration -Demo-crazy | 0:02:14 | 0:02:17 | |
-# If it no be craze -Demo-crazy | 0:02:17 | 0:02:19 | |
-# Why for Afrika? -Demo-crazy | 0:02:19 | 0:02:21 | |
-# As time dey go -Demo-crazy | 0:02:21 | 0:02:24 | |
-# Things just dey bad -Demo-crazy | 0:02:24 | 0:02:26 | |
-# They bad more and more -Demo-crazy | 0:02:26 | 0:02:29 | |
-# Poor man dey cry -Demo-crazy | 0:02:29 | 0:02:31 | |
-# Rich man dey mess -Demo-crazy | 0:02:31 | 0:02:34 | |
-# Demo-crazy -Demo-crazy | 0:02:34 | 0:02:36 | |
-# Crazy Demo -Demo-crazy | 0:02:36 | 0:02:38 | |
-# Demonstration of craze -Demo-crazy | 0:02:38 | 0:02:40 | |
-# Crazy demonstration -Demo-crazy. -# | 0:02:40 | 0:02:44 | |
CROWD APPLAUDS AND CHEERS | 0:02:45 | 0:02:48 | |
MUSIC: "Santa Maria (Del Buen Ayre) by Gotan Project | 0:02:51 | 0:02:54 | |
THEY SING IN OWN LANGUAGE | 0:03:32 | 0:03:36 | |
MUSIC: "Keko" by Kimmo Pohjonen | 0:04:13 | 0:04:18 | |
HE VOCALISES | 0:04:39 | 0:04:44 | |
CROWD APPLAUDS AND CHEERS | 0:05:00 | 0:05:03 | |
I grew up in Benin, in Cotonou, in the city, | 0:05:11 | 0:05:14 | |
so I would be hearing rhythm and music | 0:05:14 | 0:05:16 | |
from other parts of Africa. | 0:05:16 | 0:05:17 | |
Even if I don't understand the language, I was in there. | 0:05:17 | 0:05:21 | |
It was just a melting pot of different type of sounds. | 0:05:21 | 0:05:25 | |
You have the highlife that comes from Ghana. | 0:05:25 | 0:05:29 | |
You have Fela Kuti from Nigeria. | 0:05:29 | 0:05:32 | |
And Benin is right in the middle of those two places. | 0:05:32 | 0:05:35 | |
And they all come clashing on you. | 0:05:37 | 0:05:40 | |
Washing out everything. And you are like, "Oh, I'm liking this." | 0:05:41 | 0:05:45 | |
So, I was really fortunate to be able to switch from one music to another. | 0:05:45 | 0:05:50 | |
MUSIC: "Batonga" by Angelique Kidjo | 0:05:53 | 0:05:58 | |
SHE SINGS IN OWN LANGUAGE | 0:06:09 | 0:06:12 | |
It's hard in Africa to be a woman and be a singer, | 0:06:26 | 0:06:30 | |
because, of course, the society is really macho. | 0:06:30 | 0:06:35 | |
And because there's no consideration, very much, | 0:06:35 | 0:06:40 | |
for women that sing, if it's not traditional singing. | 0:06:40 | 0:06:43 | |
SHE SINGS IN OWN LANGUAGE | 0:06:51 | 0:06:54 | |
BULGARIAN FOLK MUSIC PLAYS | 0:07:14 | 0:07:18 | |
The Bisserov Sisters, of course. | 0:07:45 | 0:07:47 | |
The man responsible for the appearance | 0:07:47 | 0:07:49 | |
of Trio Bulgarka in Britain is Joe Boyd, a veteran producer | 0:07:49 | 0:07:52 | |
and champion of folk and other so-called "minority" musics. | 0:07:52 | 0:07:55 | |
I have to tell you that when I was told that my brief tonight was | 0:07:55 | 0:07:58 | |
Bulgarian folk music, I thought it was some kind of punishment or joke. | 0:07:58 | 0:08:02 | |
How is it perceived by the so-called hip people in Bulgaria? | 0:08:02 | 0:08:06 | |
I mean, would they rather be listening to punk, Iron Maiden, whatever? | 0:08:06 | 0:08:09 | |
When I first went there... | 0:08:09 | 0:08:11 | |
..very few urban young people had any interest. | 0:08:12 | 0:08:16 | |
But since, particularly the trio and the radio choir have toured America, | 0:08:16 | 0:08:21 | |
and after the trio recorded with Kate Bush | 0:08:21 | 0:08:24 | |
and there have been pictures in the papers there of | 0:08:24 | 0:08:26 | |
Yanka Rupkina from the trio kissing George Harrison | 0:08:26 | 0:08:29 | |
backstage at The Festival Hall. | 0:08:29 | 0:08:31 | |
And suddenly, the trio | 0:08:31 | 0:08:33 | |
and other traditional singers have had triple and quadruple the | 0:08:33 | 0:08:37 | |
number of normal bookings and young audiences pouring out to see them. | 0:08:37 | 0:08:40 | |
And the whole thing has begun to, sort of, turn around. | 0:08:40 | 0:08:43 | |
CHOIR HARMONISES IN BULGARIAN | 0:08:59 | 0:09:03 | |
MUSIC: "Petit Pays" by Cesaria Evora | 0:09:44 | 0:09:48 | |
SHE SINGS IN KRIOLU | 0:09:57 | 0:09:59 | |
CROWD APPLAUDS AND CHEERS | 0:11:19 | 0:11:22 | |
And this is Charlie Gillet | 0:11:22 | 0:11:23 | |
live from the WOMAD Festival in Reading 2003. | 0:11:23 | 0:11:28 | |
Back in London, you've got no idea what we're on the middle of, | 0:11:28 | 0:11:31 | |
it's like a town of tents. | 0:11:31 | 0:11:33 | |
Much bigger than anybody imagines - there's a lot of us here. | 0:11:33 | 0:11:37 | |
CROWD CHEERS | 0:11:37 | 0:11:39 | |
You know what? I cannot believe it, Charlie's playing my song on BBC! | 0:11:40 | 0:11:46 | |
JJC on BBC! | 0:11:49 | 0:11:51 | |
Let me show you what this song is all about. | 0:11:52 | 0:11:55 | |
MUSIC: "Malemisita" by JJC and 419 Squad | 0:11:57 | 0:12:02 | |
CROWD CHEERS | 0:12:14 | 0:12:17 | |
MULTI-RHYTHMIC DRUMMING | 0:12:18 | 0:12:21 | |
BHANGRA DRUMMING | 0:12:57 | 0:13:00 | |
TAIKO DRUMMING | 0:13:48 | 0:13:51 | |
HE SCREAMS | 0:14:01 | 0:14:02 | |
THEY SCREAM AND SHOUT | 0:14:06 | 0:14:07 | |
HE SHOUTS IN JAPANESE | 0:14:34 | 0:14:35 | |
THEY SHOUT | 0:14:38 | 0:14:41 | |
TAIKO DRUMMING CONTINUES | 0:14:46 | 0:14:49 | |
CROWD APPLAUDS AND CHEERS | 0:15:09 | 0:15:12 | |
MUSIC: "Mekeyershin Salawq" by Ethiopiques | 0:15:18 | 0:15:22 | |
HE SINGS IN AMHARIC | 0:15:29 | 0:15:33 | |
CROWD CHEERS | 0:16:31 | 0:16:34 | |
What was the idea behind it? What did you want to do with this festival? | 0:16:40 | 0:16:44 | |
-TRANSLATION: -'The idea was to rediscover all the colours. | 0:16:48 | 0:16:51 | |
'To come together in peace and prosperity, | 0:16:54 | 0:16:58 | |
'in the spirit of understanding...to share.' | 0:16:58 | 0:17:01 | |
How important, then, do you think that the festival is now to | 0:17:03 | 0:17:07 | |
Malian culture in general and the Kel Tamasheq culture in particular? | 0:17:07 | 0:17:11 | |
-TRANSLATION: -'This festival is important for the for the Peul, | 0:17:12 | 0:17:16 | |
'the Songhai, for the Tamasheq, for the Bozo, for the Bambara, | 0:17:16 | 0:17:21 | |
'for the Senufo, for the Hassaniya. | 0:17:21 | 0:17:25 | |
'That's to say, it's meeting or, at least, it's about sharing, | 0:17:25 | 0:17:30 | |
'as I said, to find understanding, agreement, friendship, | 0:17:30 | 0:17:34 | |
'to discover and to be discovered.' | 0:17:34 | 0:17:37 | |
MUSIC: "Goye Kur" by Ali Farka Toure | 0:17:44 | 0:17:49 | |
HE SINGS IN OWN LANGUAGE | 0:17:57 | 0:18:00 | |
Now, a marvellous young musician who's making his very first | 0:18:42 | 0:18:45 | |
appearance on British television. | 0:18:45 | 0:18:47 | |
His unconventional and modern approach to playing flamenco | 0:18:47 | 0:18:50 | |
has already made him a big star in the continent, | 0:18:50 | 0:18:52 | |
particularly in his native Spain. | 0:18:52 | 0:18:54 | |
Here is Paco de Lucia. | 0:18:54 | 0:18:57 | |
MUSIC: "Entre Dos Aguas" by Paco de Lucia | 0:18:57 | 0:19:01 | |
MUSIC: "So Broken" by Bjork | 0:19:46 | 0:19:50 | |
# Oh, darling | 0:20:05 | 0:20:08 | |
# I'm trying to | 0:20:08 | 0:20:13 | |
# Land this aeroplane of ours | 0:20:13 | 0:20:21 | |
# Gracefully | 0:20:21 | 0:20:24 | |
# My heart is so broken... # | 0:20:24 | 0:20:27 | |
SHE SINGS IN ICELANDIC | 0:20:30 | 0:20:33 | |
# So broken... # | 0:20:45 | 0:20:48 | |
SHE SINGS IN ICELANDIC | 0:20:48 | 0:20:51 | |
I've been writing about so many different subjects, you know? | 0:21:01 | 0:21:04 | |
The social things, you know? | 0:21:04 | 0:21:06 | |
The social struggle, also, has been one of my themes. | 0:21:06 | 0:21:10 | |
But I'm never... | 0:21:10 | 0:21:13 | |
I've never got sort of dark, you know? | 0:21:13 | 0:21:18 | |
It's always... | 0:21:19 | 0:21:21 | |
It has to be always sunshine. | 0:21:21 | 0:21:23 | |
MUSIC: "Garote de Ipanema" by Gilberto Gil | 0:21:26 | 0:21:30 | |
This song's by other people, you know? | 0:21:43 | 0:21:45 | |
It's easy, it's happy... | 0:21:46 | 0:21:49 | |
I love doing that. | 0:21:49 | 0:21:51 | |
It's like being back to childhood. It's nice. | 0:21:51 | 0:21:56 | |
HE SINGS IN OWN LANGUAGE | 0:22:04 | 0:22:07 | |
HE SINGS IN OWN LANGUAGE | 0:22:43 | 0:22:46 | |
RODRIGO Y GABRIELA PLAY FLAMENCO-STYLE GUITAR | 0:23:34 | 0:23:37 | |
Wow! HE LAUGHS | 0:25:08 | 0:25:10 | |
That's phenomenal. | 0:25:10 | 0:25:12 | |
Show us your fingers. | 0:25:12 | 0:25:13 | |
-Wow! -Oh! | 0:25:15 | 0:25:17 | |
And now a Greek tune for you, | 0:25:22 | 0:25:26 | |
which means you have come one evening with the wind, and my heart sighed. | 0:25:26 | 0:25:31 | |
From the very moment I've told you, "Good evening", | 0:25:31 | 0:25:34 | |
you've just replied, "Goodbye." | 0:25:34 | 0:25:36 | |
So, please, speak to me, for in my dreams I've kissed you once, | 0:25:36 | 0:25:42 | |
and since then, I cannot forget you. | 0:25:42 | 0:25:45 | |
MUSIC: "Milesse Mou" by Nana Mouskouri And The Athenians | 0:25:49 | 0:25:54 | |
SHE SINGS IN GREEK | 0:26:09 | 0:26:13 | |
THEY SING IN GREEK | 0:26:51 | 0:26:54 | |
CROWD CHEERS | 0:27:10 | 0:27:12 | |
MUSIC: "Buenos Hermanos" by Ibrahim Ferrer | 0:27:18 | 0:27:22 | |
THEY SING IN SPANISH | 0:27:33 | 0:27:36 | |
CROWD CHEERS | 0:28:53 | 0:28:55 | |
So much variety in this week's chart. | 0:28:57 | 0:29:00 | |
Take our next act, for instance. She's a huge star in Israel | 0:29:00 | 0:29:02 | |
and she's going to be monstrous here too. | 0:29:02 | 0:29:04 | |
Up ten places to 15, Ofra Haza this is Im Nin'alu. | 0:29:04 | 0:29:08 | |
SHE SINGS IN HEBREW | 0:29:18 | 0:29:21 | |
# You know I love you | 0:30:32 | 0:30:33 | |
# Like no other, like no other | 0:30:33 | 0:30:36 | |
# In my prayer... # | 0:30:36 | 0:30:38 | |
SHE SINGS IN HEBREW | 0:30:40 | 0:30:43 | |
MUSIC: "Mas Que Nada" by Jorge Ben | 0:31:13 | 0:31:17 | |
HE SINGS IN BRAZILIAN PORTUGUESE | 0:31:35 | 0:31:38 | |
HE SINGS IN BRAZILIAN PORTUGUESE | 0:32:17 | 0:32:20 | |
CROWD APPLAUDS | 0:33:00 | 0:33:03 | |
THEY SING IN OWN LANGUAGE | 0:33:16 | 0:33:19 | |
King Sunny Ade, very appropriate name for you, isn't it? | 0:33:43 | 0:33:46 | |
Because you are connected with royalty, aren't you, in Nigeria? | 0:33:46 | 0:33:49 | |
Yes, I'm a prince by birth but the king was given to me | 0:33:49 | 0:33:51 | |
for my music in Nigeria. | 0:33:51 | 0:33:53 | |
Now, your music in Nigeria... | 0:33:53 | 0:33:54 | |
For ten years you've been selling millions and millions of records. | 0:33:54 | 0:33:57 | |
It's estimated the 12 million albums | 0:33:57 | 0:34:00 | |
of juju music were sold last year in Nigeria. | 0:34:00 | 0:34:02 | |
I was actually amazed to find out that Nigeria has such | 0:34:02 | 0:34:06 | |
a thriving music industry. | 0:34:06 | 0:34:08 | |
-100 million people in Nigeria, more than that even. -Yes. | 0:34:08 | 0:34:13 | |
And you can imagine that my records sold for 12 million is not up | 0:34:13 | 0:34:17 | |
to 12 and a half per cent, as you think. | 0:34:17 | 0:34:20 | |
Yeah, I suppose that probably averages out the same as Britain in that way. | 0:34:20 | 0:34:23 | |
Yeah, because the music industry in Nigeria is really developing | 0:34:23 | 0:34:26 | |
very, very much. | 0:34:26 | 0:34:27 | |
Because we've been influenced by traditional music | 0:34:27 | 0:34:30 | |
-and also African music and also foreign music. -Mm. | 0:34:30 | 0:34:36 | |
MUSIC: "Synchro System" by King Sunny Ade & His African Beats | 0:34:36 | 0:34:40 | |
TRADITIONAL YIDDISH MUSIC PLAYS | 0:35:32 | 0:35:35 | |
Klezmer music is a traditional east European Yiddish dance music, | 0:35:54 | 0:35:59 | |
mostly heard at weddings, celebrations, market days. | 0:35:59 | 0:36:03 | |
But identified with Ashkenazi Jews | 0:36:03 | 0:36:06 | |
from Eastern Europe and the United States. | 0:36:06 | 0:36:08 | |
The real meaning of "klezmer" comes from two Hebrew words - | 0:36:14 | 0:36:21 | |
"kli"..."zemer". | 0:36:21 | 0:36:23 | |
The translation - "instrumental song". | 0:36:23 | 0:36:27 | |
Because we're born singers, all mankind. | 0:36:27 | 0:36:31 | |
We're born singers. | 0:36:31 | 0:36:33 | |
This is a natural force. | 0:36:33 | 0:36:35 | |
To express this natural force we need one instrument, | 0:36:35 | 0:36:40 | |
we are the instrument of song. | 0:36:40 | 0:36:43 | |
MUSIC: "Lolly Lo" by The Klezmatics | 0:36:44 | 0:36:49 | |
# As I look up and see the stars | 0:36:55 | 0:36:56 | |
# I see the house that we call ours | 0:36:56 | 0:36:58 | |
# I see the mailbox at the door | 0:36:58 | 0:36:59 | |
# I see the baby on the floor | 0:36:59 | 0:37:01 | |
# Hey-la, Lolly, Lolly | 0:37:01 | 0:37:02 | |
# Hey-la, Lolly Lo | 0:37:02 | 0:37:03 | |
# Hey-la, Lolly, Lolly | 0:37:03 | 0:37:04 | |
# Hey-la, Lolly lo | 0:37:04 | 0:37:06 | |
# I lay out on deck and think | 0:37:06 | 0:37:07 | |
# I see your Soviet kitchen sink | 0:37:07 | 0:37:08 | |
# See her now she's working hard | 0:37:08 | 0:37:10 | |
# In the house and the yard | 0:37:10 | 0:37:11 | |
# Hey-la, Lolly, Lolly | 0:37:11 | 0:37:13 | |
# Hey-la, Lolly lo | 0:37:13 | 0:37:14 | |
# Hey-la, Lolly, Lolly | 0:37:14 | 0:37:15 | |
# Hey-la, Lolly lo | 0:37:15 | 0:37:17 | |
# I see the baby on the bed | 0:37:17 | 0:37:18 | |
# I think of words I should have said | 0:37:18 | 0:37:19 | |
# I see your hair blow in the wind | 0:37:19 | 0:37:20 | |
# See your smile when I walk in | 0:37:20 | 0:37:22 | |
# Hey-la, Lolly, Lolly | 0:37:22 | 0:37:23 | |
# Hey-la, Lolly lo | 0:37:23 | 0:37:24 | |
# Hey-la, Lolly, Lolly | 0:37:24 | 0:37:26 | |
# Hey-la, Lolly lo... # | 0:37:26 | 0:37:27 | |
CROWD CHEERS | 0:37:44 | 0:37:46 | |
TOUMANI DIABATE PLAYS THE KORA | 0:37:51 | 0:37:54 | |
Most people's only experience of the music of Africa | 0:38:34 | 0:38:36 | |
is from Paul Simon's Graceland album. | 0:38:36 | 0:38:39 | |
This band has recently been number one in Belgium, Holland, | 0:38:39 | 0:38:41 | |
Switzerland, France, Germany and I suspect we're next. | 0:38:41 | 0:38:46 | |
With "Yeke Yeke", welcome Mory Kante. | 0:38:46 | 0:38:49 | |
MUSIC: "Yeke Yeke" by Mory Kante | 0:39:02 | 0:39:06 | |
HE SINGS IN OWN LANGUAGE | 0:39:31 | 0:39:34 | |
APPLAUSE | 0:40:14 | 0:40:16 | |
We'll leave you with more music from South Africa | 0:40:20 | 0:40:23 | |
and Ladysmith Black Mambazo. | 0:40:23 | 0:40:24 | |
Here they are with Homeless. | 0:40:24 | 0:40:26 | |
-See you Friday. -Bye. -Bye-bye. | 0:40:26 | 0:40:29 | |
MUSIC: "Homeless" by Ladysmith Black Mambazo | 0:40:30 | 0:40:34 | |
THEY SING IN OWN LANGUAGE | 0:40:34 | 0:40:37 | |
# Homeless, homeless | 0:40:49 | 0:40:53 | |
# Moonlight sleeping on a midnight lake | 0:40:53 | 0:40:57 | |
# Homeless, homeless | 0:40:57 | 0:41:00 | |
# Moonlight sleeping on a midnight lake... # | 0:41:00 | 0:41:04 | |
THEY SING IN OWN LANGUAGE | 0:41:04 | 0:41:07 | |
-# Strong wind -Strong wind | 0:41:17 | 0:41:19 | |
# Strong wind destroy our homes | 0:41:19 | 0:41:21 | |
# Many dead, tonight it could be you | 0:41:21 | 0:41:25 | |
-# Homeless -Homeless | 0:41:25 | 0:41:29 | |
# Moonlight sleeping on a midnight lake | 0:41:29 | 0:41:34 | |
# Somebody say ih-hih-ih-hih-ih | 0:41:34 | 0:41:36 | |
# Somebody sing hello, hello, hello | 0:41:36 | 0:41:39 | |
# Somebody say ih-hih-ih-hih-ih | 0:41:39 | 0:41:42 | |
# Somebody cry why, why, why? | 0:41:42 | 0:41:45 | |
# Somebody say ih-hih-ih-hih-ih... # | 0:41:45 | 0:41:48 | |
THEY SING IN OWN LANGUAGE | 0:41:48 | 0:41:53 | |
I'm Bachir Attar and I am son of the Master Musicians Of Joujouka. | 0:42:11 | 0:42:18 | |
I am take my father's place and this is my home of my father, music. | 0:42:18 | 0:42:24 | |
And you're welcome. | 0:42:24 | 0:42:27 | |
MUSIC: "Lah'n Tarheeb" by Master Musicians Of Joujouka | 0:42:31 | 0:42:35 | |
THEY SING IN ARABIC | 0:42:47 | 0:42:51 | |
MUSIC: "Ah Ndiya" by Oumou Sangare | 0:43:20 | 0:43:25 | |
SHE SINGS IN OWN LANGUAGE | 0:43:25 | 0:43:28 | |
NUSRAT FATEH ALI KAHN SINGS | 0:45:01 | 0:45:05 | |
THEY SING IN OWN LANGUAGE | 0:45:21 | 0:45:25 | |
MUSIC: "Allah Hoo" by Nusrat Fateh Ali Khan Band | 0:46:09 | 0:46:13 | |
HE SINGS IN OWN LANGUAGE | 0:46:16 | 0:46:18 | |
THEY SING IN OWN LANGUAGE | 0:47:04 | 0:47:07 | |
Now, who's on first now? | 0:47:44 | 0:47:45 | |
-Osibisa. -Yes, pardon?! | 0:47:45 | 0:47:47 | |
Osibisa. | 0:47:47 | 0:47:48 | |
Who is...? Oh, Osibisa! | 0:47:48 | 0:47:51 | |
Oh, yeah. | 0:47:51 | 0:47:52 | |
Ooh! | 0:47:52 | 0:47:54 | |
-Come on... ALL: -Ooh! | 0:47:54 | 0:47:56 | |
Yes, come on, loosen your truss, mate - ooh! | 0:47:56 | 0:47:59 | |
Higher. That's it. | 0:47:59 | 0:48:01 | |
Osibisa. Here they are... | 0:48:01 | 0:48:03 | |
MUSIC: "Move Your Body" by Osibisa | 0:48:09 | 0:48:13 | |
# Move your body | 0:48:21 | 0:48:23 | |
# Move it next to mine, yeah | 0:48:23 | 0:48:25 | |
# Move your body | 0:48:25 | 0:48:27 | |
# Do it all the time | 0:48:27 | 0:48:29 | |
# Move your body | 0:48:29 | 0:48:31 | |
# And now you're doin' fine | 0:48:31 | 0:48:33 | |
# Wooh | 0:48:36 | 0:48:37 | |
# Easy, let it flow | 0:48:37 | 0:48:40 | |
# Keep it steady, don't let it go | 0:48:41 | 0:48:44 | |
# Keep the music never care | 0:48:45 | 0:48:49 | |
# Keep it stronger, we'll soon be there | 0:48:49 | 0:48:53 | |
# Oh, move your body | 0:48:53 | 0:48:56 | |
# Move it next to mine, you've got to move on | 0:48:56 | 0:48:58 | |
# Move your body | 0:48:58 | 0:49:00 | |
# And now you're doing fine | 0:49:00 | 0:49:02 | |
# Move your body | 0:49:02 | 0:49:04 | |
# Grooving next to mine, yeah. # | 0:49:04 | 0:49:06 | |
MUSIC: "On Verra Ca" by Orchestra Beobab | 0:49:14 | 0:49:18 | |
THEY SING IN OWN LANGUAGE | 0:49:18 | 0:49:21 | |
PAN PIPE MUSIC PLAYS | 0:50:58 | 0:51:01 | |
CROWD APPLAUDS | 0:53:15 | 0:53:17 | |
MUSIC: "Cacharpaya" by Incantation | 0:53:21 | 0:53:25 | |
Now, we're going to welcome back | 0:53:58 | 0:54:00 | |
this marvellous singer with her Peruvian group. | 0:54:00 | 0:54:02 | |
I draw your attention to the fact that this number starts with | 0:54:02 | 0:54:05 | |
a percussive instrument which is, in fact, a donkey's jaw. | 0:54:05 | 0:54:09 | |
First time ever on Later, please welcome again Susana Baca. | 0:54:09 | 0:54:12 | |
MUSIC: "Toro Mata" by Susana Baca | 0:54:30 | 0:54:35 | |
SHE SINGS IN SPANISH | 0:54:43 | 0:54:48 | |
THEY SING IN SPANISH | 0:55:00 | 0:55:03 | |
THEY SING IN SPANISH | 0:55:28 | 0:55:32 | |
CROWD APPLAUDS | 0:55:48 | 0:55:50 | |
MUSIC: "Me Nome Sabe-Me A Areia" by Amalia Rodrigues | 0:55:58 | 0:56:02 | |
SHE SINGS IN OWN LANGUAGE | 0:56:09 | 0:56:11 | |
Hello, again. | 0:57:50 | 0:57:52 | |
I think that I don't need to tell you | 0:57:52 | 0:57:54 | |
that the fado is a very strange song. | 0:57:54 | 0:57:56 | |
But what I have to tell you, is, | 0:57:57 | 0:57:59 | |
I think that the Portuguese are a very strange people. | 0:57:59 | 0:58:03 | |
MUSIC: "Maria Lisboa" by Mariza | 0:58:12 | 0:58:17 | |
SHE SINGS IN PORTUGUESE | 0:58:29 | 0:58:33 | |
CROWD APPLAUDS | 0:59:20 | 0:59:22 | |
SINGING IN RAI STYLE | 0:59:26 | 0:59:30 | |
SINGING IN RAI STYLE CONTINUES | 0:59:43 | 0:59:46 | |
MUSIC: "Didi" by Cheb Khaled | 1:00:51 | 1:00:55 | |
HE SINGS IN ARABIC | 1:00:57 | 1:01:01 | |
TABLA AND SITAR PLAYS | 1:02:20 | 1:02:22 | |
MUSIC: "Rag Bihag" by Ravi Shankar and Alla Rakha | 1:02:27 | 1:02:31 | |
TEMPO INCREASES | 1:03:38 | 1:03:40 | |
TEMPO INCREASES | 1:04:34 | 1:04:36 | |
MUSIC: "Cucula" by Celia Cruz with Tito Puente and Johnny Pacheco | 1:05:05 | 1:05:09 | |
SHE SINGS IN SPANISH | 1:05:09 | 1:05:12 | |
THEY SING IN SPANISH | 1:05:35 | 1:05:37 | |
THEY PLAY UP-BEAT SALSA MUSIC | 1:06:30 | 1:06:33 | |
SHE SINGS IN SPANISH | 1:06:50 | 1:06:53 | |
CROWD CHEERS | 1:07:22 | 1:07:24 | |
So, Johnny Depp, how did you become a fan of a Romanian gypsy band? | 1:07:30 | 1:07:34 | |
-I'll let Joe answer that. -THEY LAUGH | 1:07:35 | 1:07:38 | |
It was in a car park. Go on, Johnny, tell the story. | 1:07:38 | 1:07:41 | |
It was in car park, and something horrible happened | 1:07:41 | 1:07:45 | |
and they went to jail, not me. | 1:07:45 | 1:07:47 | |
-But... -But you were running a film... | 1:07:47 | 1:07:50 | |
-It was with a film? -Yeah, I was doing a... | 1:07:50 | 1:07:53 | |
I'd heard their music before and then I was doing this film | 1:07:53 | 1:07:56 | |
and they...they were hired to play my family, and... | 1:07:56 | 1:08:02 | |
Yeah, just sort of commenced from there hasn't stopped. | 1:08:02 | 1:08:05 | |
And what really attracts you to the music? | 1:08:05 | 1:08:07 | |
Well, firstly, the musicianship is unbelievable. | 1:08:07 | 1:08:10 | |
These guys are like the greatest musicians I ever saw in my life. | 1:08:10 | 1:08:13 | |
MUSIC: "The Return Of The Magic Horses" by Taraf De Hadiouks | 1:08:13 | 1:08:18 | |
THEY PLAY ROMANIAN GYPSY MUSIC | 1:09:17 | 1:09:19 | |
CROWD CHEERS | 1:10:36 | 1:10:38 | |
My music is Turk music. | 1:10:41 | 1:10:45 | |
In general it is music from all Central Asia | 1:10:45 | 1:10:47 | |
and I am singing by the old way, in the songs. | 1:10:47 | 1:10:52 | |
The instrument what I am playing is a dutar, which means two strings. | 1:10:55 | 1:11:01 | |
And that instrument comes from the 15th century. | 1:11:01 | 1:11:06 | |
And this is a real Uzbek instrument which has silk strings | 1:11:06 | 1:11:10 | |
and, you know, it looks really simple, | 1:11:10 | 1:11:14 | |
but the neck is long | 1:11:14 | 1:11:17 | |
and you must play from all your soul. | 1:11:17 | 1:11:21 | |
SHE SINGS IN OWN LANGUAGE | 1:11:57 | 1:12:01 | |
CROWD CHEERS | 1:13:33 | 1:13:34 | |
MUSIC: "Speaking in Tongues III" by Shiela Chandra | 1:13:45 | 1:13:50 | |
SHE VOCALISES | 1:13:50 | 1:13:54 | |
SHE VOCALISES | 1:14:34 | 1:14:38 | |
MEN CHEER | 1:14:56 | 1:14:58 | |
DRUMS BEAT | 1:14:58 | 1:15:01 | |
DRUMS CONTINUE TO BEAT | 1:15:12 | 1:15:15 | |
I first started listening to music from other countries around '78, | 1:15:15 | 1:15:19 | |
and at that time there were maybe two record stores in London where you | 1:15:19 | 1:15:23 | |
could find anything that we would now call "world music", in any quantity. | 1:15:23 | 1:15:28 | |
And it was even harder to see a lot of these performers live. | 1:15:28 | 1:15:32 | |
'I was thinking about trying to get some event together | 1:15:35 | 1:15:38 | |
'and call up a group of friends that might have similar interest.' | 1:15:38 | 1:15:43 | |
Peter rang myself and a group of colleagues that I was working with | 1:15:45 | 1:15:49 | |
in a magazine project called The Bristol Recorder in, | 1:15:49 | 1:15:52 | |
I think January of 1981, | 1:15:52 | 1:15:54 | |
suggesting his idea of music from this continent | 1:15:54 | 1:15:58 | |
coming together with music from other places. | 1:15:58 | 1:16:01 | |
There was a certain amount of elitism around folk music, you know. | 1:16:01 | 1:16:06 | |
And we were these yobbos from suspicious rock backgrounds | 1:16:06 | 1:16:11 | |
that were trying to mix up all sorts of things that didn't really | 1:16:11 | 1:16:15 | |
care to play by the existing rules, and were trying to make | 1:16:15 | 1:16:18 | |
something, to us, that seemed a lot more alive and vital. | 1:16:18 | 1:16:23 | |
I played at the first WOMAD with Rip Rig + Panic, | 1:16:23 | 1:16:25 | |
which was the band that I was in, when I was but a child. | 1:16:25 | 1:16:28 | |
# You are my kind of climate | 1:16:28 | 1:16:30 | |
# Swinging lost paradise | 1:16:30 | 1:16:31 | |
# Your touch, your smell | 1:16:31 | 1:16:33 | |
# Well, you can tell | 1:16:33 | 1:16:34 | |
# I ain't talking about heaven or hell... # | 1:16:34 | 1:16:36 | |
'We were dancing, we were singing, then Neneh was like, "Get up! | 1:16:36 | 1:16:40 | |
"I'm pregnant and I'm dancing more than all of you." | 1:16:40 | 1:16:42 | |
And the whole place just got up | 1:16:42 | 1:16:44 | |
and started to hurl themselves around and it was just beautiful. | 1:16:44 | 1:16:48 | |
I think the atmosphere of WOMAD is different to other rock festivals. | 1:16:51 | 1:16:57 | |
It's solidly established in Australia and Spain | 1:16:57 | 1:17:00 | |
and I think there are various sites around the world now where it | 1:17:00 | 1:17:06 | |
has an identity and it's really an opportunity for a lot of people | 1:17:06 | 1:17:11 | |
to come across all sorts of stuff they wouldn't have seen otherwise. | 1:17:11 | 1:17:15 | |
I mean, every year I know I'm introduced to things | 1:17:15 | 1:17:18 | |
I didn't now about that I find really exciting. | 1:17:18 | 1:17:21 | |
HE VOCALISES | 1:17:33 | 1:17:37 | |
I learnt from my mother | 1:17:45 | 1:17:47 | |
because my mother always sang traditional songs. | 1:17:47 | 1:17:51 | |
And that's what helped me to know traditional songs | 1:17:51 | 1:17:56 | |
because living in the urban areas in South Africa | 1:17:56 | 1:18:02 | |
and born so many years after the white people came, | 1:18:02 | 1:18:06 | |
there was always a danger of | 1:18:06 | 1:18:09 | |
completely forgetting our traditional music, | 1:18:09 | 1:18:13 | |
even our traditions. | 1:18:13 | 1:18:15 | |
It's very rare in South Africa to find people dressed traditionally, | 1:18:15 | 1:18:20 | |
because of that fact that we've had | 1:18:20 | 1:18:23 | |
this European influence for so many years. | 1:18:23 | 1:18:28 | |
So, I know a lot of traditional songs thanks to my mother. | 1:18:28 | 1:18:33 | |
MUSIC: "Set" by Youssou N'Dour and The Super Etiole De Dakar | 1:19:27 | 1:19:32 | |
HE SINGS IN OWN LANGUAGE | 1:19:40 | 1:19:44 | |
MUSIC: "7 Seconds" by Youssou N'Dour and Neneh Cherry | 1:21:06 | 1:21:09 | |
HE SINGS IN OWN LANGUAGE | 1:21:15 | 1:21:18 | |
# Roughneck and rudeness | 1:21:26 | 1:21:27 | |
# We should be using, on the ones who practise wicked charms | 1:21:27 | 1:21:31 | |
# For the sword and the stone | 1:21:31 | 1:21:34 | |
# Bad to the bone | 1:21:34 | 1:21:35 | |
# Battle is not over | 1:21:35 | 1:21:36 | |
# Even when it's won | 1:21:36 | 1:21:40 | |
# And when a child is born into this world | 1:21:40 | 1:21:45 | |
# It has no concept | 1:21:45 | 1:21:47 | |
# Of the tone the skin is living in | 1:21:47 | 1:21:51 | |
# It's not a second | 1:21:51 | 1:21:53 | |
# 7 seconds away | 1:21:53 | 1:21:56 | |
# Just as long as I stay | 1:21:56 | 1:22:00 | |
# I'll be waiting | 1:22:00 | 1:22:02 | |
# It's not a second | 1:22:03 | 1:22:05 | |
# 7 seconds away | 1:22:05 | 1:22:08 | |
# Just as long as I stay | 1:22:08 | 1:22:12 | |
# I'll be waiting | 1:22:12 | 1:22:14 | |
# I'll be waiting | 1:22:15 | 1:22:17 | |
# I'll be waiting... # | 1:22:21 | 1:22:23 | |
HE SINGS IN FRENCH | 1:22:29 | 1:22:32 | |
# 7 seconds away | 1:22:55 | 1:22:58 | |
# Just as long as I stay | 1:22:58 | 1:23:02 | |
# I'll be waiting | 1:23:02 | 1:23:04 | |
# It's not a second | 1:23:05 | 1:23:07 | |
# 7 seconds away | 1:23:07 | 1:23:10 | |
# Just as long as I stay | 1:23:10 | 1:23:14 | |
# I'll be waiting... # | 1:23:14 | 1:23:16 | |
MELODIC RHYTHMIC RESONANCE | 1:24:09 | 1:24:13 | |
MUSIC: "Mupepe" by Zap Mama | 1:24:19 | 1:24:23 | |
SHE SINGS IN OWN LANGUAGE | 1:25:07 | 1:25:09 | |
The music I'm playing, it's very rare, right? | 1:25:29 | 1:25:33 | |
See, you don't find this nowhere else in the world but where I'm from. | 1:25:33 | 1:25:36 | |
In south-west Louisiana, right. | 1:25:38 | 1:25:40 | |
And so, you come out, they afraid of it, you see. | 1:25:40 | 1:25:45 | |
"Hey, man." "What?" | 1:25:45 | 1:25:46 | |
"An accordion?" | 1:25:46 | 1:25:47 | |
Not me, right? | 1:25:47 | 1:25:49 | |
So, I say, "Hey, why don't you just come listen to it, you know what I'm talking about? | 1:25:49 | 1:25:52 | |
"Hey, man. When you be back?" You know? | 1:25:52 | 1:25:55 | |
Things like that. Those things happen. | 1:25:55 | 1:25:58 | |
MUSIC: "On A Night Like This" by Buckwheat Zydeco | 1:25:58 | 1:26:02 | |
# Well, on a night like this | 1:26:09 | 1:26:10 | |
# I'm so glad you came around | 1:26:13 | 1:26:16 | |
# Hold on to me so tight | 1:26:16 | 1:26:19 | |
# And heat up some coffee grounds | 1:26:19 | 1:26:23 | |
# We've got so much to talk about | 1:26:23 | 1:26:26 | |
# And so much to reminisce | 1:26:26 | 1:26:28 | |
# Yes, I sure feel right | 1:26:28 | 1:26:30 | |
# On a night like this | 1:26:30 | 1:26:32 | |
# Well, on a night like this | 1:26:33 | 1:26:35 | |
# I can't get any sleep | 1:26:37 | 1:26:39 | |
# It is so cold outside | 1:26:41 | 1:26:44 | |
# And the snow is so very deep | 1:26:44 | 1:26:47 | |
# Throw on a log | 1:26:47 | 1:26:49 | |
# Start a fire | 1:26:49 | 1:26:50 | |
# And listen to it hiss | 1:26:50 | 1:26:52 | |
# Let it burn, burn, burn | 1:26:53 | 1:26:55 | |
# On a night like this | 1:26:55 | 1:26:58 | |
# Now wait a minute... # | 1:26:58 | 1:27:00 | |
Everybody feeling all right? | 1:27:45 | 1:27:47 | |
Let's make it move out here. | 1:27:47 | 1:27:48 | |
Hey! | 1:27:48 | 1:27:50 | |
# Get your body next to mine | 1:27:50 | 1:27:52 | |
# And give me company | 1:27:52 | 1:27:54 | |
# That has plenty of room for all | 1:27:55 | 1:27:59 | |
# Now, don't you elbow me | 1:27:59 | 1:28:01 | |
# Let the four winds blow | 1:28:01 | 1:28:02 | |
# Around this old cabin door | 1:28:05 | 1:28:07 | |
# If I'm not too far off | 1:28:08 | 1:28:10 | |
# I think we did this once before | 1:28:11 | 1:28:15 | |
# There's more frost on the window glass | 1:28:15 | 1:28:18 | |
# Now give me a tender kiss | 1:28:18 | 1:28:20 | |
# Cos I sure feel right | 1:28:20 | 1:28:22 | |
# On a night like this | 1:28:22 | 1:28:25 | |
# Yeah. # | 1:28:25 | 1:28:27 |