alberton: @andrewroche Thanks! do let us know if you're working on projects/events that use hashtags as we can integrate specific ones too :)

alberton: Twiier = Twitter :)

alberton: We've just made a minor tweak to how Twiier and Shouts sync on UnLtdworld: http://tinyurl.com/4k7hsk

alberton: @andrewroche ;) and you're suggestion in the Q&A was really helpful too :)

- Categories finally expanded from 15 to 20
- Fantastic performances by Omawumi, Rooftop MCs and MI
- Prof (Mrs) Jadesola Akande honoured

You would be forgiven if you thought you were at any of the major Nigerian awards; not just a launch. There was glam, there was glitz, and there was a blinding array of stars as Season 4 of Nigeria’s biggest youth event, The Future.. Awards, was launched in Lagos on the 30th of September.

The venue was rave new place, Studio 868 in Victoria Island and the action started right from the exclusive Nigezie green carpet as cameras clicked away and guests sipped from their cocktail glasses.

The guests were welcomed into the venue by the anchors, Cool FM’s Gbemi Olateru-Olagbegi and ace comedian, Jedidiah. Then the show kicked off with comedy and a performance by rave new guitarist, Bez Idakula. This was followed by a special post-humous tribute given by Prof. Pat Utomi in honour of late Board of Trustees member, Prof Jadesola Akande – the award was presented to her son, Debo, by Ms. Bennie Uche.

What followed was a very moving Keynote Speech delivered by the event’s Creative Director, Chude Jideonwo. The, speech, titled ‘Yes We Can’ and which won standing and thunderous clapping ovations traced the story and evolution of The Future Awards over the past three successful years and tied it to the story of this next generation. “In business and technology, music, movies and the media, fashion and beauty, sports and advocacy, comedy and the corporate environment, young people were making such giant strides,” he said, “Why wasn’t the media talking about those ones? Why wasn’t the government trumpeting those examples? Why wasn’t the true story being told that young positive role models were actually in the majority?”

The event saw spectacular performances by Omawumi of Idols West Africa, whose new single, In the Music, got the guests screaming and swaying; ace rapper MI, who ’set the roof on fire’, and the Rooftop MCs who took it to another level with their mega-hit track, La gi mo.

Unveiled at the occasion during a presentation by the event’s PR Director, Emilia Asim-Ita, were the new logo and the new website. Also unveiled was the ‘i am the future’ campaign which is the theme of the entire media campaign for the awards – TV, radio, print and outdoor; working with brand ambassadors; ‘Gbenga Sesan, IK Osakioduwa (Wildchild) and Tara Fela-Durotoye, who are the only three people to have won twice at The Future Awards.

Nominations were also formally declared open as from 12 midnight on that day: the awards have been expanded from 15 over the past three years to 20, and the judges were unveiled to include Mo Abudu (Moments with Mo), Bolanle Austen-Peters (Terra Kulture), Siene Allwell-Brown (Nigeria LNG), with Dr. Reuben Abati remaining its Chair.

Guests at the star-studded party included Stella Damascus, Michelle Dede, Tara Fela-Durotoye, Bukola Adubi, Toni Kan, Ebuka Obi Uchendu, Funke Bucknor, Soundcity’s Onyinye Igwe, the winners of Nigeria ’s Next Top Model with the organizer Joan Okorodudu, Big Brother’s Ofunneka, Najite Dede, amongst others.

The train now moves to the national tours, which will take the Awards team to town hall meetings in Abuja , Kaduna , Enugu , Ibadan , Benin and Lagos to engage the youths at the grassroots.

Nominations are to be submitted via the website and by phone and close on the 31st of October. The date of the Awards proper was also unveiled to be the 18th of January, 2009, in Lagos .

This launch event was held with support from Macleans, Yvent Couture, Zapphaire Events, Nigezie, Total Consult, O’Naphtali, Royal Mega Printing, Wea Concepts, Tremor Perfect, Saheeto, La Bash, and Nigeria International.

Listen to this podcast (computer-generated voice)

alberton: Waitrose sandwich was rather stale today. Now off to Green Park for a meeting.

alberton: Off to grab a drink with @nickbelluk

alberton: Apparently we're in today's Mail on Sunday (not page 3 stuff ; finance & enterprise section). So, off to buy a copy. Then time to chillax.

Mutações: O que mantém um homem vivo? (II): novos devaneios sobre algumas transfigurações do humano - 30/09

Para ler ouvindo Heroes, de Bowie

O que é o humano?
-> É a partir dessa indagação que se pode alcançar o entendimento sobre o desumano.
-> Pensar sobre a condição humana nos permite compreender aquilo que leva o homem a descartar ou erradicar o "humano".

O que mantém um homem vivo?
-> “O que mantém um homem vivo? Ele vive dos outros. Ele gosta de bater neles, enganá-los, comê-los inteiro se ele puder." (Ópera dos 3 vinténs, Bertold Brecht e Kurt Weill).
-> "num mundo como este, o homem, para sobreviver, tem de suprimir a sua humanidade e explorar o seu semelhante." (Ópera dos 3 vinténs, Bertold Brecht e Kurt Weill, segundo ato).

Qualquer desenho da condição humana presume a perseverância do homem no tempo.
-> "Connatus" de Spinoza (Ética, III): "Persistência na Existência".
-> É possível uma existência sem sentido? Portanto, seria o sentido uma necessidade para a existência permanecer?

Obsessão humana: tornar o mundo regrado e familiar.
-> Faz-se por meio de:
. memória (passado em direção ao presente)
. presentificação do futuro
. desejo de constante atualização do que virá (futuro em direção ao presente)

A metáfora do Naufrágio:
-> A humanidade vem ao mundo num naufrágio (o homem se aparenta a um náufrago ao nascer). Então o homem é protegido dessa natureza hostil que o cerca: por um abrigo. Se a condição é de náufrago, é pela idéia de "resgate", de "acolhimento", que o homem se realiza enquanto humano.
-> Isso não torna o homem um eterno devedor, pela sua condição de "resgatado"?
-> Não seria a própria humanidade o "oceano" que causa e que permite todos os naufrágios - como aparece em Rousseau? (a esse respeito, talvez valha conferir o breve texto em PDF).
-> Isso não faz a idéia de "esperança" (no resgate por vir, por exemplo) ser a pedra-fundamental da política? O homem, com a política, manteria sua esperança na salvação da humanidade. -> Uma política finalista, teleológica, salvacionista.

De onde vem a ação do homem?
De seu interior ou de seu exterior?
O homem age por suas paixões interiores?
-> É a linguagem que permite o homem exprimir seu interior?
-> A linguagem, per si, não é já sempre "exterior"?
-> A linguagem é uma teoria sobre o mundo. É o que permite sentido, permite a fixação de sentido no mundo.

Afinal, o que mantém um homem vivo?
. imprevisibilidade do mundo
. mundo incognoscível
. destruição das relações causais
. concentração absoluta de poder
. eliminação do passado e do futuro, como limitação do presente

4th October 2008 marks the 7th Birthday of the International Young Professionals Foundation.

Born at the conclusion of the first International Young Professionals Summit in October 2001 on Australia’s Gold Coast, the IYPF has grown in to a strong global network of young professionals spanning 130 countries working together to create a better world for current and future generations.

To celebrate our 7th Birthday, we’ve put together 7 ‘gifts’ for you.

1. IYPS 2008 portal
http://scenta.interwise.com/etechb/Portal/IYPS

Go here to see all of the presentations, session summaries, and even live recordings from our 3rd International Young Professionals Summit, held 19-23 August 2008 in Manchester UK. Be sure to take the time to listen to the presentation by Professor Jeffrey Sachs on how young professionals can help to achieve the Millennium Development Goals

2. IYPS 2008 Declaration & Communique
http://www.iypf.org/files/iyps2008/IYPS2008_Public_Communique.pdf

The IYPS 2008 alumni present their commitments and call to action. Read it, join us, and pass it on.

3. Monthly virtual meetings
http://scenta.interwise.com/etechb/Portal/IYPS

At the IYPS 2008 portal, there are links to upcoming events to be held on Interwise. We will hold monthly meetings and all are invited. The October meeting will focus on projects and plans for engaging young professionals in the MDGs. The November meeting will be a learning opportunity as we invite someone working on the MDGs to brief us. In December, we will hold our Annual General Meeting + have another projects and planning meeting. Bookmark the portal website and come back regularly to see what is on.

4. Stand Up Against Poverty
http://www.iypf.org/?q=content/events

Join hundreds of other young professionals at more than 50 events in more than 30 countries to Stand Up Against Poverty between 17 and 19 October and demonstrate that we are ready to play our role in seeing the MDGs realised by 2015.

5. Mdgpledge.org
http://www.mdgpledge.org

Visit mdgpledge.org today and pledge to incorporate the MDGs in to your personal and professional e-mail signatures. It is a quick and easy way to raise awareness about the MDGs and start conversations with your friends and colleagues. More MDG pledges will follow.

6. Onedoes.org
http://www.onedoes.org

To create a better world for all, all we must do is what we can. Visit onedoes.org and nominate outstanding young professionals who inspire you.

7. New IYPF.ORG
http://www.iypf.org

We’ve revamped our website. It is now easier to quickly learn about IYPF and find out how to get involved.


Click through to enjoy each gift and share these gifts with your friends and colleagues.

We look forward to working with you all to mobilise and engage young professionals in achieving the Millennium Development Goals over the next 12 months.

Cameron, Greg and the IYPF team

At 77, Omara Portuondo is an elder stateswoman of world music. Here she tells Frederick Bernas about her new album, Gracias, and reflects on a long life of innovation, cultural enterprise and funny stories.

With a musical career spanning 60 years and counting, Omara Portuondo is far from finished. "It is never enough, there is always more to do, there is always something new," she states from a comfy couch in the top-floor bar of a London hotel. It's early Friday morning and the singer is probably not too enthralled by the prospect of a day with the media.

However, she speaks enthusiastically about her new CD, Gracias, which was released on September 25. "I selected these tracks because they are very popular and people know them in Cuba. I like all of these songs and I wanted to work with younger people who play modern music which is still rooted in tradition." Indeed, the backing band for this 13-track disc features the likes of jazz bass virtuoso Avishai Cohen and rising Cuban star Roberto Fonseca on piano. Other guest appearances include Indian percussionist Trilok Gurtu, sweet-voiced Richard Bona from Cameroon, veteran pianist Chucho Valdés and Brazilian crooner Chico Buarque.

"The music doesn't know the barriers of age or language," she continues. "I wanted to bring everyone together to celebrate 60 years. I've done lots of records; this time I wanted to work with songs I've done before but make them more contemporary, more actual." Easily discernible from its title, the album is a gesture of appreciation -- "I wanted to say thank you to all these people: my family, musicians, authors, composers, the public, everyone who has helped me."

In the early years, Omara learnt traditional songs from her parents and became a professional dancer in 1945. Swapping her dancing shoes for a mic, she was then part of several innovative movements in Cuban music, with fusion across genres such as jazz, bossa and other Latin styles. Her debut album was released in 1959 and for the next 40 years she worked steadily on different projects, mostly solo, including the Buena Vista Social Club.

A worldwide phenomenon emerged: Wim Wenders produced a compelling documentary and World Circuit Records released an album of the same name. Portuondo and others skyrocketed to international fame almost overnight, and she identifies this as the highlight of her musical life so far. "It made Cuban music known all over the world. I had been to Finland, Japan, other countries, but then with the Buena Vista Social Club everything went global. There was a collective feeling of joy and it made me very happy. I have huge pride that I worked with these musicians, sang these songs."

Had she expected such a boom of interest in Cuban music? "It's a difficult thing, it was a coincidence. It happened organically, without thinking about it -- [producer] Nick Gold, Wim Wenders and [guitarist/producer] Ry Cooder were there to work on the project and it just happened. We never really imagined it was going to be so successful. The record was going to be made anyway. You just need to be in the right place at the right time for an opportune moment!"

Portuondo already had a considerable reputation in Cuba: wonderful images from Wenders' film of her walking through Havana, singing choruses of popular tunes with members of the public, illustrate her significance in domestic culture. She maintains that her life "didn't really change" when her fame acquired this international dimension, but it perhaps fostered a heightened sense of consciousness at being a global ambassador for the little island's artistic scene. "I don't feel pressure from fans to produce a good album, but I feel responsibility that I am representing the music of a country. I feel like the public are on my side. And I don't really feel the high expectations because I am part of a team; the musicians with me are young, and they have won prizes in jazz festivals. They really help me to move forward."

Cuban influence on world music is disproportionate to the size of its population -- the nation has a history of producing great players who have collaborated fruitfully with foreign artists, particularly in the field of jazz. Dizzy Gillespie was one of the first to break away from the American mainstream he'd helped create, venturing into what is now known as Latin jazz to produce a series of albums which defined the sub-genre. Omara offers an insightful explanation, arguing, "It's no so much that Cuba is an influence, we've been very well-informed.

"Even though it's a small country, 11 million inhabitants, we still receive information. I knew the Beatles, I sung their songs, I sung with Nat King Cole, I sung Italian songs, American, English... We had people on TV from Italy, North America, Mexico, so we all saw that. Cuba has always been very well-informed on what's going on in the outside world -- whether it is music, film, recordings or whatever."

In terms of the future, she has prudent words: "I see it like any other country in the world. It all depends on the youth, the opportunities. Cuba is subject to a lot of things -- for example, hurricanes -- but I see it as any other country." Her tone possesses a grandmotherly air of wisdom on the subject, and she speaks brightly of new Cuban musical talent. "There are so, so many musicians to look out for! They are making all kinds of music, and lots of young people ask to work with me -- for example, I have worked with a rapper on something really funky, very upbeat. There is a lot of musical interest from young people in Cuba."

Like any grandparent, Omara has a wealth of random tales -- she bursts into life when asked about comical memories, animatedly recounting the time when "I was singing with a quartet live on TV, and one of the other girls swallowed a fly! It flew into her mouth as we were ending a song, and we didn't realise she had run away!

"Lots of unexpected things happen on stage. There was another time when the heel of my shoe wedged into a little gap in the stage live on TV and I fell down! And another time, when we were in Mexico preparing for a show, there was an earthquake while I was on the toilet -- we didn't know what was going on!"

The warmth of her personality shines through, a characteristic that has endeared her to music lovers the world over. This public familiarity as one of the queens of Latin music is aptly demonstrated by the fact her surname has been omitted from the cover of Gracias, a risky luxury few other musicians could afford. Her expressive, compassionate voice can be recognised instantly -- it's a "gift" she is profoundly grateful for. "I am lucky to be able to do things with my voice musically. Other people might be more limited, but I can, so I am always going to find something new and something to innovate."

As for motivation, another crucial facet to her thinking is creative exchange: "I did all this so I could spread culture to other countries in the world, and I think I have succeeded. My father taught me all the old Cuban songs when I was a young girl and I've been singing them for more than 50 years now." Did she think it would come this far? "It's not something you think about, it's something that happens. It doesn't matter about the language. It's not something I thought ahead about. I'm doing something I like, so I will always keep going: I never tire of singing, I will not stop singing until one day when I might have to!"


UK tour dates:
10/12/08 -- Sage 1, Gateshead
13/12/08 -- Town Hall, Birmingham
13/12/08 -- Union Chapel, London

Links:
www.omaraportuondo.com
www.myspace.com/omaraportuondoworldcircuit


Published @ Fly, 4/10/08 - click here for original.

alberton: http://strategerycapital.com/ - darkly witty.

On his sixth solo album, the award-winning Wilson looks more towards commercial influences than previous work.

It would be easy for a man of Alex Wilson's pianistic talent to cruise along comfortably, picking up sideman or session gigs here and there and continuing to operate in the time-honoured medium of standard small jazz groups. But that doesn't match his creative vision. Instead, recent records have seen him assemble a 12-piece all-singing, all-dancing Latin ensemble, capable of swirling grooves and intricate polyrhythms which bring out the best in his compositional nous.

After Inglaterra (2007), a disc which firmly established his arrival as a major player on dancefloors around the world, Wilson has opted for a more western, singer-oriented outing - as the title of Salsa Con Soul would suggest. Welcome to a truly globalised world, where traditional elements of Latin music are combined with more mainstream genres like soul, R&B and gospel.

The band is spot on, raking through sharp, classy arrangements that complement the assortment of vocalists and help them sound really good. The word 'diva' has become cliché, including its use in this CD's press release, and there is a sense of a diva complex in the music: the English lyrics occasionally veer precariously close to the rather crass realms of our dearly beloved pop kingdom. However, spicy instrumentation will often step in to save the day, like a knight in shining armour to rescue the damsel in distress, going some way to appease even the staunchest anti-pop crusaders. This is not said lightly, but it's forgivable in the name of fun.

Salsa Con Soul ticks pretty much all the boxes. There's even a sprinkling of fiery non-vocal tunes to soothe the aforementioned purists - 'Sabroson' and 'Antonio' offer a pleasant respite from soul diva shenanigans. If you're planning a Latin-themed dance party, this record should be number one on the shopping list.


Release: 20/10/08

Tour:
19/10/08 - Leeds University
8/11/08 - Birmingham Town Hall
21/11/08 - Jazz Café, London

Links:
www.alexwilson.net
www.myspace.com/alexwilsonpiano



Published @ Fly, 3/10/08 - click here for original.

alberton: reading Clean Energy 2030: http://tinyurl.com/3qfmnw