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AIDS awareness album proves
CD review
Aaron Shakra
Pulse Reporter
The Red Hot Organization aims to
raise funds and awareness about HIV
and AIDS. During the past 10 years,
they have released a slew of albums
under the “Red Hot +” moniker.
These compilations include exclu
sive, original music, and are organized
by theme. “Red Hot + Rhapsody” was
a tribute to George Gershwin. “Red
Hot + Lisbon” featured music from
the Portuguese-speaking countries of
the world. These, of course, are just a
few examples.
The latest album, “Red Hot + Riot,”
is probably the most poignant and
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timely release in the series yet, given
that the musician of focus — the late,
great Fela Anikulapo Kuti — died of
AIDS-related causes in 1997.
Kuti was a West African musi
cian, purveyor of polyrhythms, and
his own brand of music is com
monly known as “Afrobeat.” The
large body of music he was respon
sible for throughout his career as a
musician was often intertwined
with the politics of the African con
tinent. His influence on Western
music in the past 20 years still re
mains largely unrecognized.
“Red Hot + Riot” features Kuti’s
music, but these aren’t just tracks
pulled from his voluminous discog
raphy. They’re covers that, at vari
ous times, sample and recombine
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Kuti’s lyrics and music with brand
new music, vocals and words. These
tracks sound more focused and inte
grated than typical “re-interpreta
tions,” such as the various Bob Mar
ley techno projects cast onto the
marketplace. This is directly related
to the bevy of artists — true musi
cians —involved. Dead Prez, Jorge
Ben, Les Nubians and Sade Adu are
just a few of the names involved in
the project.
Even Femi Anikulapo Kuti — Fela
Kuti’s son, who has followed in his fa
ther’s musical footsteps and has long
been recording albums of his own —
provides vocals and plays saxophone
throughout the record. He’s not the
only other Kuti — Funke and Yeni
Anikulapo Kuti contribute vocals to a
handful of the tracks.
The result is a top-notch product,
all the way down to the liner notes
and design. In reading that “AIDS is
no longer an emerging epidemic — it
is a global emergency — perhaps the
worst health crisis in human history
‘Red Hot’
... In the time it takes to listen to this
album, 150 Africans will become in
fected with HIV/AIDS,” the listener
gets a sense of immediacy of this
problem the entire world is facing.
Mostly, what comes across in this
music is content and purpose. But,
of course, any album with Ruti’s mu
sic is likely headed for success.
Contact the Pulse reporter
at aaronshakra@dailyemerald.com.
Hockaday
continued from page 5
sorority picked their pledges, and
by the end of the first hour and a
half, the pledges were already
breaking the rules and blatantly
disrespecting authority — an au
thority that Becca was reluctantly
in charge of. She was already being
forced into a “bad guy” role, forc
ing the pledges to follow rules that
they didn’t want to, keeping the
partying to a minimum despite the
pledges’ obvious desire to take
body shots off anything that
moved, that kind of thing.
And after a couple more shows like
this, I wanted to call Becca and con
sole her. Because while she wasn’t get
ting tom to shreds, she certainly was
n’t coming across as the Becca I knew.
Then things turned around. The
pledges turned to petty in-fighting,
and when they did challenge au
thority, it started coming down on
other girls in the sorority, not Bec
ca. In fact, Becca was horned into
the “mediator” role — a cooler head
prevailing over all the sorority back
biting and double-crossing.
In one episode, she was elected
president for the 2002-03 year dur
ing a banquet that was marred by
controversy between old members
and pledges. But Becca stayed
above it all, serenely enjoying the
moment for what it was. I was so
proud, I wanted to cry.
In the end, Becca’s magnetic per
sonality came through, finally an
swering my one big question about
reality television. When Becca was
saved, I knew that good people will
come across as good people, no
matter the medium.
In the last show, as two girls de
cided to not join the house, one of
the girls gave a tearful speech in
which she blubbered “And ... I just
really want to thank... Becca ... for
everything.” And in an MTV.com
“cast commentary,” this sarhe
pledge said “I want to thank Becca
... she was great and constantly
stood her ground! Girl, I cannot
thank you enough! ”
And Becca, I, too, cannot thank
you enough. You gave me faith in
the system, easing my fears for
hours of reality television to come.
In this reality show, it seems,
Becca was the sole survivor.
Contact the sports editor
atpeterhockaday@dailyemerald.com.
His views do not necessarily represent
those of the Emerald.
Reel
continued from page 5
think that cassette four-tracks,
which belong to the analog world,
are a dying breed. Both Mumford
and Dalbey use their home comput
ers to record music as well, but say
four-tracks aren’t becoming extinct
by any means.
“With a four-track, you get a
more natural sound,” Dalbey said.
“A computer doesn’t have the
warmth and depth.” Dalbey also
credits the machine’s price, $100
to $400, and accessibility as factors
in its continued use.
And four-track popularity isn’t
limited to bedroom musicians.
Artists like Beat Happening and the
Moldy Peaches have released al
bums recorded on four-tracks.
However, Mumford cautioned that
using four-tracks takes patience.
“There’s a lot of things you can
do in the digital realm with the
push of a button that takes a lot of
work to do with a four-track.”
Nonetheless, he said musicians
have more room to experiment and
create different effects and sounds
using multiple four-tracks.
Guitar Center employee Dan
Lorenz said the store still sells a
large number of four-tracks.
“It’s portable, much less compli
cated and all self-contained,”
Lorenz said.
Musicians interested in purchas
ing a four-track should consider
"I think a lot of people
underestimate the
value of stuff recorded
on a four-track
Brian Mum ford
local musician
whether or not they want a digital or
analog (cassette) machine, and how
many inputs they need. Dalbey, who
recommends Tascam and Fostex
brands, said a quality microphone is
crucial to quality recording.
Although four-tracks are relative
ly small in size, the machine’s con
tribution to the musical process is
immense. It gives any musician the
chance to record and share work
— instead of limiting it to those
with limitless funds.
“I think a lot of people underes
timate the value of stuff recorded
on a four-track,” Mumford said. “I
admire the low production quality
stuff, especially compared to slick,
corporate music.”
Contact the Pulse reporter at
hetenSchumacher@daiIyemerald.conv