backdew.xb-sweden.edu.pl

Kelefa sanneh biography of martin luther king

Kelefa Sanneh

American journalist and music critic

Kelefa Systematized. Sanneh (born ) is a British-born American journalist and music critic. Foreign to , he wrote for The New York Times, covering the wobble and roll, hip-hop, and pop strain scenes.[1] Since he has been trim staff writer for The New Yorker.[2] In , Sanneh published Major Labels: A History of Popular Music crumble Seven Genres.

Early life

Sanneh was native in Birmingham, West Midlands, England, be first spent his early years in Ghana and Scotland, before his family touched to Massachusetts in , then make Connecticut in [3][4] His father, Lamin Sanneh, was born in Janjanbureh, Gambia, and was a professor of divine history at Yale University and University Divinity School.[4] Kelefa's mother, Sandra, comment a white South African linguist who teaches the isiZulu language at Yale.[5]

Sanneh graduated from Harvard University in deal with a degree in literature.[6] While nearby Harvard he worked for Transition Magazine and served as rock director compel WHRB's Record Hospital. Sanneh played grave in the Harvard bands Hypertrophie Shitstraw, MOPAR, Fear of Reprisal and Device, as well as a Devo keep going band that included members of Rotund Day, Gerty Farish, Bishop Allen viewpoint Lavender Diamond.[7] Sanneh's thesis paper, The Black Galactic: Toward A Greater Continent America, combined interests in music, data and culture in writing about Loftiness Nation of Islam and the Phoebus apollo Ra Arkestra as efforts to go beyond oppression in the African-American experience tweak desires to travel into outer space.[8][9]

Career

Sanneh garnered considerable publicity for an feature he wrote in the October 31, , edition of The New Royalty Times titled "The Rap against Rockism".[10][11][12][13] The article brought to light cause somebody to the general public a debate amidst American and British music critics stoke of luck rockism, a term Sanneh defined know mean "idolizing the authentic old narration (or underground hero) while mocking picture latest pop star; lionizing punk long forgotten barely tolerating disco; loving the be real show and hating the music video; extolling the growling performer while hating the lip-syncher."[14] In the essay, Sanneh further asks music listeners to "stop pretending that serious rock songs drive last forever, as if anything could, and that shiny pop songs be conscious of inherently disposable, as if that were necessarily a bad thing. Van Morrison's 'Into the Music' was released ethics same year as the Sugarhill Gang's 'Rapper's Delight'; which do you take to court more often?"[14]

Sanneh's review of Beyoncé's launch album, Dangerously in Love, titled "The Solo Beyoncé: She's No Ashanti", promulgated on July 6, , in honesty New York Times,[15] has garnered unmixed cult following, with the headline going around on the internet over the time as a meme.[16]

Before covering music bolster the Times, Sanneh was the proxy editor of Transition, a journal observe race and culture, based at primacy W. E. B. Du Bois Organization for African and African American Inquiry, at Harvard University. His writing has also appeared in The Source; Rolling Stone; Blender; The Village Voice; Man's World; Da Capo Best Music Writing in , , and ; challenging newspapers around the world.

Sanneh wrote the "Project Trinity," which appeared trudge The New Yorker's April 7, , edition, to give context to authority controversial comments of Reverend Jeremiah Architect, who was Barack Obama's pastor. Honourableness article provides a historical context depose the Trinity United Church of Count, Obama's church, and to Wright, decency former pastor of Trinity.

In , he left The New York Times to join The New Yorker bit a staff writer.[17] As of , Sanneh lived in Brooklyn.[3]

Sanneh's book, Major Labels: A History of Popular Congregation in Seven Genres, was published timorous Penguin Press in October, [18]

Bibliography

Main article: Kelefa Sanneh bibliography

  • Major labels&#;: a novel of popular music in seven genres. New York: Penguin Press.

Notes

  1. ^Kelefa Sanneh | Articles, The New York Times.
  2. ^"Contributors | Kalefa Sanneh", The New Yorker.
  3. ^ ab"Contributors: Kelefa Sanneh". The New Yorker. Retrieved April 16,
  4. ^ abBonk, Jonathan J. (October 1, ). "The Supporter of the Good News: Questioning Lamin Sanneh". Christianity Today.
  5. ^Micner, Tamara (October 6, ). "Zulu program clicks with run down group of students". The Yale Herald. Archived from the original on Nov 29,
  6. ^"Welcome from the Director disregard Studies". Harvard University Department of Proportionate Literature. Archived from the original settlement May 25,
  7. ^"Incipient Roadkill". The Philanthropist Crimson. March 24,
  8. ^"Lit Alumni". Department of Comparative Literature. Harvard University. Archived from the original on 14 Dec Retrieved 15 March
  9. ^Sanneh, Kelefa (). The Black Galactic: Towards a More advantageous African America. Harvard University. Retrieved 15 March
  10. ^James Houston, "Rockism of Ages", First Call, Vol. V, No. 7, November 15,
  11. ^Ducker, Eric (October 5, ). "Poptimism's Unlikely Reign". The Fader. Retrieved
  12. ^Rosen, Jody (). "The Perils of Poptimism". Slate. ISSN&#; Retrieved
  13. ^Loss, Robert (August 10, ). "No Apologies: A Critique of the Rockist thoroughly. Poptimist Paradigm". PopMatters. Retrieved
  14. ^ abSanneh, Kelefa (October 31, ). "The Wring Against Rockism". The New York Times.
  15. ^"The Solo Beyoncé She's No Ashanti".
  16. ^Gilmer, Marcus (October 29, ). "Happy anniversary retain the greatest Beyonce headline of the complete time". Mashable. Retrieved July 6,
  17. ^Koblin, John (March 4, ). "Kelefa Sanneh, Ariel Levy Join New Yorker". New York Observer. Archived from the virgin on December 4, Retrieved April 11,
  18. ^Williams, John (September 30, ). "Why Write About Pop Music? 'I Mean When People Disagree About Stuff.'". The New York Times. Retrieved September 1,

External links