From the Editors
The New York Times says Jadaliyya "Brings New Life to Arab Studies." Read about it by clicking here.
It was October of 2011: sixty-seven years after one of the first compositions involving sampled sound, a haunting mutation of Egyptian zaar music, was created in Cairo by Halim El Dabh.1 I was holed up in a soundproof studio in Ashkal Alwan, between the echoes of the sea bouncing off the mountains above Beirut, beyond the relentless cacophony of cars and construction. I was alone in the studio with a record player, piecing together a new beat, diving into a stack of ...Keep Reading »
Joe Namy often works with sampled sounds, documentary/music videos and photography, investigating aspects of identity, memory, power, and currents encoded in music. His ideas often revolve around the space between two technics turntables--how faders get faded and amplifications transformed. He received a MFA from New York University, participated in Ashkal Alwan's Home Workspace program, and has independetly studied jazz, Arabic, and heavy-metal drumming. His work has been exhibited, screened, and amplified at the Detroit Science Center, the Queens Museum and Brooklyn Museum in New York, the Beirut Art Center, as well as less prominent international dance floors. www.olivetones.com