Chinaman’s Hill Bazaar
Opening Saturday 8th September and each and every Saturday thereafter in the Farmville Car park located corner of Great North Road and Surrey Crescent, Grey Lynn Auckland
Chinaman’s Hill Bazaar is looking for Charismatic, Creative, Inspiring traders for a Market that identifies Grey Lynn’s Earthy, Edgy, Artistic, Bohemian self!
If you believe you have the goods and charm to enhance this event plse feel free to contact Gene via Facebook: Chinaman’s Hill Bazaar.
Chinaman's Hill Bazaar gets its name from the fact that the area was once known as such, (Chinaman’s Hill), from around the 1880s.
The area got the name because many pioneering Chinese families were living and doing market gardening in the area.
The early Chinese who came to New Zealand were of peasant background from Southern China. Initially many headed for the Otago goldfields but faced with hostility, little prospect for gold and economic recession many moved to urban areas and to the main cities in the north Island.
Some of them settled in the areas of Point Chevalier, Grey Lynn, and Westmere; and soon the “Great North Road” hill in Grey Lynn became known as Chinaman's Hill.
Western Springs at that time was used as a source for water supplies to the City of Auckland and the area was rough, boggy and unsuitable for housing. Water was pumped from an artificial lake created by the City of Auckland to two reservoirs- one was in the corner of Ponsonby Road and K' Road and the other in a block bordered by Khyber Pass, Symond Street and Burleigh Street.
A typical sight in those days would have been Chinese men collecting water from Western Springs with a pole and buckets for the gardens. Other similar areas in Auckland where the Chinese were doing market gardening during that era, are where Carlaw Park is now situated and Mangere.
As urban Auckland expanded in the 1900s developments continued to take place including the Auckland City Council Zoological Gardens, housing and many schools were built to serve the growing suburbs in the area.
The Chinese moved on to other areas in the city and some of them became well known traders.
2. Malamini
3. Saajuru
4. Taasi Doni
5. Yere Jabo
6. Siseni
Official Reissue Of The Rare Super Biton National De SÉGou Record On Mali Kunkan. Featuring Songs From Mali’S Golden Age. Of all the Malian orchestras, the mighty Super Biton de Ségou stands tall in the history of Malian modern music. Largely forgo.. en these days, it s.. ll remains one of the oldest and probably one of the best orchestras on the African con.. nent. Like most great orchestras from West Africa, Super Biton have always combined a subtle mix of tradi .. on and modernity, instrumental ease and vocal virtuosity along their sca.. ered and scarce discography. Hailing from Orchestre Régional de Kayes, at the other end of the country, guitar player Mama Sissoko joined the Biton in 1972. He quickly became the main soloist of the band, and paved the way for a music which was both lyrical and sober. They triumphed at the 1974 and 1976 Biennales over the Kanaga de Mop.. , Sidi Yassa de Kayes, Mystère Jazz de Tombouctou, Negro Band de Gao and Kénéstar de Sikasso, Mali’s main regional orchestras. By that .. me, Super Biton were declared Mali’s fi rst ‘na.. onal orchestra’. At the height of their power, the Biton had a repertoire of over 200 songs and counted 19 musicians amongtheir ranks.
By 1977, they released two consecu.. ve albums under the name Super Biton Na.. onal de Ségou, lavishly recorded at the fabled Radio Mali studio under the aegis of sound wizard Boubacar Traoré. ‘Nyeleni’ is a devasta.. ng number sung by Percé Doumbia, one of the leading voices of the orchestra along with Mamadou ‘Coulou’ Coulibaly, Toussaint Siané and Aboubacar ‘Cubain’ Kissa. Percé sings about the equality of men and women, on a track that was voted ‘best song’ at the 1976 Biennale. On ‘Saajuru’, Doumbia promotes honour and brotherhood among local communi.. es. ‘Taasi Doni’ is the story of a young girl asking her parents to forgive her, and let her marry the man she chooses. Percé breaks new ground while singing about this tale of a free wedding in a then very conserva.. ve region. Always moral in their songs, the Biton spoke volumes to a lot of Malian people. Sung by Toussaint and Percé, ‘Siseni’ denounced jealousy and nas.. ness.
This record is an exact reissue of one of their full albums, featuring songs from Mali’s golden age. They display the true nature of Malian musical genius, mixing tradi.. onal and modern instruments, such as Mama Sissoko’s mighty electric guitar, with sheer enthuasism at a .. me when most of these orchestras had largely overpassed the regional and na.. onal status they were given. Just like the Super Biton, s.. ll carrying on a.. er many tribula.. ons, they failed to reach a wider audience outside of Mali. Now it’s about .. me to enjoy the .. melessness of Mali’s regional music from Ségou.
Tracklisting & Soundclips: A1. After Hours ft. T3 A2. L.O.V.E. A3. Somewhere (Deep In The Night) B1. V.B.B. ft, Jay Kin & Amalia B2, Hold Tight B3. After Hours (Instrumental) Globetrotting producer Onra has staked his claim as one of the most excitinfg beatmakers of the past few years, thanks to Pitchforkacclaimed albums and electrifying live MPC performances around the world. With his first release for Fool’s Gold, the Deep In The Night EP, Onra continues to chart new musical territory. The EP’s five tracks meld the snap of vintage jheri curl R&B with squiggling disco synths and deeply funky, late-night vibes. From the new jack swinging “After Hours” (featuring T3 of Slum Village) to the moody, screwed loops of closer “Hold Tight”, Deep In The Night’s cut and paste danceability proves a must listen for any occasion. After all, it’s always after hours somewhere… Contains vinyl exclusive bonus track “After Hours (Instrumental)”
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