African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
248 p, Rhetorically, the composite message of reggae music makes claims on attitudes and behaviors which are characterized as appeals to resist the dominant ideology of Jamaica
Rise Up channels the spirit of the elders with cameos by Fred Locks, Sly Dunbar. Robbie Shakespeare, Lee 'Scratch' Perry, Toots Hibberts and Brushy One String among others. Industry stalwarts like producers Mikey Bennett and Carlo Less are among those narrating the story which highlights the unique musical quality of Jamaicans.
Morgan Heritage though, on their part, should bring out tons of new fans to the festival because of their legendary musical accomplishments. The band of brothers, sisters and other relatives, off springs of famed singer Denroy Morgan, have been able to comfortably navigate the various manifestation of reggae, from dancehall to lovers rock and roots rock. Along the way they have scored numerous hits gleaned from their several well written albums. They include Reggae bring back love, Don't haffi dread, She's still loving me, Nothing to smile about and Down by the river.
Examines how marginalized Maroon youth in Paramaribo, the capital of the Caribbean nation of Suriname, employ musical strategies in combating ethno-racial stigmatization and improving their socio-economic position. Traditionally, Maroons, after escaping the plantations during slavery, have lived in semi-isolation in Suriname's dense rainforest. In recent decades, they have become increasingly urbanized, to the discontent of many in Paramaribo, who view Maroons as backward, violent criminals. Drawing on ethnographic fieldwork and popular culture analysis, the article discusses how young Maroons use reggae and dancehall to create and recreate physical and social spaces of their own within the city and outside the forest. They protest local conditions and inequity by drawing on regional images of marginality that have been shaped by Rastafari musicians in Jamaica.