Roots reggae artist, Chronixx and his band, Zinc Fence Redemption were the victims of a "dread and terrible lie" during the last week of their "Dread and Terrible" European tour. In an online release from Platinum Camp, that stated that Chronixx and members of his band were beaten by French police using "baseball bats" when they "refused to wear armbands" at the Paris show on April 6, was the cause of many fans taking to social media to express their concern. The Dread & Terrible Tour has continued with successful performances by Chronixx, Dre Island and Kelissa in various cities around Europe every night since the April 6 date in Paris."
[Carolyn Cooper] said there is a dissonance between "the brand" and the "representation of the brand" and that "until in Jamaica we come to acknowledge Jamaica is not an "out of many, one people" country but it is really a country of black people with small numbers of ethnic minorities, we're not going to get the brand right." 'At Independence, Emancipation Day just disappeared. Because if you have Emancipation Day, then you have to ask yourself what you were emancipated from. And then certain people would have to say, well, we were mixed up in it. Slavery, that is. So Emancipation Day was just erased,"she said. "But Garveyites and Rastafari kept the tradition of celebrating Emancipation Day. And it's now back on the national calendar. We even have an Emancipation Park!" "This book is a celebration of Brand Jamaica, the authentic Brand Jamaica and I hope that as you read it, you'll understand why I'm so passionate about the subject," said Cooper as she ended her remarks.
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.
The group (JFS), which was founded by the late, Dr. Olive Lewin, OD, one of the world's foremost musicologist and authority on Jamaican folklore, will launch Jamstar's ambitious World Series of Concerts project with three performances in New York City from October 11 thru' 13. Performances are scheduled for St. John's University (Queens), On Friday, October 11; Hunter College (Manhattan), on Saturday, October 12; and Calvary Tabernacle, Hempstead, on Sunday, October 13. Billed as "The Jamaican Folk & Reggae Essay Competition", the project is a Grade based initiative, targeting Elementary through High School age students, and focuses on exploring aspects of Jamaica's Folk and Reggae music. Two of the recommended reference texts are books by the late Dr. Olive Lewin, "Rock It Come Over, The Story of Jamaican Folk Music", and "Roots of Reggae" by Dr. Ptah Shabazz.
This is a narrative of Jamaica told on a musical crescendo, no 'bungar.ung'. Just the words of Jah. `Equal Rights: Reggae and Social Change' is seeking to transform the bare walls of the Jamaica Music Museum, stringing together notes of this truly Jamaican genre. "Since reggae is Jamaican, we have used it to convey the message," said Herbie Miller, director/curator of the Jamaica Music Museum. "It is a journey highlighting socio-political and spiritual sensibility." The realm of the `happy go lucky' Jamaica transitions to Ska depicting plain and modern art building the crescendo of social change as the legendary Bob Marley and the Wailers resonate 'Get Up Stand Up', evolution of musicians on the frontline of social change.
African Consciences is a Parisian based initiative of artistes from the `Black Atlantic' and Africa. They use music to shape a discourse on their identity in relation to Africa, strongly bound to consciousness. The musical itinerary provided by reggae and hip hop constitutes what they see as a means for action to bring alive a "global African network". In this chapter I will reconsider the practice of repatriation, and the meanings it conveys now. I will try to analyse it through African Consciences' "Door of no Return" where they intend to travel back the road of the trans Atlantic trade in Africans. African Consciences has a mediated relation to Africa through roads that join their musical practice to their understanding of African history and tradition. It also carries an ideological intent to bring forth a global Africa through the articulation of routes and roots. [ABSTRACT FROM AUTHOR].
The article discusses the importance of percussionists and drummers in Jamaican popular music, especially reggae, arguing that their contributions have often been under-estimated. It emphasizes the traditional African roots of characteristic Jamaican drumming styles. An overview of the history of Jamaican percussion and drumming is provided. Musicians discussed include Babu Bryan, known for his Kumina drumming, Watta King, a drummer in the Buru tradition, and Oswald "Count Ossie" Williams, who developed the Nyabinghi style of Rastafarian drumming.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
188 p., Explores Jamaican masculinity through the male-dominated dancehall space that is at once a celebration of the marginalized poor and also a challenge to social inequality. Using the major masculine debates that are articulated in dancehall music and culture, Donna Hope explores the transition of Jamaican masculinity in the 21st century.
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.
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.
