There's tendency among some reggae fans to tune out most of today's dancehall deejays, dismissing them as untalented shysters. While that's an essentially justifiable reaction, there are deejays - mostly of the conscious variety - who are worthy of our attention. One in particular is Prezident Brown. Tune out his new release - To Jah Only - and you'll deprive yourself of a relevant body of work that's likely to sway and have you listening for more of this style. To Jah Only is a neat package that adroitly intertwines the traditional with the contemporary. The title track, which leads the album, gently combines slow guitar picks with Nyabinghi drumming, amid Brown's assiduous delivery of some trusty Rasta melodies. The familiar Duppy Conqueror rhythm by Bob Marley is acquired on In This Life, and it's superimposed with a message that counsels mankind about his covetous ways. This theme is also continued with Pomps and Pride. One of the livelier tracks is Micro Chip, and Brown does a nice job keeping pace with a very demanding tempo. But the strongest is undoubtedly Faith - an instant classic that unveils Brown's versatility and true talent. His encyclopedic expressionism sets him apart from the ordinary, and he's truly one of our best links between the past and the present. [Dean Fraser]'s latest album - Retrospect - is a delightfully appetizing reminiscence of classic hits that are masterfully reproduced for everyone's listening pleasure. With 12 tracks, this album takes you back to mento, through ska, roots, and up to the present.
African American Research Center, Library, University of Illinois at Urbana-Champaign
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425 p., An anthology focusing on the musical cultures of the "northern sphere" of Latin America, specifically Mexico, the Spanish-speaking Caribbean, and parts of Central America.
113 p., Jamaican folk songs have become a definitive characteristic of Jamaican culture. They are exemplars of a culture whose music reflects the lifestyle of most of its citizens. In modern times, their beauty has been show cased in local and foreign performances which exposes an element of the country to the world. Additionally, the arrangements of songs by Jamaican composers like Noel Dexter and Peter Ashbourne have aided in their renaissance in modern times. This research analyzes the arrangements by Noel Dexter and Peter Ashbourne. It explores the transition of Jamaican folk songs from the slave fields to the art music stage.
Prophet and loss: A [Bob Marley] documentary forms the centrepiece of a Channel 4 special series on the Caribbean The music continues on August 7 with Top Ten: Caribbean, a celebration of Latino, reggae, ragga, hip-hop and everything in between with the 10 most successful Caribbean chart acts in pop history. Representing the lighter side of Caribbean life is rising star Richard Blackwood in a one-off Caribbean special of his entertainment series, The Richard Blackwood Show.
237 p., Free people of color held an ambiguous place in Caribbean slave societies. On the one hand they were nominally free, but the reality of their daily lives was often something less than free. This work examines how free people of color, or libres de color , in nineteenth-century Cuba attempted to carve out lives for themselves in the face of social, economic, and political constraints imposed on them by white Cubans and Spaniards living in the island. It focuses on how through different Afro-Cuban associations some libres de color used public music and dance performances to self-fashion identities on their own terms.
African American Research Center, Library, University of Illinois at Urbana-Champaign
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284 p., An anthropological study of music as social activism and postcolonial identity development. The research for this dissertation was conducted in Trinidad and Tobago during an extended period of fieldwork from August 2003-February 2005, and during subsequent research trips from 2005 through 2008. This dissertation is a social history of the evolution of rapso, a genre of music that is heavily oriented toward poetic lyrics that advocate for social justice and the upliftment of the oppressed in Trinidad and Tobago. Grounded in oral and archival history and performance analysis, this study addresses the complex interconnections between the political economy of cultural production in Trinidad and Tobago, the politics of racial, gender, and national identity, and the individual quest for self-affirmation and meaning in life through the pursuit of artistic and activist work.
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.
85 p., This thesis is an attempt to explore the role that musical texts and physical spaces played in the development of a Rastafari public in post-colonial Jamaica. By examining theories of public formation outlined in Jürgen Habermas' The Structural Transformation The study positions the Rasta text (through Nyahbinghi ceremonies and the act of 'reasoning') as a self-authenticating, oppositional discourse which functions as a critique of normative constructions of reason. By tracing the musical text through Pinnacle, grounation ceremonies in Trenchtown yards, Soundsystems and Dancehalls, and recording studios, an understanding of the ways in which the Rasta text occupies both self-authenticating and oppositional positions simultaneously can be achieved.
The issue at hand was brought to our attention by Brazilian activist Ivanir dos Santos - the executive secretary of an organization called CEAP (Center for the Articulation of Outcast Populations) who came to our attention recently to protest a song released by Sony Music/Brazil artist Tiririca called "Look at Her Hair." "It was something for the children ... a carnival song, kind of a joke," a spokesperson for Sony Music/Brazil, Michele Rumchinsky, said of the record. The average White man or woman in Brazil, a nation of 80 million people of African descent that has the world's second-largest population of people of African descent outside of Nigeria - makes three times what the average Afro-Brazilian earns, although Afro-Brazilians make up 44 percent of the nation's population.
