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Characteristics of Music in Jamaica and Bob Marley
CHARACTERISTICS OF MUSIC IN JAMAICA AND BOB MARLEY CHARACTERISTICS OF MUSIC IN JAMAICA ● The music of Jamaica Jamaican folk music encompasses as many genres of popular music, such as mento, ska, rocksteady, reggae, dub, dancehall, reggae and other styles associated fusion ● The Jamaican American musical culture mix musical elements, such as: -rhythm and blues - rock and roll -soul REGGAE Reggae is a music genre that was born in Jamaica in the mid-1960s It became really popular since 1970 The reggae music genre is characterized by slower than ska and rocksteady music The reggae guitar used to put emphasis on either the third pulse or to keep the line from the second to the fourth. Uses instruments like guitar, bass, drums, hammond organ guitar Bass Hammond organ drums BOB MARLEY Robert Nesta Marley Booker, better known as Bob Marley, was a musician, guitarist and composer Jamaican. Born on February 6, 1945, in Nine Mile (Saint Ann), Jamaica He died on 11 May 1981 to 36 years in Miami (Florida), United States He had 14 children: Damian Marley, Ziggy Marley, Stephen Marley, Ky-Mani Marley, Rohan Marley, Julian Marley, Cedella Marley, Isaac Marley, Stephanie Marley, Imani Carole Marley, Sharon Marley, Robbie Marley, Karen Marley, Makeda Marley Their record label was: Island Records, Tuff Gong, Beverley's, Studio One, Trojan Records, St. Claire, Universal His online page it´s: http://www.bobmarley.com You can watch this video, of Bob Marley, that it´s one of most famous songs: https://www.youtube.com/watch?v=2XiYUYcpsT4 Made by María Pajares . -
Various the Trojan Skinhead Reggae Collection Mp3, Flac, Wma
Various The Trojan Skinhead Reggae Collection mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Reggae Album: The Trojan Skinhead Reggae Collection Country: Europe Released: 2009 Style: Reggae MP3 version RAR size: 1239 mb FLAC version RAR size: 1530 mb WMA version RAR size: 1737 mb Rating: 4.2 Votes: 227 Other Formats: MIDI APE FLAC MP4 AUD MMF MP1 Tracklist Hide Credits Skinhead Train 1-1 –The Charmers 2:40 Producer – Lloyd CharmersWritten-By – Charmers* Hee Cup 1-2 –Sir Harry 2:14 Producer – Edward 'Bunny' Lee*Written-By – Unknown Artist –King Cannon (Karl Overproof (aka Little Darlin') 1-3 2:41 Bryan)* Producer – Lynford AndersonWritten-By – Williams* Copy Cat 1-4 –Derrick Morgan 2:38 Producer – Leslie KongWritten-By – Morgan* The Law 1-5 –Andy Capp 2:17 Producer – Lynford AndersonWritten-By – Lee*, Anderson* Soul Call 1-6 –The Soul Rhythms 2:57 Producer – J. Sinclair*Written-By – Bryan* Music Street 1-7 –The Harmonians* 1:59 Producer – Edward 'Bunny' Lee*Written-By – Lee* V Rocket 1-8 –The Fabion Producer – Albert Gene Murphy*Written-By – Albert George 2:37 Murphy What Am I To Do 1-9 –Tony Scott 3:15 Producer – Tony Scott Written-By – Scott* Spread Your Bed 1-10 –The Versatiles 2:17 Written-By – Byles* John Public (Tom Hark) 1-11 –The Dynamites 2:13 Producer – Clancy EcclesWritten-By – Bopape* Casa Boo Boo 1-12 –Cool Sticky* Producer – 'Prince' Tony Robinson*Written-By – Unknown 2:33 Artist Smile (My Baby) 1-13 –The Tennors 2:57 Producer – Albert George MurphyWritten-By – Murphy* Zapatoo The Tiger 1-14 –Roland Alphonso 2:38 Producer -
Jamaican Politics, Nationalism, and Musical Culture in Transition, 1974-1984
University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses 5-18-2007 Between Two Giant Sounds: Jamaican Politics, Nationalism, and Musical Culture in Transition, 1974-1984 Caree Banton University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/td Recommended Citation Banton, Caree, "Between Two Giant Sounds: Jamaican Politics, Nationalism, and Musical Culture in Transition, 1974-1984" (2007). University of New Orleans Theses and Dissertations. 508. https://scholarworks.uno.edu/td/508 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. Between Two Giant Sounds: Jamaican Politics, Nationalism, and Musical Culture in Transition, 1974 – 1984 A Thesis Submitted to the Graduate Faculty of the University of New Orleans In partial fulfillment of the Requirements for the degree of Master of Arts In History By Caree Ann-Marie Banton B.A. Grambling State University 2005 B.P.A Grambling State University 2005 May 2007 Acknowledgement I would like to thank all the people that facilitated the completion of this work. -
Put on Your Boots and Harrington!': the Ordinariness of 1970S UK Punk
Citation for the published version: Weiner, N 2018, '‘Put on your boots and Harrington!’: The ordinariness of 1970s UK punk dress' Punk & Post-Punk, vol 7, no. 2, pp. 181-202. DOI: 10.1386/punk.7.2.181_1 Document Version: Accepted Version Link to the final published version available at the publisher: https://doi.org/10.1386/punk.7.2.181_1 ©Intellect 2018. All rights reserved. General rights Copyright© and Moral Rights for the publications made accessible on this site are retained by the individual authors and/or other copyright owners. Please check the manuscript for details of any other licences that may have been applied and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. You may not engage in further distribution of the material for any profitmaking activities or any commercial gain. You may freely distribute both the url (http://uhra.herts.ac.uk/) and the content of this paper for research or private study, educational, or not-for-profit purposes without prior permission or charge. Take down policy If you believe that this document breaches copyright please contact us providing details, any such items will be temporarily removed from the repository pending investigation. Enquiries Please contact University of Hertfordshire Research & Scholarly Communications for any enquiries at [email protected] 1 ‘Put on Your Boots and Harrington!’: The ordinariness of 1970s UK punk dress Nathaniel Weiner, University of the Arts London Abstract In 2013, the Metropolitan Museum hosted an exhibition of punk-inspired fashion entitled Punk: Chaos to Couture. -
The A-Z of Brent's Black Music History
THE A-Z OF BRENT’S BLACK MUSIC HISTORY BASED ON KWAKU’S ‘BRENT BLACK MUSIC HISTORY PROJECT’ 2007 (BTWSC) CONTENTS 4 # is for... 6 A is for... 10 B is for... 14 C is for... 22 D is for... 29 E is for... 31 F is for... 34 G is for... 37 H is for... 39 I is for... 41 J is for... 45 K is for... 48 L is for... 53 M is for... 59 N is for... 61 O is for... 64 P is for... 68 R is for... 72 S is for... 78 T is for... 83 U is for... 85 V is for... 87 W is for... 89 Z is for... BRENT2020.CO.UK 2 THE A-Z OF BRENT’S BLACK MUSIC HISTORY This A-Z is largely a republishing of Kwaku’s research for the ‘Brent Black Music History Project’ published by BTWSC in 2007. Kwaku’s work is a testament to Brent’s contribution to the evolution of British black music and the commercial infrastructure to support it. His research contained separate sections on labels, shops, artists, radio stations and sound systems. In this version we have amalgamated these into a single ‘encyclopedia’ and added entries that cover the period between 2007-2020. The process of gathering Brent’s musical heritage is an ongoing task - there are many incomplete entries and gaps. If you would like to add to, or alter, an entry please send an email to [email protected] 3 4 4 HERO An influential group made up of Dego and Mark Mac, who act as the creative force; Gus Lawrence and Ian Bardouille take care of business. -
The Sounds of Hate: the White Power Music Scene in the United
The Sounds of Hate The White Power Music Scene in the United States in 2012 The recent tragic shooting spree at the Sikh temple in Oak Creek, Wisconsin, in which Wade Michael Page killed six people before killing himself after a shootout with police, has drawn attention to the shadowy world of white power music. Page, a committed white supremacist and member of the Hammerskins, a hardcore racist skinhead group, was heavily involved in the white power music scene in the United States. He played in a number of white power bands over the previous 12 years, most prominently the bands Definite Hate and End Apathy. Page was just one of hundreds of white supremacist musicians listened to by thousands of white supremacists in the United States and beyond. Today, white power music permeates the subculture of the white supremacist movement. Not all white supremacists enjoy white power music, but many of them do, especially neo-Nazis and racist skinheads. For listeners, white power music is not simply entertainment. It is music with a message, a medium used to express an ideology suffused with anger, hatred and violence. 1 WHITE POWER MUSIC IN THE UNITED STATES Today, white power music is well established in the United States, where it has existed for three decades. Hate music arose originally in Great Britain in the 1970s as the skinhead subculture that originated there diverged into two different streams: a traditional skinhead stream and a racist skinhead stream. As racist skinheads emerged, they created a white supremacist variation of the skinhead-related music genre called Oi! (sometimes also known by the Attendees at Plunder and Pillage 2011 deliberate euphemism “Rock against Communism” or RAC). -
White Supremacist Prison Gangs in the United States a Preliminary Inventory Introduction
White Supremacist Prison Gangs in the United States A Preliminary Inventory Introduction With rising numbers and an increasing geographical spread, for some years white supremacist prison gangs have constitut- ed the fastest-growing segment of the white supremacist movement in the United States. While some other segments, such as neo-Nazis and the Ku Klux Klan, have suffered stagnation or even decline, white supremacist prison gangs have steadily been growing in numbers and reach, accompanied by a related rise in crime and violence. What is more, though they are called “prison gangs,” gangs like the Aryan Brotherhood of Texas, Aryan Circle, European Kindred and others, are just as active on the streets of America as they are behind bars. They plague not simply other inmates, but also local communities across the United States, from California to New Hampshire, Washington to Florida. For example, between 2000 and 2015, one single white supremacist prison gang, the Aryan Brotherhood of Texas, was responsible for at least 33 murders in communities across Texas. Behind these killings were a variety of motivations, including traditional criminal motives, gang-related murders, internal killings of suspected informants or rules-breakers, and hate-related motives directed against minorities. These murders didn’t take place behind bars—they occurred in the streets, homes and businesses of cities and towns across the Lone Star State. When people hear the term “prison gang,” they often assume that such gang members plague only other prisoners, or perhaps also corrections personnel. They certainly do represent a threat to inmates, many of whom have fallen prey to their violent attacks. -
Angry Aryans Bound for Glory in a Racial Holy War: Productions of White Identity in Contemporary Hatecore Lyrics
Angry Aryans Bound for Glory in a Racial Holy War: Productions of White Identity in Contemporary Hatecore Lyrics Thesis Presented in Partial fulfillment of the requirements for the degree of Master of Arts in the Graduate School of The Ohio State University By Roberto Fernandez Morales, B.A. Graduate Program in Sociology The Ohio State University 2017 Thesis Committee: Vincent Roscigno, Advisor Hollie Nyseth Brehm Eric Schoon Copyright by Roberto Fernandez Morales 2017 Abstract The Southern Poverty Law Center reports that, over the last 20 years, there has been a steady rise in hate groups. These groups range from alternative right, Neo Confederates, White Supremacist to Odinist prison gangs and anti-Muslim groups. These White Power groups have a particular race-based ideology that can be understood relative to their music—a tool that provides central recruitment and cohesive mechanisms. White supremacist rock, called Hatecore, presents the contemporary version of the legacy of racist music such as Oi! and Rock Against Communism. Through the years, this genre produces an idealized model of white supremacist, while also speaking out against the perceived threats, goals, and attitudes within white supremacist spaces. In this thesis, I use content analysis techniques to attempt to answer two main questions. The first is: What is the ideal type of white supremacist that is explicitly produced in Hatecore music? Secondly, what are the concerns of these bands as they try to frame these within white supremacist spaces? Results show that white supremacist men are lauded as violent and racist, while women must be servile to them. Finally, white supremacist concerns are similar to previous research, but highlight growing hatred toward Islam and Asians. -
Law Enforcement Special Report
LAW ENFORCEMENT SPECIAL REPORT Intelligencepublished by The souThern poverTy law CenTerReport ROLL CALL VIDEO ON Racijst skINhEADs EnclosEd RACIST SKINHEADS UNDERSTANDING THE THREAT racist skinhead movement history // GLOSSARY // timeLine // symboLs Intelligence Report intelligence report eDITOR Mark Potok intelligence project Director Heidi Beirich Senior eDITOR Skinheads Booth Gunter Staff writerS Ryan Lenz, Leah Nelson, Evelyn Schlatter chief inveStigator in America Joseph Roy Sr. Senior intelligence analySt Racist skinheads are among the most danger- Laurie Wood information manager ous radical-right threats facing law enforcement Michelle Bramblett today. The products of a frequently violent and reSearch analyStS Anthony Griggs, Janet Smith criminal subculture, these men and women, typ- program associate ically imbued with neo-Nazi beliefs about Jews, Karla Griffin reSearcherS blacks, homosexuals and others, are also noto- Angela Freeman, Karmetriya Jackson riously difficult to track. Organized into small, DeSign Director Russell Estes mobile “crews” or acting individually, skinheads Senior DeSigner tend to move around frequently and often with- Valerie Downes DeSignerS out warning, even as they network and organize Michelle Leland, Scott Phillips, Sunny Paulk across regions. For law enforcement, this poses a web proDuction Caroline Zilk particular problem in responding to crimes and conspiracies crossing multiple jurisdictions. As meDia anD general inquirieS Mark Potok these extremists extend their reach across the law enforcement -
Anti-Blues Music, Dub and Racial Identity
Dub is the new black: modes of identification and tendencies of appropriation in late 1970s post-punk Article (Accepted Version) Haddon, Mimi (2017) Dub is the new black: modes of identification and tendencies of appropriation in late 1970s post-punk. Popular Music, 36 (2). pp. 283-301. ISSN 0261-1430 This version is available from Sussex Research Online: http://sro.sussex.ac.uk/id/eprint/67704/ This document is made available in accordance with publisher policies and may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the URL above for details on accessing the published version. Copyright and reuse: Sussex Research Online is a digital repository of the research output of the University. Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable, the material made available in SRO has been checked for eligibility before being made available. Copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. http://sro.sussex.ac.uk 1 Mimi Haddon 29.01.2016 ‘Dub is the new black: modes of identification and tendencies of appropriation in late 1970s post-punk’ Abstract This article examines the complex racial and national politics that surrounded British post-punk musicians’ incorporation of and identification with dub-reggae in the late 1970s. -
Samson and Moses As Moral Exemplars in Rastafari
WARRIORS AND PROPHETS OF LIVITY: SAMSON AND MOSES AS MORAL EXEMPLARS IN RASTAFARI __________________________________________________________________ A Dissertation Submitted to the Temple University Graduate Board __________________________________________________________________ In Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY __________________________________________________________________ by Ariella Y. Werden-Greenfield July, 2016 __________________________________________________________________ Examining Committee Members: Terry Rey, Advisory Chair, Temple University, Department of Religion Rebecca Alpert, Temple University, Department of Religion Jeremy Schipper, Temple University, Department of Religion Adam Joseph Shellhorse, Temple University, Department of Spanish and Portuguese © Copyright 2016 by Ariella Y. Werden-Greenfield All Rights Reserved ii ABSTRACT Since the early 1970’s, Rastafari has enjoyed public notoriety disproportionate to the movement’s size and humble origins in the slums of Kingston, Jamaica roughly forty years earlier. Yet, though numerous academics study Rastafari, a certain lacuna exists in contemporary scholarship in regards to the movement’s scriptural basis. By interrogating Rastafari’s recovery of the Hebrew Bible from colonial powers and Rastas’ adoption of an Israelite identity, this dissertation illuminates the biblical foundation of Rastafari ethics and symbolic registry. An analysis of the body of scholarship on Rastafari, as well as of the reggae canon, reveals -
An Investigation Into the Origin of Jamaican Ska Paul Kauppila San Jose State University, [email protected]
San Jose State University SJSU ScholarWorks Faculty and Staff ubP lications Library January 2006 From Memphis to Kingston: An Investigation into the Origin of Jamaican Ska Paul Kauppila San Jose State University, [email protected] Follow this and additional works at: https://scholarworks.sjsu.edu/lib_pub Part of the Music Commons, and the Social and Behavioral Sciences Commons Recommended Citation Paul Kauppila. "From Memphis to Kingston: An Investigation into the Origin of Jamaican Ska" Social and Economic Studies (2006): 75-91. This Article is brought to you for free and open access by the Library at SJSU ScholarWorks. It has been accepted for inclusion in Faculty and Staff Publications by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. "FROM MEMPHIS TO KINGSTON": AN INVESTIGATION INTO THE ORIGIN OF JAMAICAN SKA Kauppila, Paul Social and Economic Studies; Mar/Jun 2006; 55, 1/2; ABI/INFORM Complete pg. 75 Social and Economic Studies 55: I & 2 (2006): 75-91 ISSN: 0037-7651 "F"ROM MEMPHIS TO KINGSTON": AN INVESTIGATION INTO THE ORIGIN OF" .JAMAICAN SKA F'AUL KAUPPILA ABSTRACT The distinguishing characteristic of most Jamaican popular music recordings, including reggae and its predecessor, ska, is an emphasis on the offbeat or afterbeat instead of on the downbeat as found in most American popular music. Many explanations have been proposed to explain this tendency. This study critically examines these theories through historical and musicological analyses and concludes that the prevalence of the downbeat is a mixture of Jamaican folk and African-American popular music influences in its earliest incarnation, but was later deliberately emphasized in an attempt to create a unique new musical style.