DOCSLIB.ORG

Erin C. Macleod 45 Wellington Drive Apt

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Erin C. Macleod 45 Wellington Drive Apt Erin C. MacLeod 45 Wellington Drive Apt. 3 Kingston 6 Jamaica, West Indies 876-461-8068 [email protected] EDUCATION McGill University Sept 2004 – Nov 2009 Montreal, Quebec Doctor of Philosophy Communication Studies Dissertation title: “Leaving out of Babylon, into whose father’s land? The Ethiopian Perception of the Repatriated Rastafari” Supervisor: Dr. Jonathan Sterne Concordia University Sept 2000 – June 2001 Montreal, Quebec Graduate Diploma in Communication Studies First Class honours University of Toronto Sept 1999 – July 2000 Toronto, Ontario Master of Arts English Literature, Honours McGill University Sept 1995 – June 1999 Montreal, Quebec Bachelor of Arts, First Class honours English Literature APPOINTMENTS Institute of Caribbean Studies, University of the West Indies Aug 2011 – Present Mona, Jamaica I am a Social Sciences and Humanities Research Council of Canada (SSHRC) postdoctoral fellow, working at the Institute of Caribbean Studies, specifically with the Rastafari Studies Unit. I am investigating the extent to which the contemporary reality of Ethiopia informs the contemporary idea of Ethiopia among Rastafari in Jamaica, which is where the majority of repatriates originate. Specifically, I am examining how Ethiopia functions within Rastafari spiritual practice and experience, and how the sacred connection with Ethiopia contributes to the decision to repatriate as well as how the relationship gives way to practical outcomes for sustainable social and community development. I am co-teaching a course in Globalization and Rastafari, looking at Rastafari in urban environments worldwide. I have lectured in the English, Cultural Studies, Anthropology and Sociology departments. Also, I am collating and editing the papers from the 2010 Rastafari Studies Conference. Additionally, I am also continuing to work on three papers, one dealing with reggae in Ethiopia, one with international musical collaboration between Jamaica and the international musical community, and one regarding the media discussion of pan-Africanism and Rastafari in Jamaica. Vanier College St. Laurent, Quebec May 2001 – May 2011 As an instructor in the English department, I designed and taught both Continuing Education and Day courses. Courses I designed included: Postcolonial theory and West Indian Culture, Multiculturalism and Canadian Identity in Contemporary Canadian Literature and Film, Cyberpunk Science Fiction and Film, Reading Television as Text, and Romanticism. I also taught workforce integration and career orientation in the Document Design and Multimedia Technology department. In addition, also worked as the Assistant Coordinator of the English department, where one of my main responsibilities was teacher orientation and training. I acted as a consultant to the International Educational Cooperation committee, the College Diversity committee, and the Strategies for Student Success committee. I was also one of the founders of Vanier’s Black Studies Program. I gained experience in teaching students from a wide range of cultural and linguistic backgrounds. I also developed my ability to teach strong communication skills alongside media literacy. McGill University Sept 2008 – Jan 2009 Montreal, Quebec Teaching Assistant for the course History of Communication. My duties included marking assignments and exams, holding office hours, and developing short lectures on subjects related to the course content. I learned how to conduct effective small seminars as well as larger lectures while working alongside the professor of this course. Programme d'aide à la recherche sur Dec 2007 – Dec 2008 l'enseignement et l'apprentissage/Teaching and apprenticeship research support program (PAREA) Montreal, Quebec Through the PAREA program, which funds initiatives regarding teaching, I worked as a research assistant and project liaison for a research project entitled “Factors Promoting the Effective Integration and Professional Development of New Teachers by Academic Departments”. This project provided valuable experience in collecting data from numerous sources and collaborating with multiple partners. Afrika Beza College May 2007 – Aug 2007 Shashemene, Ethiopia As part of the college’s continuing education program, I worked as an English language instructor to students of varying abilities. My teaching strategies had to be flexible and adaptive as I was working with classes of between 150-200 students. Feb 2003 – April 2003 CARDIN Kingston, Jamaica Project and Communications Support Officer, Caribbean Disaster Information Network, University of the West Indies, Mona. I co-wrote the publication Pioneers in Caribbean Disaster Information Management as well as numerous articles for the CARDIN newsletter, distributed to Geography departments worldwide. Funded by the Canadian International Development Agency, this position enabled me to learn not only about the demands of international development work, but also required that I improve my skills as media liaison, connecting CARDIN with news outlets throughout the Caribbean. College de Vieux Montreal Sept 2001 – Aug 2002 Montreal, Quebec Associate English Language instructor. I assisted instructors in the English language department and worked to create activities that encouraged students to practice spoken and written English. Through this position, I developed my skills working with students for whom English is not their first language. University of Toronto Jan 2000 – May 2000 Toronto, Ontario As a teaching assistant for the course Children’s Literature and Popular Culture, I had my first experience learning about the needs of undergraduate cultural and communication studies students. My responsibilities included marking essays and exams as well as holding regular office hours so as to be available to address student queries. McGill University Sept 1998 – Aug 1999 Montreal, Quebec Research Assistant. Working with Professor Robert Lecker, I aided in the completion of articles on the subject of Canadian publishing and helped to begin a study on Canadian content regulations and the development of Canadian popular music. Demos Langues May 1998 – August 1998 Paris, France I worked as an English language instructor to executives and government officials. It was my responsibility to conduct needs assessments and evaluations of student progress. I learned a great deal about the needs of ESL learners who required specific training for specific contexts. OTHER EXPERIENCE Habitat for Humanity International 2004 – Present Guyana, Ethiopia, Kenya, Senegal I am a team leader for Habitat for Humanity Ethiopia where I have led eight international volunteer builds since 2005 including five builds to Ethiopia. All of my builds have taken place in urban environments. My role is to help integrate international volunteers into remote communities and provide an understanding of local culture and language. I was first a volunteer with Habitat in Ethiopia in 2004 and have also led teams to Guyana, Kenya and Senegal. I also organized a successful fundraising concert for Habitat in Montreal. In addition, I have attended three international leadership conferences as part of Habitat for Humanity International. Throughout my experience with Habitat for Humanity, I have honed my skills in teamwork as well as leadership, and gained valuable knowledge regarding the challenges of an international NGO. Mango Communications Summer 2007 Addis Ababa, Ethiopia In Addis Ababa, I worked as a researcher and writer for a communications firm involved in the development of public service/information campaigns (broadcast and print) for dissemination throughout Ethiopia. My specific focus was on women’s issues, and I worked with other researchers to learn about the different cultural needs of various ethnic groups throughout Ethiopia so as to adapt media and communications to local needs. ECW Press Jan 2001 – Jan 2003 Montréal, Québec I worked in various capacities at ECW, a medium sized publishing house in Montreal, Quebec. My job included overseeing production of particular book projects, acting as photo and image editor, recruiting and selecting designers and typesetters, writing promotional material, soliciting potential writers, and reviewing book proposals. I developed skills in editing (both substantive and copy editing), fact checking and copy writing while at ECW. University College Residences Sept 1999 – Sept 2000 University of Toronto Working as a Senior Don at Sir Daniel Wilson Residence Hall, I was responsible for creating a comfortable environment for undergraduates of varying ages. My job included organizing residence wide programming relevant to student concerns, organizing and facillitating student committees, mediating disputes, conducting disciplinary investigations, and providing both academic and personal counselling as needed. McGill University Residences Sept 1998 – Sept 1999 Montréal, Québec As a Residence Advisor, I was responsible for making the residence an enjoyable and comfortable environment for first year students. This included being available for academic and personal counseling, educational programming, providing information about various opportunities and events at McGill and in the Montréal community, ensuring adherence to residence rules, as well as organizing events to promote positive social interaction. Ongoing training in areas such as counseling and crisis intervention was a requirement. COMMUNITY SERVICE Youth Opportunities Unlimited: Presently, I am volunteering in Kingston, Jamaica, teaching inner-city high
Load more

Recommended publications
  • The Riddim Method: Aesthetics, Practice, and Ownership in Jamaican Dancehall1
    Popular Music (2006) Volume 25/3. Copyright © 2006 Cambridge University Press, pp. 447–470 doi:10.1017/S0261143006000997 Printed in the United Kingdom The riddim method: aesthetics, practice, and ownership in Jamaican dancehall1 PETER MANUEL† and WAYNE MARSHALL‡ †127 Park Ave, Leonia, NJ 07605, USA ‡88 Holworthy Street, Cambridge, MA 02138, USA Abstract The Jamaican system of recording and performance, from the 1950s to the present, constitutes a distinctive approach to notions of composition, originality and ownership. Emerging from a tradition of live performance practice mediated by (and informing) sound recordings, the relative autonomy of riddims and voicings in the Jamaican system challenges conventional ideas about the integrity of a song and the degree to which international copyright law applies to local conceptions, as enshrined in decades of practice, of musical materials as public domain. With the spread of the ‘riddim method’ to the sites of Jamaican mass migration, as evidenced by similar approaches in hip hop, reggaeton, drum’n’bass and bhangra, reggae’s aesthetic system has found adherents among artists and audiences outside of Jamaica. This paper maps out, through historical description, ethnographic data, and musical analysis, the Jamaican system as a unique and increasingly influential approach to music-making in the digital age. The advent of commercial, mass-mediated popular music genres in the twentieth century has contributed to the spread, in many music cultures worldwide, of a certain conventional ‘mainstream’ form of song, comprising an original, autonomous and reproducible entity with a relatively unique integration of lyrics, melody and chordal accompaniment. In mainstream Western music culture, the thirty-two-bar AABA structure, perhaps repeated twice or thrice with some sort of variation, constituted a quintessential type of this conventional song form.
    [Show full text]
  • United Reggae Magazine #5
    MAGAZINE #6 - March 2011 Lady Saw Maikal X Wayne Smith Wayne Wonder Earl 16 Andrew Tosh Richie Spice INTERVIEW London's Passing Clouds Ken Boothe and Big Youth in Paris Jah Mason and Lyricson in France Reggae Month 2011 EME Awards 2011 United Reggae Mag #6 - March 2011 Want to read United Reggae as a paper magazine? In addition to the latest United Reggae news, views andNow videos you online can... each month you can now enjoy a free pdf version packed with most of United Reggae content from the last month. SUMMARY 1/ NEWS 3 - 21 2/ INTERVIEWS • Richie Spice 23 • Maikal X 28 • Lady Saw 34 • Wayne Smith 37 • Andrew Tosh 43 • Earl 16 47 3/ REVIEWS • The Small Axe Guide to Reggae 68-70 51 • Book Of Job by Richie Spice 52 • Tiger Most Wanted 53 • Heat by Little Roy 54 • Sheya Mission - Nine Signs and Heavy Bliss 55 4/ ARTICLES • In The Spotlight: Bizot Bar Opens, RIDDIM speaks, LEGENDary Eats 57 • Wayne Wonder’s Unplanned Hit 60 5/ PHOTOS • Ken Boothe and Big Youth in Paris 63 • Giddeon Family, Natty and Babylon at London’s Passing Clouds 64 • Reggae Month 2011 66 • EME Awards 2011 69 • Jah Mason and Lyricson in France 72 All the articles in this magazine were previously published online on http://unitedreggae.com. This magazine is free for download at http://unitedreggae.com/magazine/. Not for resale. United Reggae. All Rights Reserved. Any reproduction in whole or in part is prohibited. NEWS News 4 18th Annual 9 Mile Music Festival four cans of food.
    [Show full text]
  • Sonic Modernities of Our Present By
    Remixing Relationality: ‘Other/ed’ Sonic Modernities of our Present by Mark V. Campbell A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Sociology and Equity Studies Ontario Institute for Studies in Education University of Toronto © Copyright by Mark V. Campbell 2010 Remixing Relationality: ‘Other/ed’ Sonic Modernities of our Present Doctor of Philosophy 2010 Mark V. Campbell Sociology and Equity Studies University of Toronto Abstract Far from simply playing music, the turntable has, in recent decades, been transformed into a musical instrument. Those that play these new instruments, called Turntablists, alter existing sounds to produce new sonic arrangements, exceeding the assumed use value of the turntable. The turntable’s transformation from record player to instrument captures one of the ways in which Afrosonic sound making activities refuse to conform to existing paradigms of music making in the western world. Throughout the African diaspora, it has been the musics from various regions and nations that continually capture the attention of the world’s music connoisseurs. This dissertation examines the ways in which careful consideration of the sonic innovations in Afrodiasporic cultures produce alternative paradigms through which we might analyze contemporary life. The following chapters interrogate turntablism, remix culture and hip hop music as subtexts that elaborate a foundational narrative of Afrodiasporic life. These subtexts are used as tools to examine the various ethnoscapes of Black Canadian life, official multiculturalism and notions of home within the African diaspora in Canada. The dominant narrative of the African diaspora explored in this work, housed within the sonic, elaborates a relational conception of freedom and modernity born out of the ii particularities of Afrodiasporic life in the west.
    [Show full text]
  • O Outsider Que Veio Da Televisão E Incomodou O Documentário
    Sexta-feira 6 Novembro 2009 www.ipsilon.pt O outsider que veio da televisão e incomodou o documentário Jorge Pelicano, realizador de “Pare, Escute e Olhe” ESTE SUPLEMENTO FAZ PARTE INTEGRANTE DA EDIÇÃO Nº 7157 DO PÚBLICO, E NÃO PODE SER VENDIDO SEPARADAMENTE EDIÇÃO Nº 7157 DO PÚBLICO, INTEGRANTE DA PARTE FAZ ESTE SUPLEMENTO ENRIC VIVES-RUBIO VIVES-RUBIO ENRIC Pedro Cabrita Reis Mocky Erri de Luca Major Lazer Broadcast Matias Aguayo O cartaz da exposição da National Portrait Gallery Roger Corman aventura-se na internet com uma mini-série interactiva realizada pelo velho amigo Joe Dante RUI GAUDÊNCIO RUI VocêVocê DosDBtlB Beatles a Bowie, i decide uma história pop em fotografia quem Joe A fotografia do cartaz mostra-nos que é ainda possível ver os Beatles Dante e Flash numa pose fotográfica que desconhecíamos: os Fab Four num Roger cenário de chuva abrigados por dois guarda-sóis, fotografados por Corman Robert Whitaker, em 1964. Mas há também num retrato inesperado, a preto-e-branco, de David Bowie vão matar (David Wedgbury, 1966), com um penteado que mais parece uma a seguir em touca dos guardas da rainha de Sumário Inglaterra... Dos Beatles a Bowie se faz a viagem “Splatter” Jorge Pelicano 6 ao passado glorioso dos Sixties, que Chegou, viu e venceu, com a National Portrait Gallery (NPG) Era a fronteira que faltava “Pare, Escute e Olhe”, e o propõe aos seus visitantes, desde ao mestre da série B e do mundo do documentário em meados de Outubro e até 24 de cinema de “exploitation”: Janeiro. É uma boa forma de Portugal fi cou à beira de um assinalar, nesta aproximação ao ano Roger Corman aventura-se ataque de nervos de 2010, o pretexto para a evocação na internet com uma mini- da passagem de meio século sobre o série interactiva realizada Pedro Cabrita Reis 12 início da década que, a partir da pelo velho amigo Joe Dante Vamos redescobri-lo “Swinging London”, iria mudar o (sim, o realizador de mundo.
    [Show full text]
  • Caribbean Beat
    This is a printer-friendly version of a page from the Caribbean Beat website. The fully formatted version of this page is located at: http://www.meppublishers.com/online/caribbean-beat/current_issue/index.php?pid=1000&id=cb84-2-23. FILM BUZZ by David Katz Queens of Sound explores the challenges female artists face in the reggae scene • King At The Controls DVD pays tribute to King Jammy, the producer and sound system operator who changed Jamaican popular music with the Sleng Teng rhythm Reggae sisters Queens of Sound: a Herstory of Reggae and Dancehall. A film by Sandra Krampelhuber The music industry is notoriously unfair to women. Because it is dominated by men, female talent is neglected, and those who break through are often forced to sensationalise themselves to earn a chance at fame. In the world of reggae and dancehall, the situation is particularly acute: although a handful of female singers and deejays have forged successful careers, the production sphere is so exclusively male that it is often called a “fraternity”. Sandra Krampelhuber, a 33-year-old music fan from Austria, decided to redress the balance through film. Queens of Sound: a Herstory of Reggae and Dancehall explores the challenges female artists face in the Charmaine Munroe modern reggae scene and their important, if contested, roles within it. a.k.a. Macka Diamond Philipp Kroll “There are already many films about reggae music, but you hardly see any women in them, and I think this has nothing to do with the lower percentage of women in this music business.
    [Show full text]
  • Versions, Dubs and Riddims: Dub and the Transient Dynamics of Jamaican Music
    Versions, Dubs and Riddims: Dub and the Transient Dynamics of Jamaican Music Feature Article Thomas Vendryes Ecole Normale Supérieure de Cachan (France) Abstract Dub emerged in Jamaica in the early 1970s, and, for a decade, it became a prolific and intensely innovative dimension of Jamaican popular music. Yet, during the mid- 1980s, while dub flourished at the international level, influencing popular music in general, the genre of dub declined in popularity in Jamaica. How could this musical innovation, so evidently associated with Jamaica, expand and develop internationally while at the same time decline in Jamaica itself? In this paper, I explore the modalities and evolution of Jamaican music production and consumption. Through a description of the Jamaican music industry context, with reference to individual artists’ paths and a summary of Jamaican dub production, I show that even as the Jamaican music milieu was highly favorable to the emergence of dub, dub proliferated as a genre only by developing ties to a diaspora of international audiences and practitioners. Keywords: production studies, Jamaican popular music, history of dub, audio-engineer, riddim, performance mixing Thomas Vendryes is Associate Professor at the Department of Social Sciences of the École Normale Supérieure de Cachan and researcher at the Centre d’Économie de la Sorbonne (France). His research focuses on socio-economic change in developing countries. Dancecult: Journal of Electronic Dance Music Culture 7(2): 5–24 ISSN 1947-5403 ©2015 Dancecult http://dj.dancecult.net http://dx.doi.org/10.12801/1947-5403.2015.07.02.01 6 Dancecult 7(2) “What will happen to dub in 1983?” —Scientist Encounters Pac-man LP (back cover) Dub is Eternal —The 420 DubKraft Anthology Introduction Emerging from the practice of versioning (i.e.
    [Show full text]
  • H IOOTIN' for 4GC« Has Reggae Finally Got the Financial Clout That Wili
    H IDEO th PolyGramVideo SrParty BMG Video IOOTIN' FOR 4GC« Has reggae finally got the financial clout that wili create long-term, big-selling artists? lan McCann reports 12 YEARS OF BRITISH REGGAE INDUSTRY AWARDS - the first time a major had undertaken suchIn Britain, a task reggae's since Island recent in the runaway Seventies. suc- Barely a year later, club movers Andy OrganisedThe British byReggae former Industry Radio LondonA/VNK Awards is the DJ longest Tony runningWilliams event and sponsored of ils type in by the Kiss UK. FM, Island cess can be attributed to a combinatior Weatherall and Paul Oakenfold - wit- Records, The Voice and Eehoes, this year'sceremony.attheBrixton Academy on June 11. of Sony's commitment and rap and :Hall PolyGramVideo nessing the slowing down of Aciieeeed! Chakafeatures Demus an impressive & Pliera andline-up Radio of artists. One FM's DJs, The sound Man Systems Ezeke. and présentera such as Tippa Irie. quenlly,rave's search as the for poppier roots credibility.end of rave Conse- music wouldsedate be - reggae, guessed Now that it's 19911993 'sof coursesound who"The have aim yet is to to give receive reggae the respecta sense they of purpose deserve." and says help Williams. raise the profile of those British artists hasfinallyfoundlhespaihas grown increasingly slale" so ragga isand and at haslast "winedthe world and knows grined" who lo ShabbaShaggy indudeNot surprisingly Best Single, The Best BRI Album,Best Awards are Male/Femaleheavily weighted Singer, towards Best BritishDJ/MC, acts. Best The Sound 21 catégories System tive fun hits this year than Shaggy's 'Oh Walk PolyGram Video Levyand Best and Radiothe ubiquitous Sation.
    [Show full text]
  • Dancehall Cultuur
    Dancehall Cultuur Gepubliceerd in: Gonzo (circus), nr. 91 (Leuven, 2009). Marc Schuilenburg Dat de verkoop van cd’s al enkele jaren fors daalt, ligt niet alleen aan de slechte economische omstandigheden, de opkomst van de dvd en het illegaal downloaden van muziek op het internet. De daling van de verkoop – in 2008 verkocht de Amerikaanse muziekindustrie 428 miljoen cd’s, 14 procent minder dan het jaar daarvoor – heeft ook te maken met de geringe aantrekkingskracht van het zilveren schijfje in het plastic doosje. Wie daarentegen een vinylalbum in handen heeft, blijft deze vaak ademloos bewonderen, betast met regelmaat de plaat, draait haar eens lekker om, vouwt de hoes open en neemt de tijd om de vormgeving te bekijken en de teksten te lezen. De cd weet dit gevoel helaas zelden op te roepen. Om cd’s aantrekkelijker te maken is met andere woorden meer nodig dan een prijsverlaging of een fraaiere vormgeving. Het Britse label Souljazz heeft een bijzondere manier gevonden om dit te doen. Met de prima verzamelaar Dancehall: The Rise Of Jamaican Dancehall Culture heeft het label het gelijknamige fotoboek uitgebracht van Beth Lesser. Lesser en haar echtgenoot spendeerden in de jaren 1980 veel tijd in Jamaica om musici te ontmoeten en te interviewen. Lesser deed dat voor haar fanzine Reggae Quarterly. Manlief kocht platen voor zijn wekelijkse Toronto radioshow. Terwijl de dubbel-cd laat horen wat de invloed was van de drumcomputer en digitale effectapparatuur op de muziek van het eiland, biedt het fotoboek een schitterend tijdsdocument van de lokale muziekscene, de dancehall- sterren en hun aanhang.
    [Show full text]
  • New Age Music
    The History of Rock Music - The Eighties The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) The New Age and World-music (These are excerpts from my book "A History of Rock and Dance Music") New-age music 1976-89 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. In 1975 Palo Alto guitarist William Ackerman (1) coined the term "new- age music" and founded a record label, Windham Hill, to promote atmospheric instrumental acoustic music. New-age music was thus born as a reaction to rock music. Rock music was loud and noisy, expressing a teenage spirit. New-age music was quiet and melodic, expressing an adult mood. New-age music had no vocalist, no drums and no electric guitar. New-age music was, first and foremost, a synthesis. It was a synthesis of cultures (high and low), moods (upbeat, ecstatic, melancholy, spiritual), genres (folk, electronic, jazz, classical, psychedelic), formats (song, symphony, suite, jam) and lifestyles (western and eastern). Since each of these components had existed for decades (if not centuries), new-age music pre-existed itself. The most obvious ancestor of new-age music is classical music itself. Despite the aristocratic way it was presented in the symphony halls and opera houses, classical music had included "mood" instrumental music from the very beginning.
    [Show full text]
  • Jamaican Migrant and Canadian Host in Toronto's Transnational Re
    King Alpha’s Song in a Strange Land: Jamaican Migrant and Canadian Host in Toronto’s Transnational Reggae Music Scene, 1973-1990 by John Jason Collins Wilson A dissertation Presented to The University of Guelph In partial fulfilment of requirements for the degree of Doctor of Philosophy in History Guelph, Ontario, Canada © John Jason Collins Wilson, May 2013 ABSTRACT King Alpha’s Song in a Strange Land: Jamaican Migrant and Canadian Host in Toronto’s Transnational Reggae Music Scene, 1973-1990 John Jason Collins Wilson Advisor: University of Guelph, 2013 Doctor Catharine Wilson Reggae music facilitated a cultural dialogue between Jamaican migrant and Canadian host in Toronto during the 1970s and 1980s. Exchanges flowed across the city’s ethnic frontier, bridging black and white youth together in an ‘oppositional’ and musical movement. While migrants enacted their Jamaican ethnicity in places where reggae was played, many non-Jamaicans satisfied a curiosity in the music of their migrant friends. This study examines the process of migration of people and music as seen from both the migrant and the host’s perspective. It is as much about black Jamaicans as it is about white Torontonians. Twenty Jamaicans and twenty non-Jamaicans were interviewed for this project. Though reggae became an expected part of Toronto’s musical vernacular, the Canadian version meant different things to different people. Indeed, sometimes the only thread that tied the varied experiences together was that Toronto was the place where reggae happened. Still, as a hybrid, reggae had rather evolved outside of place. It was a transnational musical form, constantly updated by influences traversing the ‘Black Atlantic’ in an on-going and triangular musical conversation.
    [Show full text]
  • The Riddim Method: Aesthetics, Practice, and Ownership in Jamaican Dancehall
    City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 2006 The Riddim Method: Aesthetics, Practice, and Ownership in Jamaican Dancehall Peter L. Manuel CUNY Graduate Center Wayne Marshall How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/311 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] . .,_' ' '· . :~ l',•1111/w M lls1'· (20116) Vnlt11nL' 25/1 . Cnpy riglll V 2llll6 l'.11nbridgL " Uni \' L"rsil)' l'rc s, . pp . H 7- .J7ll d<>i: Ill. Ill 17/ S02h I l.Jl01l600ll~97 l'rilllL'd in lilL' U11i1L-dKingdnm The riddim method: aesthetics, practice, and ownership in Jamaican dancehall 1 PETER MANUELt and WAYNE MARSHALL+ tJ 27 Park Ave, Le,mia, NJ 07605, USA tBB Holwort/1y Strecl, Col}/l,ridge,MA 02/313,LISI\ Abstract T/11:J1111111irn11 syste111 of recvrdi11g 1111dper/ilrn11111u', }1-0,11 t/Je ·1950s to t/1e prcsc11t, co11stit11tes11 distinctive 11pproach to nutio11s of cp111positio11, origi1111/ity 1111dmu11£·rshiJ', £111ergi11g fro111 a tmditio11 of live pe1fomin11ccpnict ice 111edi11tcd/1y ( n11di11Ji>n11i11g) sm111d recordings , the relative 1111to110111yof riddi111s 1111d voici11ss i11tht! /1111111irn11,ystc111 c/111/le11gcs co11 ve11tio1111l.ide11s11bo11/ the i11tcgrily of 11 so11g 1111dt/1c dcsn·i' to ,11l1ic/1 i11t,·m11tiP1111Icopyri:,:111 1ml' applies lo /owl rn11<'C/'lio11,, 11,c11shri11ed i11 d1't'11dcs ,>f111 ·octicc. o( 11111,icol11111/cri11ls 11s /ilil1/it' do11111i11.'vVit/J t/1 e sprcnd o( Ilic 'riddi111 111c//ipd'IP //1c site, ,>f/1111111irn11 11111, , 111i,1;mtio11.rb cuid1•11ccd /1y si111ilar opproncltcs i11l1ip lwp , rcsgat'/011, rlru111'11'/J11s,11111/ />lin11gm , n·x:.:11c's01,stlll'tic systc111/111s(o1111d udlu:n·11ts 11111011g11rli,1,; 1111d 1111dic·11r, ,, ou/.,idc ,v]1111rn irn.
    [Show full text]
  • Basslines – „I and I“
    Basslines – „I and I“ Column in zweikommasieben Magazin #16, 2017 ( www.zweikommasieben.ch ) Annotated version with sound and text references Text: Marius ‚Comfortnoise‘ Neukom ( www.comfortnoise.com ) „I and I” is a Jamaican phrase from Rasta and Reggae culture. It originally meant that I, you and all other people are equal before God. In today’s usage, the religious sense hardly comes through at all any more. Outsiders can at best guess that what is meant is ‚we’, rather than ‚I’. The characteristic repetition of ‚I’ brings to mind the self glorifi- cation that is often heard when Reggae artists are asked about their personal histories. However, this is not only a shameless expression of male self-regard, but also a for- mulaic linguistic usage that is typical of the oral tradition. Beth Lesser’s (2012) hugely informative book Rub-a-Dub Style: The Roots of Modern Dancehall provides an unin- tentional illustration of the oral aspects of Reggae culture. It is both an intelligently arranged and questionable collection of quotations, from which „I and I“ has been mar- ginalised for good reasons. Essentially, Beth Lesser takes stock of the period around the fire that Lee Perry himself started in his Black Ark Studio (1983 1) and the release of Wayne Smith’s Sleng Teng (1985 2). This was the end of the line for one of the most innovative, seminal Reggae and Dub producers and the beginning of the digital era, which turned all established structures upside down. Unlike Lloyd Bradley, who diagnosed a dramatic decline in 1 See Katz, 2013, p.
    [Show full text]