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Tom Jennings
12 | VARIANT 30 | WINTER 2007 Rebel Poets Reloaded Tom Jennings On April 4th this year, nationally-syndicated Notes US radio shock-jock Don Imus had a good laugh 1. Despite the plague of reactionary cockroaches crawling trading misogynist racial slurs about the Rutgers from the woodwork in his support – see the detailed University women’s basketball team – par for the account of the affair given by Ishmael Reed, ‘Imus Said Publicly What Many Media Elites Say Privately: How course, perhaps, for such malicious specimens paid Imus’ Media Collaborators Almost Rescued Their Chief’, to foster ratings through prejudicial hatred at the CounterPunch, 24 April, 2007. expense of the powerless and anyone to the left of 2. Not quite explicitly ‘by any means necessary’, though Genghis Khan. This time, though, a massive outcry censorship was obviously a subtext; whereas dealing spearheaded by the lofty liberal guardians of with the material conditions of dispossessed groups public taste left him fired a week later by CBS.1 So whose cultures include such forms of expression was not – as in the regular UK correlations between youth far, so Jade Goody – except that Imus’ whinge that music and crime in misguided but ominous anti-sociality he only parroted the language and attitudes of bandwagons. Adisa Banjoko succinctly highlights the commercial rap music was taken up and validated perspectival chasm between the US civil rights and by all sides of the argument. In a twinkle of the hip-hop generations, dismissing the focus on the use of language in ‘NAACP: Is That All You Got?’ (www.daveyd. -
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. -
Tanya Stephens
Tanya Stephens Mientras el reggae dancehall continúa tomando la lista de éxitos, el mundo está conociendo un estilo que refleja la mentalidad de los jóvenes varones jamaicanos: el reggae es un mundo de hombres. En este estilo dominado por hombres rudos y provocativos, la cantante y deejay (reggae rapper) Tanya Stephens está demostrando con creces que las chicas en el dancehall van más allá del simple rol de coristas decorativas de esos machitos. Rebelde, dura y auténtica, Stephens es la reina indiscutible del hardcore dancehall jamaicano, sin competencia. Su sexto CD, \"Rebelution\", confirma su posición privilegiada en lo más alto en el juego dancehall gracias a su imaginación musical y a su agudeza en las palabras. Ya sea con ritmos de dancehall hardcore, con diatribas contra el \"establishment\" polÃtico o con el \"crooning\" más romántico, todo lo que genera su talento gigante son ráfagas de arte desbocado. La carrera de Vivienne Tanya Stephenson despegó como la de tantos otros \"free-styling\" por las esquinas con su \"crew\". Segunda de siete hermanos, sus influencias musicales fueron determinadas por \"cualesquiera de las que en mi casa escuchaba cada uno\". Fue un equipaje muy mezclado, incluyendo Smokey Robinson, Buddy Holly & The Crickets, R&B americano y \"los calypsonianos que encantaban a mi madre como Lord Kitchener o Mighty Sparrow. Ellos ayudaron a desarrollar mi ingenio\". Tanya insiste, \"descubrà acerca de lo que ellos cantaban a una edad realmente temprana\". Cantar e improvisar en los sound systems locales completaron su educación musical y no tardó mucho en grabar su primer tema en 1993, \"Is This For Real\". -
“Just Ask Mi 'Bout Brooklyn:” West Indian Identities, Transgeographies, and Livin
“JUST ASK MI ’BOUT BROOKLYN:” WEST INDIAN IDENTITIES, TRANSGEOGRAPHIES, AND LIVING REGGAE CULTURE A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Sabia McCoy-Torres August 2015 © 2015 Sabia McCoy-Torres “JUST ASK MI ’BOUT BROOKLYN:” WEST INDIAN IDENTITIES, TRANSGEOGRAPHIES, AND LIVING REGGAE CULTURE Sabia McCoy-Torres, Ph.D. Cornell University 2015 This ethnography explores the symbiotic relationship between the West Indian Diaspora and performance based, Jamaican originated, reggae culture. The field site was Brooklyn, New York. I analyze the intersections of reggae with racial and cultural identity construction, expressions of gender and sexuality, transnationalism, and place making practices. The formation of a local, West Indian led, reggae related economy is also a subject of focus. In order to theorize the impact West Indians have on Brooklyn and their subjectivities, I develop the concepts transgeographies and figurative citizenship. I argue that the West Indian Diaspora creates transgeographic cultural places that specific sociocultural practices and performance help to form. I offer that performance, action, and material alteration coalesce to physically transform space and imbue it with affect and sensory elements that together constitute links to the various nations of the Caribbean. The West Indian geographies of Brooklyn are thereby brought inside the Caribbean space expanding how geography is conceived of as an analytic. Emergent diasporic subjectivities are formed within these transgeographic cultural places, one of them being what I term figurative citizenship. This work also includes analyses of the relationship of West Indians to U.S. -
Moving Dancehall Off the Island: Female Sexuality and Club Culture in Toronto
Karen Flynn: Moving Dancehall Off the Island: Female Sexuality and Club Culture in Toronto Moving Dancehall Off the Island: Female Sexuality and Club Culture in Toronto Karen Flynn Associate Professor University of Illinois, Urbana-Champaign, IL, USA Abstract While there has been an exciting growth in scholarship on dancehall culture, primarily in the fields of cultural and literary studies as they relate to Jamaica, more attention needs to be given to its configuration in other geographical locations and other popular culture arenas. This article explores dancehall culture from a geographic site, in Toronto, which, despite its large Caribbean population, is often a mere footnote in larger diasporic studies. Moving beyond the proclivity of viewing dancehall culture and music from a purely patriarchal misogynistic viewpoint, the article focuses on the redemptive and empowering possibilities that this popular Black expressive form holds. It underscores how dancehall culture and music challenge hegemonic scripts predicated on stereotypes of Black women’s sexuality. Despite the contradictions inherent in the music and the performance of female artists such as Lady Saw and Tanya Stephens, dancehall culture evokes women as active agents who are able to articulate their sexual desires. Keywords: sexuality, dancehall music, Black/Caribbean women, dance 183 www.sta.uwi.edu/crgs/index.asp UWI IGDS CRGS Issue 8 ISSN 1995-1108 Dedication This article is dedicated to KaosKrew (especially Philip Cole), Slim & Trim (Michael Banfield and Leslie Corion) DJ’s Quincy, Bobby B, Mark Anthony, Mike Gibbs, Wayne; my brother DJ Extacy (Dwayne Reynolds), Eddie Williams, Andy Coward, the late Michael Charles and Dorian Major (RIP) and the rest of the Tdot promoters. -
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:::::: Pum Pum Rule Jamaican Dance: An Analytic Response to the Inability to Recognize Female Sovereignty in Dancehall Leslie-Ann Fullerton “All I want to be is a Jamaican Dancehall Queen. If this is not possible, I will be satisfied writing about women in Jamaican dancehall.” - Leslie-Ann Fullerton. Leslie-Ann Fullerton was born and raised in a Christian home in Jamaica. She later became a dedicated lover and participant of Jamaican dancehall as a dancehall “mogela” [model], which played an instrumental role in informing this essay. Leslie-Ann is currently a 4th year student at the University of Toronto pursuing a double major in Caribbean Studies and Political Science. She was the 2012-2013 president and is currently the 2013-2014 Co-President of CARSSU. In reading this essay, Leslie-Ann hopes that the reader takes the advice of Chimamanda Adichie and beware of “The Dangers of Telling a Single Story” about a people and its culture. She implores the reader to look at women in Jamaican dancehall from a positive perspective. Jamaican music has had a close relationship with expressing the island’s various socio-economic and political stages. In Chude- Sokeis’s work, POST-NATIONALIS GEORGRAPHIES: Rasta, Reggae, and Reinventing Africa,1 the author traces Jamaica’s societal changes through music. This includes analyzing the relationship between post-nationalism, Rastafarianism, Dancehall, and women response to these phenomenon. Particularly, the emergence of dancehall introduced a rise African women participating in overt sexual expressions that was considered indecent. In this light, dancehall was rejected by the “ideological underpinnings of the elite culture”2 and their desires to mold nationalism in Jamaica into a replica of European model. -
Complete9,99Sales List
THE BIG IRIE RECORDS 9,99 EURO CD SALE! MORE THAN 600 CDs @ SPECIAL SALE PRICE OF 9,99 EURO (INCL. TAX) THIS OFFER HAS BEEN EXTENDED UNTIL FEBRUARY 28, 2010! Artist Title Format Label Alpha & Omega Spirit Of the Ancient GB-CD INNER SANCTUARY Althea Hewitt Introducing Althea Hewitt USA-CD VP Anthony B Real Revolutionary GB-CD GREENSLEEVES Anthony Cruz Fight With All Your Might USA-CD VP Assassin Gully Sit'n USA-CD VP Page 1 of 22 Artist Title Format Label Assassin Infiltration USA-CD VP Augustus Pablo King David's Melody GB-CD GREENSLEEVES Augustus Pablo One Step Dub GB-CD GREENSLEEVES Augustus Pablo Pablo Presents Rockers International GB-CD GREENSLEEVES Augustus Pablo Rising Sun GB-CD GREENSLEEVES Barrington Levy DJ Counteraction GB-CD GREENSLEEVES Barrington Levy Englishman GB-CD GREENSLEEVES Barrington Levy Here I Come GB-CD GREENSLEEVES Barrington Levy Robin Hood GB-CD GREENSLEEVES Barrington Levy Too Experienced - The Best Of USA-CD VP Barrington Levy Teach The Youth: 1980- 85 At Joe Gibbs USA-CD 17 NORTH PARADE Beenie Man Best Of Beenie Man USA-CD VP Beenie Man Maestro GB-CD GREENSLEEVES Beenie Man Monsters Of Dancehall GB-CD GREENSLEEVES Beres Hammond Lifetime Guarantee GB-CD GREENSLEEVES Beres Hammond Love From A Distance USA-CD VP Beres Hammond Love Has No Boundaries USA-CD VP Beres Hammond Music Is Life USA-CD VP Bounty Killer Down In The Ghetto GB-CD GREENSLEEVES Bounty Killer Ghetto Gramma GB-CD GREENSLEEVES Bounty Killer No Argument GB-CD GREENSLEEVES Bounty Killer Roots, Reality, & Culture USA-CD VP Bounty Killer The Mystery -
Jamaica Journal Index with Abstracts 1990 – 2008
Jamaica Journal Index with abstracts 1990 – 2008 Compiled by : Cheryl Kean and Karlene Robinson University of the West Indies, Mona. Preface Coverage The purpose of this index is to articles that have been published in the Jamaica Journal since 1997. It covers the following issues:- Vol 23 no. 1 (1990) to Volume 31 nos. 1 & 2 (2008). All articles, book reviews, poems and short stories are included in the index. Arrangement The index is arranged in two sections. The first section is a general List of abstracts arranged alphabetically by the first named author or title. This is a list of all articles that are included in this index with an abstract provided for each article with the exception of book reviews, stories and poems. All entries are numbered. The second section is an Author and keyword list. The number that is listed beside each term corresponds to the number that is given to each entry in the general list of abstracts. Library of Congress Subject Headings were used to generate the list of keywords for all the entries in the index with the exception of a few cases where no appropriate terms existed to capture the subject material. List of Abstrtacts 1. The Altamont DaCosta Institute. Jamaica Journal 2000; 27(1):Back cover. Abstract: This article presents a brief biography of Altamont DaCosta, former mayor and custos of Kingston. The Institute was the former dwelling house of Mr. DaCosta and was willed to the people of Jamaica in 1935. 2. The Calabash tree (crescentia cujete). Jamaica Journal 2008; 31(1-2):Back cover. -
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Dancehall Dreams Tom Jennings
VARIANT • VOLUME 2 NUMBER 20 • SUMMER 2004 • PAGE 9 Dancehall Dreams Tom Jennings Anyone keeping an eye on patterns of youth style in Britain over the last ten years cannot fail to Notes have been struck by the increasing profile of 1. A relatively downtempo drum & bass derivative focusing on dance Black music and its spinoffs in the media, adver- rather than, say, the manic raves of junglism, or avant garde taste tising, fashion and leisure sectors, and, indeed, in and pretensions to being ‘the new jazz’. Note that UK garage is pri- marily a southern British phenomenon with sparse interest else- spoken idiom and worldviews. Current styles where. were to some extent carried in from America with hip-hop—now by far the biggest-selling popular 2. A US euphemism coined to avoid all reference to race and class; the more forthright British ‘Music of Black Origins’ (MOBO) being ques- music genre in the world—and have blended with tionable for, among other reasons, seeming somewhat backward-look- local vernaculars, steadily spreading into and ing as well as racially essentialist. irrevocably changing all youth cultural fields. The 3. A comprehensive analysis of which can be found in Lynne Segal & most obvious marker of the strength of influence Mary McIntosh (eds.), Sex Exposed: Sexuality and the Pornography is the degree of commercial appropriation—where Debate (Virago, 1992). all manner of celebrities have scrambled to affili- 4. For varying blends of intelligence, self-possession and conformity to ate; pop superstars copy the format to bolster sexual objectification, see, for instance, current young UK urban their street-cred; and any number of crassly manu- artists Floetry, Ms Dynamite, Jamelia and Mis-teeq; as against pure factured boy/girl band and pop idol-type embar- product like Sugababes, Girls Aloud, Liberty X, etc. -
TAnisha SCott
ANISHA COTT T S CREATIVE & STAGE DIRECTOR/CHOREOGRAPHER *Winner of 2020 MTV Video Music Awards - Best Rock Video - Coldplay “Orphans” *Winner of 2020 Grammy Awards - Best Music Video - Lil Nas X feat. Billy Ray Cyrus “Old Town Road” *Winner of 2019 MTV Video Music Awards - Best Hip Hop Video - Cardi B “Money” *Nominated for 2019 MTV Video Music Awards - Best Pop Video - Cardi B feat. Bruno Mars “Please Me” *Nominated for 2019 MTV Video Music Awards - Best Hip Hop Video - Lil Nas X feat. Billy Ray Cyrus “Old Town Road” *Nominated for 2019 MTV Video Music Awards - Video of the Year - Lil Nas X feat. Billy Ray Cyrus “Old Town Road” *Winner of 2019 Billboard Music Awards – Top Streaming Song (Video) – Drake “In My Feelings” *Winner of 2012 MTVVideo Music Awards - Video of the Year - Rihanna “We Found Love” ***2016 MTV Vanguard Performance - Rihanna **Excellence in Choreography Nominee** Film/Television Title Role Network/Director Head of Choreography Dir: Rik Reinholdtsen/ Legendary Creative Producer HBO MAX Utopia Falls Choreographer Dir: RT/Hulu Grand Army Choreographer Netflix Rough Night Choreographer Dir. Lucia Aniello/Sony Pictures Kin Choreographer Dir. Jonathan & Josh Baker Money Monster Choreographer Dir: Jodi Foster Unbreakable Kimmy Schmidt Choreographer Netflix Love Beats Rhymes Choreographer Dir: Rza Sisters Choreographer Dir: Jason Moore Bring It On: All or Nothing Choreographer NBC/Universal Notorious Choreographer Dir: George Tillman Jr. The Blacklist: Redemption Choreographer NBC Sex and Drugs and Rock N Roll Choreographer FX America’s Top Model - Cycle 23 Choreographer/Guest Star VH1 Bring It!: The Girls’ Big NYC Trip Choreographer Lifetime Awakening - Pilot Choreographer CW LIT On-Air Host MTV We Can Dance – Pilot On-Air Host/Personality Vice/Live Nation The Next Step Guest Star Family Channel So You Think You Can Dance Canada Guest Choreographer CTV Bride Wars Assistant Choreographer Dir: Gary Winick Television – Performances Show Artist(s) Network The Kelly Clarkson Show Tiana Major9 NBC “Let’s Go Crazy”: The GRAMMY Salute To Prince H.E.R. -
The Snow Miser Song 6Ix Toys - Tomorrow's Children (Feat
(Sandy) Alex G - Brite Boy 1910 Fruitgum Company - Indian Giver 2 Live Jews - Shake Your Tuchas 45 Grave - The Snow Miser Song 6ix Toys - Tomorrow's Children (feat. MC Kwasi) 99 Posse;Alborosie;Mama Marjas - Curre curre guagliò still running A Brief View of the Hudson - Wisconsin Window Smasher A Certain Ratio - Lucinda A Place To Bury Strangers - Straight A Tribe Called Quest - After Hours Édith Piaf - Paris Ab-Soul;Danny Brown;Jhene Aiko - Terrorist Threats (feat. Danny Brown & Jhene Aiko) Abbey Lincoln - Lonely House - Remastered Abbey Lincoln - Mr. Tambourine Man Abner Jay - Woke Up This Morning ACID MOTHERS TEMPLE - Are We Experimental? Adolescents - Democracy Adrian Sherwood - No Dog Jazz Afro Latin Vintage Orchestra - Ayodegi Afrob;Telly Tellz;Asmarina Abraha - 808 Walza Afroman - I Wish You Would Roll A New Blunt Afternoons in Stereo - Kalakuta Republik Afu-Ra - Whirlwind Thru Cities Against Me! - Transgender Dysphoria Blues Aim;Qnc - The Force Al Jarreau - Boogie Down Alabama Shakes - Joe - Live From Austin City Limits Albert King - Laundromat Blues Alberta Cross - Old Man Chicago Alex Chilton - Boplexity Alex Chilton;Ben Vaughn;Alan Vega - Fat City Alexia;Aquilani A. - Uh La La La AlgoRythmik - Everybody Gets Funky Alice Russell - Humankind All Good Funk Alliance - In the Rain Allen Toussaint - Yes We Can Can Alvin Cash;The Registers - Doin' the Ali Shuffle Amadou & Mariam - Mon amour, ma chérie Ananda Shankar - Jumpin' Jack Flash Andrew Gold - Thank You For Being A Friend Andrew McMahon in the Wilderness - Brooklyn, You're