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Redalyc.Curwen Best. 2012. the Popular Music and Entertainment
Caribbean Studies ISSN: 0008-6533 [email protected] Instituto de Estudios del Caribe Puerto Rico Harris, Jo Anne Curwen Best. 2012. The Popular Music and Entertainment Culture of Barbados: Pathways to Digital Culture. Maryland: Scarecrow Press. 211 pp. ISBN: 081087749X. Caribbean Studies, vol. 42, núm. 1, enero-junio, 2014, pp. 269-272 Instituto de Estudios del Caribe San Juan, Puerto Rico Available in: http://www.redalyc.org/articulo.oa?id=39238126014 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative rEsEñas dE libros • book rEviEws • comptEs rEndus 269 Curwen Best. 2012. The Popular Music and Entertainment Culture of Barbados: Pathways to Digital Culture. Maryland: Scarecrow Press. 211 pp. ISBN: 081087749X. Jo Anne Harris School of Liberal Arts Georgia Gwinnett College [email protected] pouge, Soca, Tuk, Dancehall, and Calypso! What happens when Straditional Caribbean sounds ‘mash up’ with digital technology? The answer is: a digital revolution and global superstars like Rihanna. In Curwen Best’s The Popular Music and Entertainment Culture of Bar- bados, Pathways to Digital Culture, getting back to the plantation roots of Bajan rhythms provides the historical backdrop to a Barbados phe- nomenon, while at the same time debating how tourism, technology, and transnational influences have transformed popular culture and music in Barbados. For those familiar with Caribbean music and history, one obvious question is: How did plantation drumming evolve into hi-def recor- dings of hip hop, dub, and dancehall? The author, professor of popular culture and literary studies at the University of the West Indies, Cave Hill Campus, offers some interesting comments on multiple paths to a [re]evolution of popular music and entertainment in Barbados. -
Music, Mas, and the Film and Video Segments
Entertainment Services with Special Reference to MUSIC, MAS, AND THE FILM AND VIDEO SEGMENTS Submitted to: MR. HENRY S. GILL Communications Director/Team Leader CARICOM Trade Project Caribbean Regional Negotiating Machinery (RNM) "Windmark", First Avenue, Harts Gap Hastings, Christ Church Barbados Submitted by: MS. ALLISON DEMAS AND DR. RALPH HENRY December 2001 Entertainment Services with Special Reference to Music, Mas, and the Film & Video Segments i Contents EXECUTIVE SUMMARY........................................................................................................VI SECTION I 1.0 INTRODUCTION .......................................................................................................... 1 1.1 Objectives of Study........................................................................................................ 2 1.2 Delimitations and Limitations....................................................................................... 2 1.3 Outline of Study............................................................................................................. 3 1.4 Intellectual Property Rights.......................................................................................... 4 1.5 Industrial Organisation ................................................................................................ 7 1.6 Music........................................................................................................................... 11 1.7 Street Festivals........................................................................................................... -
UC Berkeley Electronic Theses and Dissertations
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title "In Plenty and In Time of Need": Popular Culture and the Remapping of Barbadian Identity Permalink https://escholarship.org/uc/item/7d59h0c8 Author Bascomb, Lia Tamar Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California “In Plenty and In Time of Need”: Popular Culture and the Remapping of Barbadian Identity by Lia Tamar Bascomb A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in African American Studies in the Graduate Division of University of California, Berkeley Committee in charge: Professor Leigh Raiford, Chair Professor Brandi Catanese Professor Nadia Ellis Professor Laura Pérez Spring 2013 “In Plenty and In Time of Need”: Popular Culture and the Remapping of Barbadian Identity © 2013 by Lia Tamar Bascomb 1 Abstract “In Plenty and In Time of Need”: Popular Culture and the Remapping of Barbadian Identity by Lia Tamar Bascomb Doctor of Philosophy in African American Studies University of California at Berkeley Professor Leigh Raiford, Chair This dissertation is a cultural history of Barbados since its 1966 independence. As a pivotal point in the Transatlantic Slave Trade of the seventeenth and eighteenth centuries, one of Britain’s most prized colonies well into the mid twentieth century, and, since 1966, one of the most stable postcolonial nation-states in the Western hemisphere, Barbados offers an extremely important and, yet, understudied site of world history. Barbadian identity stands at a crossroads where ideals of British respectability, African cultural retentions, U.S. commodity markets, and global economic flows meet. -
Cultural Maintenance and the Politics of Fulfillment in Barbados’S Junior Calypso Monarch Programme
MASK AND MIRROR: CULTURAL MAINTENANCE AND THE POLITICS OF FULFILLMENT IN BARBADOS’S JUNIOR CALYPSO MONARCH PROGRAMME A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAIʻI AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN MUSIC MAY 2016 By Anjelica Corbett Thesis Committee: Frederick Lau, chairperson Ricardo Trimillos Njoroge Njoroge Keywords: Anjelica Corbett, Calypso, Carnival, Nationalism, Youth Culture, Barbados Copyright © 2016 Anjelica Corbett Acknowledgements Foremost, I would like to thank God because without him nothing would be possible. I would also like to thank the National Cultural Foundation, the Junior Calypso Monarch Programme participants, Chrystal Cummins-Beckles, and Ian Webster for welcoming into the world of Bajan calypso and answering my questions about this new environment. My gratitude also extends to the Junior Calypso Monarch Programme participants for allowing me to observe and their rehearsals and performances and sharing their love of calypso with me. I would like to thank Dr. Frederick Lau, Dr. Byong-Won Lee, Dr. Ricardo Trimillos, and Dr. Njoroge Njoroge, and the University of Hawai‘i at Mānoa's Music Department for approving this project and teaching me valuable lessons throughout this process. I would especially like to thank my fellow colleagues in the Ethnomusicology department for their emotional and academic support. Finally, I would like to thank my family for support and encouragement throughout my academic career. i Abstract Barbados, like other Caribbean nations, holds junior calypso competitions for Barbadian youth. These competitions, sponsored by Barbados’s National Cultural Foundation (NCF), allow the youth to express their opinions on society. -
Popular Culture and the Remapping of Barbadian Identity
“In Plenty and In Time of Need”: Popular Culture and the Remapping of Barbadian Identity by Lia Tamar Bascomb A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in African American Studies in the Graduate Division of University of California, Berkeley Committee in charge: Professor Leigh Raiford, Chair Professor Brandi Catanese Professor Nadia Ellis Professor Laura Pérez Spring 2013 “In Plenty and In Time of Need”: Popular Culture and the Remapping of Barbadian Identity © 2013 by Lia Tamar Bascomb 1 Abstract “In Plenty and In Time of Need”: Popular Culture and the Remapping of Barbadian Identity by Lia Tamar Bascomb Doctor of Philosophy in African American Studies University of California at Berkeley Professor Leigh Raiford, Chair This dissertation is a cultural history of Barbados since its 1966 independence. As a pivotal point in the Transatlantic Slave Trade of the seventeenth and eighteenth centuries, one of Britain’s most prized colonies well into the mid twentieth century, and, since 1966, one of the most stable postcolonial nation-states in the Western hemisphere, Barbados offers an extremely important and, yet, understudied site of world history. Barbadian identity stands at a crossroads where ideals of British respectability, African cultural retentions, U.S. commodity markets, and global economic flows meet. Focusing on the rise of Barbadian popular music, performance, and visual culture this dissertation demonstrates how the unique history of Barbados has contributed to complex relations of national, gendered, and sexual identities, and how these identities are represented and interpreted on a global stage. This project examines the relation between the global pop culture market, the Barbadian artists within it, and the goals and desires of Barbadian people over the past fifty years, ultimately positing that the popular culture market is a site for postcolonial identity formation. -
ON the FLOOR the On-The-Pulse Guide to the Deep, Down and Dirty Gyrations of Global Clubland
ON THE FLOOR The on-the-pulse guide to the deep, down and dirty gyrations of global clubland BEATS EVOLUTION AND LET IT ROLL RETURN Drum & bass conference and festival boast huge line-ups for 2017 editions… THE WORLD’S biggest d&b festival, Let It Roll, and Rise Music, along with a plethora of other Camo & Krooked, High Contrast, Bad Company UK, only d&b conference, Beats Evolution, return to big-name DJs and heads working behind the Calyx & Teebee, LTJ Bukem, Hype b2b Hazard, the Czech Republic this summer. scenes. There’ll also be a chance to meet the Total Science, Randall, Current Value and many, From Wednesday 2nd to Thursday 3rd August, BEC Shogun Audio team, attend workshops hosted by many more (seriously, just look up the line-up, it welcomes faces from across the scene to discuss Shimon and Titan Records honcho A.M.C, and would take us all day to explain). Plus, following a the important issues and give advice to aspiring show off your demos to top labels. successful debut in the UK last year, Hospital DJ/producers. Covering hot topics such as how to Then, kicking off on the Thursday evening and Records co-founder London Elektricity brings his break the international market, ghostwriting, running through Friday and Saturday, Let It Roll live Big Band show. All this takes place across a touring and digital promotion, the wide range of heads just outside the city to Milovice Airfi eld, range of tents and stages offering tip-top panels will feature the likes of Critical Music boss bringing over 330 DJs and 30,000 eager drum & production, including a new arena inside a bunker. -
WIRL-Trex Catalog
Cat. # Year Artist Side A (45/EP)By.... Side B (45/EP) B 002 Silhouettes Santa Anna It's Not Unusual B 023 1968 R. Stoute & The Teenage College Thrillers You Ain't Gonna Let Me Down Goodbye Now My Bajan Girl B 027 Blue Rhythm Combo My World Is Empty Without You Babe Streak-O-Lean B 028 Blue Rhythm Combo feat. Lew Kirton What About You Sign Of The Times B 032 Blue Rhythm Orch. Of St. Vincent No Money No Love Govenors Ball B 034 1967 The Staccatoes Red Rubber Ball Guantamera B 036 The Soul Kings Summer Wine Somewhere B 037 The Soul Kings Somewhere My Love My Funny Valentine B 041 The Silhouettes feat The Draytons Two When I See her Face He's Only A Man B 044 The Swinging Stars Of Dominica Shango Man Rhythm & Blues B 047 1967 The Caravells Monday A Tree Cast Its Leaves B 048 Lew Drayton A Whiter Shade Of Pale Georgy Girl B 049 Theo Bylhout With The Blue Rhythm Combo Green Green Grass Of Home Its Wonderful To Be Back Home B 050 1967 The Tropical Islanders The Donkey Honeymooning Couple B 053 The Opels Of Barbados I Beg Of You Baby Come Back B 054 Blue Rhythm Combo of Barbados Something Stupid Main Stream B 055 The Telcos Combo Chim Chim Cheree Silence Is Golden B 061 Johnny Braff Wait For Me West Indies I Love You B 063 The Swinging Stars Of Dominica Dominican Folk Medley Serenata en Batanga B 066 Austin Brothers Combo As The Shadows Fall Justina B 067 The Staccatoes Miss Tourist Call Me A Fool B 073 Lord Short Shirt Unlucky Me Tourist Carnival B 076 Joseph Niles & The Consolers Royal Telephone Love In My Heart B 080 The Fantastics Wonderful World Never My Love B 083 1968 The Telcos Combo Blue Umbrella Little White Lies B 084 Ivan Browne Island Woman Would You Do It Again B 085 Terry Prescod feat. -
Globalisation and Commercialisation of Caribbean Music
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Helsingin yliopiston digitaalinen arkisto Globalisation and Commercialisation of Caribbean Music Mike Alleyne Department of Recording Industry, Middle Tennessee State University In recent years globalisation has been identified, particularly by developing nations, as a source of major challenges, and in some cases a threat to their very survival. However, its musical manifestation precedes the widespread use of the term in political contexts, and the representation of the Caribbean’s popular music provides key evidence of this. A central concern of most small cultures is the assimilation and utilisation of foreign influences without distorting the content and representation of the local. Typically, the recording industry’s corporate motivations have been capitalist rather than cultural, rarely synthesising the two successfully. This raises concerns about the legitimate representation of the music and the communities from which it emerges, when commercialisation dilutes the art to the point where it may become only product. The homogenising tendencies of globalisation are frequently recognized, when, for example, the expansion of large corporations, such as McDonalds, impinge themselves upon the daily consciousness of the average person from Jamaica to Japan. However, where popular music is concerned, the encroachments of commerce are not always as readily evident, nor are their long-term consequences. This discussion attempts to shed some light on the historical and textual aspects of Anglophone Caribbean music and ways in which they are relevant to the music’s “authenticity”. Primarily, I will examine how some early forms of international commercialisation continue to influence the marketing and representation of Caribbean music, with a particular focus on the reggae era and the marketing of Bob Marley. -
Music Syllabus
CARIBBEAN EXAMINATIONS COUNCIL Caribbean Secondary Education Certificate ® CSEC MUSIC SYLLABUS Effective for examinations from May/June 2011 CXC 31/G/SYLL 07 Published by the Caribbean Examinations Council All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form, or by any means electronic, photocopying, recording or otherwise without prior permission of the author or publisher. Correspondence related to the syllabus should be addressed to: The Pro-Registrar Caribbean Examinations Council Caenwood Centre 37 Arnold Road, Kingston 5, Jamaica, W.I. Telephone: (876) 630-5200 Facsimile Number: (876) 967-4972 E-mail address: [email protected] Website: www.cxc.org Copyright © 2009, by Caribbean Examinations Council The Garrison, St Michael BB14038, Barbados CXC 31/G/SYLL 09 1 Contents RATIONALE ..................................................................................................................................................................1 AIMS .................................................................................................................................................................................1 GENERAL OBJECTIVES ..........................................................................................................................................2 CAREER CHOICES .....................................................................................................................................................2 COURSE PRE-REQUISITES ...................................................................................................................................3 -
The Music Industry Is One of the Largest Cultural Industries and Makes a Significant Contribution to the World-Economy
THE CARIBBEAN MUSIC INDUSTRY Prepared by DR. KEITH NURSE Institute of International Relations The University of the West Indies St Augustine Trinidad & Tobago Prepared for Caribbean Export Development Agency Barbados April 2001 CHAPTER ONE INTRODUCTION The rapid growth of an intellectual property and copyright economy, suggests that there is a window of opportunity in the realm of cultural industries for Caribbean economies. The cultural industries sector is one of the fastest growing sectors in the world-economy. In the United States, cultural industries account for approximately 40% of copyright industries, which contributes 6% of GDP, 5% of employment and has become the number one export sector, surpassing rivals like the auto industry (IIPA 2000). The music industry is one of the largest cultural industries and makes a significant contribution to the world-economy. The rate of growth for this sector during the 1980s and 1990s was between three and five times more than the growth rate for world exports (UNCTAD/ILO 1995)1. For example, the music industry in the UK has proven to be dynamic and competitive, relative to other sectors in the economy (Lewis 1995). In developing countries, the music industry has long been valued for its contribution to cultural identity (Nettl, 1997; Robinson et. al., 1991). However, there have been few studies of the music industry from an economic standpoint, despite the fact that a large number of developing countries have been involved in the production and export of music. In the Caribbean the music industry, however, remains largely undocumented, with a few notable exceptions (Bourne, C and S.M. -
'Peripheral' Culture in the Metropolis: West Indians in New York City
‘PERIPHERAL’ CULTURE IN THE METROPOLIS: WEST INDIANS IN NEW YORK CITY Remco van Capelleveen (Berlin) Migration movements have been an inherent element of Caribbean life for at least 500 years.1 In a way, the societies of the Caribbean are themselves the product of migration movements. These migration move ments began with the so-called “discovery” and settlement by European seafarers. They continued with the forced and brutal resettlement and enslavement of African peoples as labor force for the colonial plantation economies in the “New World” and, after the abolition of slavery, the migration within the Caribbean region and to the Central American isth mus; and they have culminated in the massive emigration to the indus trial metropoles after World War II - first to the United Kingdom and, since the late sixties, increasingly to the United States and Canada.2 This long- standing tradition of migration movements to and from the xThe term “West Indian” refers to the inhabitants of the English-speaking Caribbean islands, the mainland territories of Guyana and Belize, as well as the English-speaking Afro-creole enclaves en the predominantly Hispanic Car ibbean countries along the East coast of Central America. The term “Afro- Caribbean” refers to the Anglophone, Francophone and Dutch-speaking (i.e. the “non-Hispanic”) regions of the Caribbean. The “Afro-Caribbean” societies share certain similarities which distinguish them from the “Hispanic Caribbean”: the historically perpetual dominance of a plantation economy, a population over whelmingly of African descent (with the exceptions of Guyana and Trinidad), and an Afro-creolized folk culture distinct and separated from that of the Euro- creole dominant classes.