DOCSLIB.ORG

The Arts and Entertainment Supplement to the Daily Nexus, for February 16Th Through February 22Nd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Arts and Entertainment Supplement to the Daily Nexus, for February 16Th Through February 22Nd The Arts and Entertainment Supplement to the Daily Nexus, for February 16th Through February 22nd. 1995 AHHHH! It's raining mastheads! YOU SHOULD JUST READ THE INTERVIEW WITH FUNKDOOBIEST ON PAGE 4A ALSO: HIGHER LEARNING MASSIVE ATTACK THE POPPY FIELD AND MORE! ZACK GROSSMAN/DftOy Nexus 2 A Thursday, February 16,1995 Daily Nexus In 1991, director John Singleton re­ rest of the audience’s eyes. Various Artists ceived national attention and acclaim for Adding to the portrayal of the charac­ Higher Learning Boyz N The Hood. It was unfortunate ter is the fact that Kristen is experiencing Epic that he followed this with the sophomoric sexual ambivalence, as she steeps with Poetic Justice. But any questions about both Wayne (Jason Wiles) and Taryn Take a stroll down any Singleton’s skills as a moviemaker are an­ (Jennifer Connelly), head of one of the college campus — w alk­ swered in Higher Learning, which is, university's women’s groups. ing through the dorms and apartments you can hear the music of America. So writes John Singleton in the liner notes of the soundtrack to his new film, H igher Learning. Singleton is right. As a freshman, a phenomenally diverse mix of music constantly pul­ sated within my dorm. One of the joys of living in those cramped quarters was that there was a pretty fair chance that any ima­ ginable CD was available to borrow from someone in the building. Yes, take a stroll down UCSB’s cam­ pus, and .while walking through tiie dorms you will likely hear the music quite simply, great The third freshman, Remy (Michael of Miles Davis, Led Zep­ chine an d M e’sh ell same album? Don’t worry, The film takes place on the campus of Rapaport) brings some strangeness to an pelin and Snoop Doggy Ndege’Ocello perform it’s not quite as weird as it Columbus University, and by depicting otherwise fairly normal college. Remy is Dogg. The music of some of their best work to sounds. In fact, the songs students of every gender, ethnicity and or­ an engineering hopeful from Idaho who America? Sounds like it to date on the Higher Learn­ fit together surprisingly ientation, it attempts to be representative has trouble fitting in, until he is recruited me. ing soundtrack. well. Likely, the artists re­ of America and its racial problems. The by the skinheads. “New music of The album’s lack of dis­ alized that they were given opening shot of the U.S. flag is a signal to These parallel lines gradually cross, America” is therefore a cernible genre consistency a unique opportunity to get ready for a fireball of chaos, power creating quite a bit of racial tension that is good way to describe helps establish the notion have their work heard by and tension that will erupt into violence waiting to explode. One of Fudge’s what’s included on Higher that what Singleton calls all types of music listeners and tragedy. friends, Dreads (Busta Rhyme z), explains Learning, as each of these “the music of America” and, as a result, they actu­ We track the lives of three freshmen as it perfectly when he unleashes a crazed, 13 tracks will likely be isn’t rock, rap or anything ally put forth some effort. they begin college. Malik Williams (Omar frustrated cry. It almost makes you want playing at a university near in between. Its nature is This album is filled with Epps) was a high school track star who to scream as loudly as possible. you sometime soon. Sin­ too large for it to be simply material which could eas­ now runs for Columbus on a partial scho­ gleton and Danny Bram- defined with labels. ily be released as singles. Higher Learning is definitely a movie It’s not a collection of half- larship. He quickly realizes that he’s no to see. It’s amazingly explosive, so be pre son, who produced the Higher Learning contains longer the bad-ass star, and in the eyes of soundtrack, should win elements of jazz, hip-hop, assed B-sides and studio pared. The only problem I have with it is outtakes. the university, is a thoroughbred to be that the characters represent their respec­ some kind of musical di­ rock, funk and R & B with­ trained for speed. This brings up the issue versity award for attempt­ out forming corny hybrids Higher Learning would tive groups a little too w ell, and unlike definitely be a good purch­ of colleges using athletes, especially Boyz, there’s little room for them to grow. ing to cover the wide spec­ or mixing styles as a African-American men like Malik, to trum of what is known as novelty. The idea is kinda ase for those who have bring in money and national recognition. While the audience’s reactions tended “college” music. Everyone cool: 13 very different eclectic tastes in music or Malik soon runs into quite simply his to be respectful, scenes of the lesbian rela­ from altema-rockers Eve’s songs with one unifying are looking to get turned opposite, Kristen Connor (Kristy Swan­ tionship between Kristen and Taiyn were Plum to club favorites theme — they’re all on to some new bands. It is son). Kristen is a sheltered, middle class met with stunned silence, muttering and Zhane contribute tracks, “American music.” a quality compilation of white girl from Orange Counfy. She is whispering, laughing and even a cry of most of which are surpris- But how do all of these some of today’s most intri­ date-raped by a frat boy, who then experi­ “ewwww!” ingly good considering mismatched styles of guing artists. Hopefully, ences a sort of justice at the hands of Higher Learning and the crowd’s reac­ that they were recorded music sound together? people will be open- Fudge (Ice Cube) and his friends. The tion to it show that as a society, we still specifically for a sound­ And who in the world minded enough to take a rape scene, with Tori Amos’ version of have a long way to go. track album. In fact, Out- thought to put Ice Cube chance and listen to some R.E.M.’s “Losing My Religion” in the kast, Rage Against the Ma­ and Tori Amos on the cool new music. background, brought tears to my and the —Michael Iin —Eric Steuer University of Wisconsin — Platteville W IN A FREE TRIP TO SAN FRANCISCO ^ 5« SHERYL CROW Free Air Travel For Two tV Hotel Concert Tickets Learn Your Way Around The World • Study abroad in Seville, Spain, or London, LISTEN TO England, for a summer, for a semester or for a full academic year • Courses in liberal arts and international business • Fluency in a foreign language not required • Home-stays with meals • Field trips • Financial aid applies (except for summer session) Program Costs: For tuition, room, board and field trips • In Seville, Spain $5,225 (fall or spring) for Wisconsin residents $5,475 (fall or spring) for non-residents • In London, England $4395 (fall), $4,635 (spring) for Wisconsin residents $4,645 (fall), $4,885 (spring) for non-residents Application deadlines: 9 : 2 . 9 FJVt • April 1 for summer session MONTECITO • SANTA BARBARA • April 30 for fall semester • October 15 (Seville), November 15 (London) for spring semester SANTA BARBARA'S ALTERNATIVE ROCK STATION For a program description and an email [email protected] application, call toll free: 1-800-342-1725 Daily Nexus Thursday, February 16,1995 3 A Associated Students PROGRAM BOARD Various Artists _______presents_______ Best of House M usic'. Tribal Smile HIP HOP HEAVEN II When I first saw this disc, I immediately ex­ pected some collection of rONIGHT candy-ass “house remixes” O D M $6 for Students! of top-40 classics. y riv i Whenever something says $9 at the door j “the best of,” it usually « m FEATURING: THE means “the most popular of,” and that means “the BEATNUTS worst of’ to me. But then when I saw that it was put together by Smile Records, f t m on and that it was a tribal- variety. open air of a jungle, with house disc, my interests This particular disc is an bird calls and all. Off in the picked up again. excellent collection be­ distance, a haunting tribal Due to illness, Organized Konfusion will not be performing Smile (they print it cause it offers music from call disturbs a short bongo tonight. The other 3 groups are still going to be there to make Sm:)e) is actually a fairly many different artists and line, a steady beat and Jt a great show, and hopefully you will too. good record company out labels, which guarantees a other such percussion cre­ of New York. It is well little diversity, while at the atures. Soon, the forest is known for domestic house same time retaining a alive with deep, trancey WED. FEB. 22 FREE IN STORKE PLAZA! vinyl. So by the time I cohesive element by stick­ undulations, riding under @ N O O N looked at the back, I was ing with tribal-house tribal calls and rampant San Francisco’s jazz/hip-hop fusion not that surprised to find songs. I was very happy to percussion. 12 strong house cuts by find Lectroluv’s “Dream A favorite track of mine very good groups. Drums” because I some­ is “Follow Me” by Bascut, R]lphafc>et S oup What surprised me was how missed it when it was which I have been search­ that they were all on diffe­ released on vinyl a while ing outfor months.
Load more

Recommended publications
  • Annabel Moynihan Was Living in Portland Oregon
    Inside the Artist - which plays mostly Irish traditional music in the style as its I started playing Irish traditional music about 25 years ago when I played here in Vermont. Locally I also teach and I love doing Annabel Moynihan was living in Portland Oregon. I studied with Kevin Burke, who that! I am inspired and learn so much from my students every February 2017 was the founding member of the Bothian Band who is an week. And I have been glad to be a part of the Suzuki teacher’s amazing and influential fiddle player with whom I was lucky community with the Burlington Vermont Suzuki Violins who have enough to study. I played out there in a band that played been really helpful and supportive for me. So I’ve been teaching traditional Irish and Scottish music with a Scottish singer. That for ten years now. I have a studio in Waterbury. I also have was a bar band and we played 4 or 5 nights a week--all Irish given classes as a part of the Vermont School of Irish Traditional music, all Scottish music, and lots of country western music. No Music, which is run by Hilary Ferrington and Benedict Kohler, English music (laughs). I also play the electric violin in a number and they’ve been teaching classes on Irish traditional music and After discussing the program she is helping to produce for a th of different experimental and electronic music bands and with Irish repertoire which has been a boon to our Irish music March 17 St.
    [Show full text]
  • Wavelength (December 1981)
    University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 12-1981 Wavelength (December 1981) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (December 1981) 14 https://scholarworks.uno.edu/wavelength/14 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. ML I .~jq Lc. Coli. Easy Christmas Shopping Send a year's worth of New Orleans music. to your friends. Send $10 for each subscription to Wavelength, P.O. Box 15667, New Orleans, LA 10115 ·--------------------------------------------------r-----------------------------------------------------· Name ___ Name Address Address City, State, Zip ___ City, State, Zip ----­ Gift From Gift From ISSUE NO. 14 • DECEMBER 1981 SONYA JBL "I'm not sure, but I'm almost positive, that all music came from New Orleans. " meets West to bring you the Ernie K-Doe, 1979 East best in high-fideUty reproduction. Features What's Old? What's New ..... 12 Vinyl Junkie . ............... 13 Inflation In Music Business ..... 14 Reggae .............. .. ...... 15 New New Orleans Releases ..... 17 Jed Palmer .................. 2 3 A Night At Jed's ............. 25 Mr. Google Eyes . ............. 26 Toots . ..................... 35 AFO ....................... 37 Wavelength Band Guide . ...... 39 Columns Letters ............. ....... .. 7 Top20 ....................... 9 December ................ ... 11 Books ...................... 47 Rare Record ........... ...... 48 Jazz ....... .... ............. 49 Reviews ..................... 51 Classifieds ................... 61 Last Page ................... 62 Cover illustration by Skip Bolen. Publlsller, Patrick Berry. Editor, Connie Atkinson.
    [Show full text]
  • Lyrics and the Law : the Constitution of Law in Music
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2006 Lyrics and the law : the constitution of law in music. Aaron R. S., Lorenz University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Lorenz, Aaron R. S.,, "Lyrics and the law : the constitution of law in music." (2006). Doctoral Dissertations 1896 - February 2014. 2399. https://scholarworks.umass.edu/dissertations_1/2399 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. LYRICS AND THE LAW: THE CONSTITUTION OF LAW IN MUSIC A Dissertation Presented by AARON R.S. LORENZ Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY February 2006 Department of Political Science © Copyright by Aaron R.S. Lorenz 2006 All Rights Reserved LYRICS AND THE LAW: THE CONSTITUTION OF LAW IN MUSIC A Dissertation Presented by AARON R.S. LORENZ Approved as to style and content by: Sheldon Goldman, Member DEDICATION To Martin and Malcolm, Bob and Peter. ACKNOWLEDGMENTS This project has been a culmination of many years of guidance and assistance by friends, family, and colleagues. I owe great thanks to many academics in both the Political Science and Legal Studies fields. Graduate students in Political Science have helped me develop a deeper understanding of public law and made valuable comments on various parts of this work.
    [Show full text]
  • Chant Down Babylon: the Rastafarian Movement and Its Theodicy for the Suffering
    Verge 5 Blatter 1 Chant Down Babylon: the Rastafarian Movement and Its Theodicy for the Suffering Emily Blatter The Rastafarian movement was born out of the Jamaican ghettos, where the descendents of slaves have continued to suffer from concentrated poverty, high unemployment, violent crime, and scarce opportunities for upward mobility. From its conception, the Rastafarian faith has provided hope to the disenfranchised, strengthening displaced Africans with the promise that Jah Rastafari is watching over them and that they will someday find relief in the promised land of Africa. In The Sacred Canopy , Peter Berger offers a sociological perspective on religion. Berger defines theodicy as an explanation for evil through religious legitimations and a way to maintain society by providing explanations for prevailing social inequalities. Berger explains that there exist both theodicies of happiness and theodicies of suffering. Certainly, the Rastafarian faith has provided a theodicy of suffering, providing followers with religious meaning in social inequality. Yet the Rastafarian faith challenges Berger’s notion of theodicy. Berger argues that theodicy is a form of society maintenance because it allows people to justify the existence of social evils rather than working to end them. The Rastafarian theodicy of suffering is unique in that it defies mainstream society; indeed, sociologist Charles Reavis Price labels the movement antisystemic, meaning that it confronts certain aspects of mainstream society and that it poses an alternative vision for society (9). The Rastas believe that the white man has constructed and legitimated a society that is oppressive to the black man. They call this society Babylon, and Rastas make every attempt to defy Babylon by refusing to live by the oppressors’ rules; hence, they wear their hair in dreads, smoke marijuana, and adhere to Marcus Garvey’s Ethiopianism.
    [Show full text]
  • June 1984 Kansas City's Free Music and Entertainment Newspaper Issue 42 Modern English: from Punk to Classical
    All the Bulk rate news US Postage that's fH paid permit to pitch no. 2419 C PITCtI KCMO June 1984 Kansas City's free music and entertainment newspaper Issue 42 Modern English: From punk to classical is time and is at Worlds of Fun on June 8. Bassist Conroy talked with KC Pitch about the band. how it began and the hard-to-define Modern sound. all met in Culchester, England, 50 miles outside London. We thought it would be a real good to be in a band, so we all went out and thought we After two That British band Modern English performs at Worlds of Fun on music. It's something we've always wanted to do and we really got the chance on this his own words, "Ever- record." changing. Very hard to I wouldn't really are quite con­ These distinct of touring on the mind like to what we are like because tomorrow way we write our songs. We English and and loss of love ("Heart") I'd we were absolutely like it." don't want to do two songs the same, describe, and last year's "I Melt Listen to their new album and for sound like a young man struck with yourself. Modern English. with all of it's diver­ of fever. Lead vocalist sify and different dimensions. is a band that lyrics "He's the deserves to heard Trivial pursuits with Rhino Records Annette, the Monkees and "the world's only senior citizen Jewish rock band" words are the By Steve Walker the soundtracks to Blood Feast and 2000 surmise, platinum records do not crowd the eccentric in­ Maniacs with music by Herschell Gordon walls of Rhino's Santa Monica offices.
    [Show full text]
  • Guitarist Sharon Isbin to Star with Santa Rosa Symphony
    Guitarist Sharon Isbin to star with Santa Rosa Symphony By DIANE PETERSON THE PRESS DEMOCRAT Published: Thursday, January 20, 2011 at 3:00 a.m. WWW.SHARONISBIN.COM/ J. HENRY FAIR Sharon Isbin serves as the American ambassador of the classical guitar, performing everywhere from the concert hall to the White House. It's a job that no one else really wanted. That's because most Americans are exposed to the guitar through rock and folk music and then fall in love with classical guitar by accident. “That's changing now, but that certainly has been part of the history of classical guitar in this country,” Isbin said in a phone interview from her home in New York City. “Europe has a much longer tradition of classical guitar, going back to Spain and Italy and the U.K., so that the roots have had time to blossom and flourish.” For the Santa Rosa Symphony's fourth concert set this weekend, Isbin will whisk the audience off to the gardens of Spain during a performance of Joaquin Rodrigo's passionate “Concierto de Aranjuez.” “The Rodrigo is one of the most popular works of any works for orchestra,” she said. “The second movement is so powerfully moving and emotionally raw, with great nuances and musical inspiration. It's something that really touches people in unusual ways.” Led by guest conductor and Mexico native Enrique Arturo Diemecke, the south-of-the- border program also includes Astor Piazzolla's seductive “Tangazo, Variations on Buenos Aires” and the Fourth Symphony of composer Carlos Chavez, considered to be the founder of modern Mexican music.
    [Show full text]
  • Idioms-And-Expressions.Pdf
    Idioms and Expressions by David Holmes A method for learning and remembering idioms and expressions I wrote this model as a teaching device during the time I was working in Bangkok, Thai- land, as a legal editor and language consultant, with one of the Big Four Legal and Tax companies, KPMG (during my afternoon job) after teaching at the university. When I had no legal documents to edit and no individual advising to do (which was quite frequently) I would sit at my desk, (like some old character out of a Charles Dickens’ novel) and prepare language materials to be used for helping professionals who had learned English as a second language—for even up to fifteen years in school—but who were still unable to follow a movie in English, understand the World News on TV, or converse in a colloquial style, because they’d never had a chance to hear and learn com- mon, everyday expressions such as, “It’s a done deal!” or “Drop whatever you’re doing.” Because misunderstandings of such idioms and expressions frequently caused miscom- munication between our management teams and foreign clients, I was asked to try to as- sist. I am happy to be able to share the materials that follow, such as they are, in the hope that they may be of some use and benefit to others. The simple teaching device I used was three-fold: 1. Make a note of an idiom/expression 2. Define and explain it in understandable words (including synonyms.) 3. Give at least three sample sentences to illustrate how the expression is used in context.
    [Show full text]
  • Williams, Justin A. (2010) Musical Borrowing in Hip-Hop Music: Theoretical Frameworks and Case Studies
    Williams, Justin A. (2010) Musical borrowing in hip-hop music: theoretical frameworks and case studies. PhD thesis, University of Nottingham. Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/11081/1/JustinWilliams_PhDfinal.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. · 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 Nottingham ePrints has been checked for eligibility before being made available. · Copies of full items can be used 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. · Quotations or similar reproductions must be sufficiently acknowledged. Please see our full end user licence at: http://eprints.nottingham.ac.uk/end_user_agreement.pdf A note on versions: The version presented here 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 repository url above for details on accessing the published version and note that access may require a subscription. For more information, please contact [email protected] MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A.
    [Show full text]
  • Jay Brown Rihanna, Lil Mo, Tweet, Ne-Yo, LL Cool J ISLAND/DEF JAM, 825 8Th Ave 28Th Floor, NY 10019 New York, USA Phone +1 212 333 8000 / Fax +1 212 333 7255
    Jay Brown Rihanna, Lil Mo, Tweet, Ne-Yo, LL Cool J ISLAND/DEF JAM, 825 8th Ave 28th Floor, NY 10019 New York, USA Phone +1 212 333 8000 / Fax +1 212 333 7255 14. Jerome Foster a.k.a. Knobody Akon STREET RECORDS CORPORATION, 1755 Broadway 6th , NY 10019 New York, USA Phone +1 212 331 2628 / Fax +1 212 331 2620 16. Rob Walker Clipse, N.E.R.D, Kelis, Robin Thicke STAR TRAK ENTERTAINMENT, 1755 Broadway , NY 10019 New York, USA Phone +1 212 841 8040 / Fax +1 212 841 8099 Ken Bailey A&R Urban Breakthrough credits: Chingy DISTURBING THA PEACE 1867 7th Avenue Suite 4C NY 10026 New York USA tel +1 404 351 7387 fax +1 212 665 5197 William Engram A&R Urban Breakthrough credits: Bobby Valentino Chingy DISTURBING THA PEACE 1867 7th Avenue Suite 4C NY 10026 New York USA tel +1 404 351 7387 fax +1 212 665 5197 Ron Fair President, A&R Pop / Rock / Urban Accepts only solicited material Breakthrough credits: The Calling Christina Aguilera Keyshia Cole Lit Pussycat Dolls Vanessa Carlton Other credits: Mya Vanessa Carlton Current artists: Black Eyed Peas Keyshia Cole Pussycat Dolls Sheryl Crow A&M RECORDS 2220 Colorado Avenue Suite 1230 CA 90404 Santa Monica USA tel +1 310 865 1000 fax +1 310 865 6270 Marcus Heisser A&R Urban Accepts unsolicited material Breakthrough credits: G-Unit Lloyd Banks Tony Yayo Young Buck Current artists: 50 Cent G-Unit Lloyd Banks Mobb Depp Tony Yayo Young Buck INTERSCOPE RECORDS 2220 Colorado Avenue CA 90404 Santa Monica USA tel +1 310 865 1000 fax +1 310 865 7908 www.interscope.com Record Company A&R Teresa La Barbera-Whites
    [Show full text]
  • The Post-Traumatic Futurities of Black Debility
    This is an electronic reprint of the original article. This reprint may differ from the original in pagination and typographic detail. Koivisto, Mikko (Live!) The Post-traumatic Futurities of Black Debility Published in: DISABILITY STUDIES QUARTERLY DOI: 10.18061/dsq.v39i3.6614 Published: 30/08/2019 Document Version Publisher's PDF, also known as Version of record Please cite the original version: Koivisto, M. (2019). (Live!) The Post-traumatic Futurities of Black Debility. DISABILITY STUDIES QUARTERLY, 39(3). https://doi.org/10.18061/dsq.v39i3.6614 This material is protected by copyright and other intellectual property rights, and duplication or sale of all or part of any of the repository collections is not permitted, except that material may be duplicated by you for your research use or educational purposes in electronic or print form. You must obtain permission for any other use. Electronic or print copies may not be offered, whether for sale or otherwise to anyone who is not an authorised user. Powered by TCPDF (www.tcpdf.org) (Live!) The Post-traumatic Futurities of Black Debility Mikko O. Koivisto Aalto University School of Arts, Design and Architecture Email: [email protected] Keywords: Pharoahe Monch, debilitation, racism, ableism, sanism, rap music Abstract This article investigates the possibilities of artistic and performative strategies for elucidating forms of systemic violence targeted at racialized and disabled bodies. The analysis focuses on the album PTSD: Post traumatic stress disorder by the New York rapper Pharoahe Monch, delving into the ways in which it explores the intersections of Blackness and disability. The album's lyrics range from a critique of the structural racism in contemporary American society to subjective, embodied experiences of clinical depression, anxiety, and chronic asthma—and their complex entanglement.
    [Show full text]
  • Carlton Barrett
    ! 2/,!.$ 4$ + 6 02/3%2)%3 f $25-+)4 7 6!,5%$!4 x]Ó -* Ê " /",½-Ê--1 t 4HE7ORLDS$RUM-AGAZINE !UGUST , -Ê Ê," -/ 9 ,""6 - "*Ê/ Ê /-]Ê /Ê/ Ê-"1 -] Ê , Ê "1/Ê/ Ê - "Ê Ê ,1 i>ÌÕÀ} " Ê, 9½-#!2,4/."!22%44 / Ê-// -½,,/9$+.)"" 7 Ê /-½'),3(!2/.% - " ½-Ê0(),,)0h&)3(v&)3(%2 "Ê "1 /½-!$2)!.9/5.' *ÕÃ -ODERN$RUMMERCOM -9Ê 1 , - /Ê 6- 9Ê `ÊÕV ÊÀit Volume 36, Number 8 • Cover photo by Adrian Boot © Fifty-Six Hope Road Music, Ltd CONTENTS 30 CARLTON BARRETT 54 WILLIE STEWART The songs of Bob Marley and the Wailers spoke a passionate mes- He spent decades turning global audiences on to the sage of political and social justice in a world of grinding inequality. magic of Third World’s reggae rhythms. These days his But it took a powerful engine to deliver the message, to help peo- focus is decidedly more grassroots. But his passion is as ple to believe and find hope. That engine was the beat of the infectious as ever. drummer known to his many admirers as “Field Marshal.” 56 STEVE NISBETT 36 JAMAICAN DRUMMING He barely knew what to do with a reggae groove when he THE EVOLUTION OF A STYLE started his climb to the top of the pops with Steel Pulse. He must have been a fast learner, though, because it wouldn’t Jamaican drumming expert and 2012 MD Pro Panelist Gil be long before the man known as Grizzly would become one Sharone schools us on the history and techniques of the of British reggae’s most identifiable figures.
    [Show full text]
  • Politics and Popular Culture: the Renaissance in Liberian Music, 1970-89
    POLITICS AND POPULAR CULTURE: THE RENAISSANCE IN LIBERIAN MUSIC, 1970-89 By TIMOTHY D. NEVIN A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FUFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2010 1 © 2010 Timothy Nevin 2 To all the Liberian musicians who died during the war-- (Tecumsey Roberts, Robert Toe, Morris Dorley and many others) Rest in Peace 3 ACKNOWLEDGMENTS I would like to thank my parents and my uncle Frank for encouraging me to pursue graduate studies. My father’s dedication to intellectual pursuits and his life-long love of teaching have been constant inspirations to me. I would like to thank my Liberian wife, Debra Doeway for her patience in attempting to answer my thousand and one questions about Liberian social life and the time period “before the war.” I would like to thank Dr. Luise White, my dissertation advisor, for her guidance and intellectual rigor as well as Dr. Sue O’Brien for reading my manuscript and offering helpful suggestions. I would like to thank others who also read portions of my rough draft including Marissa Moorman. I would like to thank University of Florida’s Africana librarians Dan Reboussin and Peter Malanchuk for their kind assistance and instruction during my first semester of graduate school. I would like to acknowledge the many university libraries and public archives that welcomed me during my cross-country research adventure during the summer of 2007. These include, but are not limited to; Verlon Stone and the Liberian Collections Project at Indiana University, John Collins and the University of Ghana at East Legon, Northwestern University, Emory University, Brown University, New York University, the National Archives of Liberia, Dr.
    [Show full text]