Linton Kwesi Johnson LKJ in Dub Volume Two Mp3, Flac, Wma

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Linton Kwesi Johnson LKJ In Dub Volume Two mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Reggae Album: LKJ In Dub Volume Two Country: Germany Released: 1992 Style: Dub MP3 version RAR size: 1130 mb FLAC version RAR size: 1181 mb WMA version RAR size: 1194 mb Rating: 4.8 Votes: 211 Other Formats: TTA MP4 AC3 MP1 MP2 XM MP3 Tracklist 1 Historic Dub 4:23 2 Cold War Dub 4:15 3 Guyanese Dub 5:12 4 Timeless Dub 3:22 5 Sensical Dub 5:24 6 Sensical Dubprise 5:15 7 Face Card Dub 5:23 8 Dub Tale 4:28 9 Dubbin Di Revalueshan 5:32 Companies, etc. Phonographic Copyright (p) – LKJ Records Ltd Copyright (c) – LKJ Records Ltd Recorded At – Studio 80 Recorded At – Sparkside Studio Mixed At – Fallout Shelter Credits Bass, Producer – Dennis Bovell Drums – Paul Blake , Richard Stevens* Guitar – John Kpiaye Keyboards – Henry Holder, Nick Straker, Paget King Percussion – Everald Forrest, Jeffrey Scantlebury* Percussion, Producer, Written-By, Mixed By – Linton Kwesi Johnson Saxophone – Steve Gregory Trombone – Fayyaz Virji, Henry "Buttons" Tenyue* Trumpet – Patrick Tenyue, Paul Spong Violin – Johnny T. Notes (p) & (c) 1992 LKJ Records Ltd. Other versions Category Artist Title (Format) Label Category Country Year Linton Kwesi LKJ In Dub Volume Two LKJ CD 002 LKJ Records LKJ CD 002 UK 1992 Johnson (CD, Album) Linton Kwesi LKJ In Dub Volume Two LKJ Records 592135 592135 France 1992 Johnson (CD, Album) LTD Linton Kwesi LKJ In Dub Volume Two LKJ Records LKJ LP 009 LKJ LP 009 UK 1992 Johnson (LP, Album) Ltd Linton Kwesi LKJ In Dub Volume Two LKJ MC 002 LKJ Records LKJ MC 002 UK 1992 Johnson (Cass, Album) Linton Kwesi LKJ In Dub Volume Two LKJ LP 009 LKJ Records LKJ LP 009 UK 1992 Johnson (LP, Album, TP, W/Lbl) Related Music albums to LKJ In Dub Volume Two by Linton Kwesi Johnson Linton Kwesi Johnson - Bass Culture Linton Kwesi Johnson - L.K.J. In Concert With The Dub Band Linton Kwesi Johnson - Independant Intavenshan (The Island Anthology) Dennis Bovell - Dub Dem Silly Linton Kwesi Johnson - Making History Tella - Like It Is Linton Kwesi Johnson - Reggae Greats Linton Kwesi Johnson - LKJ In Dub Linton Kwesi Johnson - Forces Of Victory Linton Kwesi Johnson - More Time.

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The Dub Issue 15 August2017
AIRWAVES DUB GREEN FUTURES FESTIVAL RADIO + TuneIn Radio Thurs - 9-late - Cornerstone feat.Baps www.greenfuturesfestivals.org.uk/www.kingstongreenradi o.org.uk DESTINY RADIO 105.1FM www.destinyradio.uk FIRST WEDNESDAY of each month – 8-10pm – RIDDIM SHOW feat. Leo B. Strictly roots. Sat – 10-1am – Cornerstone feat.Baps Sun – 4-6pm – Sir Sambo Sound feat. King Lloyd, DJ Elvis and Jeni Dami Sun – 10-1am – DestaNation feat. Ras Hugo and Jah Sticks. Strictly roots. Wed – 10-midnight – Sir Sambo Sound NATURAL VIBEZ RADIO.COM Daddy Mark sessions Mon – 10-midnight Sun – 9-midday. Strictly roots. LOVERS ROCK RADIO.COM Mon - 10-midnight – Angela Grant aka Empress Vibez. Roots Reggae as well as lo Editorial Dub Dear Reader First comments, especially of gratitude, must go to Danny B of Soundworks and Nick Lokko of DAT Sound. First salute must go to them. When you read inside, you'll see why. May their days overflow with blessings. This will be the first issue available only online. But for those that want hard copies, contact Parchment Printers: £1 a copy! We've done well to have issued fourteen in hard copy, when you think that Fire! (of the Harlem Renaissance), Legitime Defense and Pan African were one issue publications - and Revue du Monde Noir was issued six times. We're lucky to have what they didn't have – the online link. So I salute again the support we have from Sista Mariana at Rastaites and Marco Fregnan of Reggaediscography. Another salute also to Ali Zion, for taking The Dub to Aylesbury (five venues) - and here, there and everywhere she goes.
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The Arts of Resistance in the Poetry of Linton Kwesi Johnson1
Revista África e Africanidades - Ano 3 - n. 11, novembro, 2010 - ISSN 1983-2354 www.africaeafricanidades.com The arts of resistance in the poetry of Linton Kwesi Johnson1 Jair Luiz França Junior2 Resumo: Este artigo analisa insubordinação e resistência manifestas na poesia pós-colonial contemporânea como forma de subverter os discursos dominantes no ocidente. Mais especificamente, a análise centra-se em estratégias textuais de resistência no trabalho do poeta britânico-jamaicano Linton Kwesi Johnson (também conhecido como LKJ). A qualidade sincretista na obra desse poeta relaciona-se com diáspora, hibridismo e crioulização como formas de re[escre]ver discursos hegemônicos com bases (neo)coloniais. Críticas pós- coloniais, em geral, irão enquadrar esta análise de estratégias de dominação e resistência, mas algumas discussões a partir do domínio de história, sociologia e estudos culturais também poderão entrar no debate. Neste sentido, há uma grande variedade de teorias e argumentos que lidam com as contradições e incongruências na questão das relações de poder interligada à dominação e resistência. Para uma visão geral do debate, este estudo compõe uma tarefa tríplice. Primeiramente, proponho-me a fazer um breve resumo autobiográfico do poeta e as preocupações sócio-políticas em sua obra. Em seguida, apresento algumas leituras críticas de seus poemas a fim de embasar teorias que lidam com estratégias de dominação e resistência no âmbito da literatura. Por fim, investigo como estratégias de resistência diaspórica e hibridismo cultural empregados na poesia de Linton Kwesi Johnson podem contribuir para o distanciamento das limitações de dicotomias e também subverter o poder hegemônico. Além disso, este debate está preocupado com a crescente importância de estudos acadêmicos voltado às literaturas pós-coloniais.
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The Arts of Resistance in the Poetry of Linton Kwesi Johnson
THE ARTS OF RESISTANCE IN THE POETRY OF LINTON KWESI JOHNSON AS ARTES DA RESISTÊNCIA NA POESIA DE LINTON KWESI JOHNSON JLFrança Junior* Resumo Este artigo analisa insubordinação e resistência manifestas na poesia pós-colonial contemporânea como forma de subverter os discursos dominantes no ocidente. Mais especificamente, a análise centra-se em estratégias textuais de resistência no trabalho do poeta britânico-jamaicano Linton Kwesi Johnson. A qualidade sincretista em sua obra relaciona-se com diáspora, hibridismo e crioulização como formas de re[escre]ver discursos hegemônicos com bases (neo)coloniais. Críticas pós-coloniais, em geral, irão enquadrar esta análise. Este estudo está organizado em três debates fundamentais: um breve relato biográfico do autor e a contextualização sociopolítica em que sua obra se insere, alguns exames críticos da poesia de LKJ e um estudo das estratégias de resistência diaspórica e hibridismo cultural empregados na sua poesia. Este artigo visa, portanto, a fazer uma análise literária de poemas pós-coloniais como técnicas estratégicas de descentramento da retórica ocidental dominante, a qual tenta naturalizar desigualdades e injustiças em ambos os contextos local e global. Palavras-chave: Poesia Contemporânea, Crítica Pós-colonial, Diáspora, Crioulização, Resistência. Abstract This paper analyses insubordination and resistance manifested in contemporary postcolonial poetry as ways of subverting dominant Western discourses. More specifically, I focus my analysis on textual strategies of resistance in the works of the British-Jamaican poet Linton Kwesi Johnson. The syncretistic quality in his oeuvre is related to diaspora, hybridity and creolisation as forms of writ[h]ing against (neo)colonially-based hegemonic discourses. Thus postcolonial critiques at large will frame this analysis.
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Linton Kwesi Johnson: Poetry Down a Reggae Wire
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Une Étude De L'oralittérature Dans Les Poèmes De Jean Binta Breeze
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Samuel Selvon and Linton Kwesi Johnson
Università degli Studi di Padova Dipartimento di Studi Linguistici e Letterari Corso di Laurea Magistrale in Lingue Moderne per la Comunicazione e la Cooperazione Internazionale Classe LM-38 Tesi di Laurea From the Caribbean to London: Samuel Selvon and Linton Kwesi Johnson Relatrice Laureanda Prof.ssa Annalisa Oboe Francesca Basso n° matr.1109406 / LMLCC Anno Accademico 2015 / 2016 TABLE OF CONTENTS PREFACE ................................................................................................... 3 FIRST CHAPTER - HISTORICAL BACKGROUND ............................. 5 1. The Rise and the Fall of the British Empire: An Overview ..........................5 2. Caribbean Migration to Great Britain: From the 1950s to the 1970s .............9 3. White Rejection: From the 1950s to the 1970s........................................... 12 SECOND CHAPTER - THE MIGRANT FROM THE CARIBBEAN .. 19 1. Identity ..................................................................................................... 19 1.1. Theoretical Overview ....................................................................... 19 1.2. Caribbean Identity ............................................................................ 21 2. Language .................................................................................................. 29 3. “Colonization in Reverse” ......................................................................... 37 THIRD CHAPTER - SAMUEL SELVON............................................... 41 1. Biography ................................................................................................
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Writin' and Soundin' a Transnational Caribbean Experience
Spring 2013 Dubbin’ the Literary Canon: Writin’ and Soundin’ A Transnational Caribbean Experience Warren Harding Candidate for Honors Africana Studies Africana Studies Honors Committee: Meredith Gadsby, Chair Gordon Gill Caroline Jackson Smith 2 ABSTRACT In the mid-1970s, a collective of Jamaican poets from Kingston to London began to use reggae as a foundational aesthetic to their poetry. Inspired by the rise of reggae music and the work of the Caribbean Artists Movement based London from 1966 to 1972, these artists took it upon themselves to continue the dialogue on Caribbean cultural production. This research will explore the ways in which dub poetry created an expressive space for Jamaican artists to complicate discussions of migration and colonialism in the transnational Caribbean experience. In order to do so, this research engages historical, ethnomusicological, and literary theories to develop a framework to analyze dub poetry. It will primarily pose the question, how did these dub poets expand the archives of Caribbean national production? This paper will suggest that by facilitating a dialogue among Jamaicans located between London and Kingston, dub poetry expanded the archives for Caribbean cultural production. In this expansion, dub poetry’s simultaneous combination of literary and sound genius not only repositioned geographical boundaries of Jamaican identity but also grounded the intersecting spaces of the written, spoken, recorded, and performed word. 3 Table of Contents Introduction………………………………………………………………………...4-9 Theories,
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Pioneers & Champions
WINDRUSH PIONEERS & CHAMPIONS ACKNOWLEDGEMENTS CONTENTS WINDRUSH PIONEERS Windrush Foundation is very grateful for the contributions Preface 4 David Dabydeen, Professor 82 to this publication of the following individuals: Aldwyn Roberts (Lord Kitchener) 8 David Lammy MP 84 Alford Gardner 10 David Pitt, Lord 86 Dr Angelina Osborne Allan Charles Wilmot 12 Diana Abbott MP 88 Constance Winifred Mark 14 Doreen Lawrence OBE, Baroness 90 Angela Cobbinah Cecil Holness 16 Edna Chavannes 92 Cyril Ewart Lionel Grant 18 Floella Benjamin OBE, Baroness 94 Arthur Torrington Edwin Ho 20 Geoff Palmer OBE, Professor Sir 96 Mervyn Weir Emanuel Alexis Elden 22 Heidi Safia Mirza, Professor 98 Euton Christian 24 Herman Ouseley, Lord 100 Marge Lowhar Gladstone Gardner 26 James Berry OBE 102 Harold Phillips (Lord Woodbine) 28 Jessica Huntley & Eric Huntley 104 Roxanne Gleave Harold Sinson 30 Jocelyn Barrow DBE, Dame 106 David Gleave Harold Wilmot 32 John Agard 108 John Dinsdale Hazel 34 John LaRose 110 Michael Williams John Richards 36 Len Garrison 112 Laurent Lloyd Phillpotts 38 Lenny Henry CBE, Sir 114 Bill Hern Mona Baptiste 40 Linton Kwesi Johnson 116 42 Cindy Soso Nadia Evadne Cattouse Mike Phillips OBE 118 Norma Best 44 Neville Lawrence OBE 120 Dione McDonald Oswald Denniston 46 Patricia Scotland QC, Baroness 122 Rudolph Alphonso Collins 48 Paul Gilroy, Professor 124 Verona Feurtado Samuel Beaver King MBE 50 Ron Ramdin, Dr 126 Thomas Montique Douce 52 Rosalind Howells OBE, Baroness 128 Vincent Albert Reid 54 Rudolph Walker OBE 130 Wilmoth George Brown 56
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A Dub Performer Or a Dub Poet? a Study of Linton Kwesi Johnson’S Political Activism in “Five Nights of Bleeding” and “Di Great Insohreckshan”
English Language and Literature Studies; Vol. 8, No. 1; 2018 ISSN 1925-4768 E-ISSN 1925-4776 Published by Canadian Center of Science and Education Stage or Page? A Dub Performer or A Dub Poet? A Study of Linton Kwesi Johnson’s Political Activism in “Five Nights of Bleeding” and “Di Great Insohreckshan” Yasser K. R. Aman1 1 Imam Abdulrahman Bin Faisal University, Saudi Arabia Correspondence: Yasser K. R. Aman, Imam Abdulrahman Bin Faisal University, Saudi Arabia. E-mail: [email protected] Received: December 15, 2017 Accepted: December 30, 2017 Online Published: February 3, 2018 doi:10.5539/ells.v8n1p11 URL: http://doi.org/10.5539/ells.v8n1p11 Abstract This paper investigates Linton Kwesi Johnson’s political activism in “Five Nights of Bleeding” and “Di Great Insohreckshan” in order to answer the much-debated question: which is more effective in conveying Johnson’s political message: the performed song or the scribed poem? First, the paper gives a brief history of dub music which started in Jamaica, Johnson’s motherland. A discussion of dub poetry follows highlighting the pioneers such as Johnson and Mutabaruka. I argue that the performed songs and the scribed poems under study are effective in convey Johnson’s message each in its own way; however, the scribed form has a stronger, more longstanding impact on imparting the message than stage performance because it relies on the musicality of the words created by sounds and aural images easily grasped even by an international readership alien to the heritage of dub music. An analysis of political events in the two poems shows that a scribed poem, which, as in “Five Nights of Bleeding”, graphically represents a tension between Standard English, and Jamaican Creole and Jamaican English, and which highlights sounds at play as in “Di Great Insohreckshan”, asserting identity, can do without stage performance.
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Biography of Linton Kwesi Johnson
Biography of Linton Kwesi Johnson Linton Kwesi Johnson was born on 24 August 1952 in Chapelton, a small town in the rural parish of Clarendon, Jamaica. He came to London in 1963, went to Tulse Hill secondary school and later studied Sociology at Goldsmiths' College, University of London. Whilst still at school he joined the Black Panthers, helped to organise a poetry workshop within the movement and developed his work with Rasta Love, a group of poets and drummers. In 1977 he was awarded a C Day Lewis Fellowship, becoming the writer-in- residence for the London Borough of Lambeth for that year. He went on to work as the Library Resources and Education Officer at the Keskidee Centre, the first home of Black theatre and art. Johnson's poems first appeared in the journal Race Today. In 1974 Race Today published his first poetry collection, Voices of the Living and the Dead. Dread Beat An' Blood, his second collection, was published in 1975 by Bogle-L'Ouverture and was also the title of his first LP, released by Virgin in 1978. That year also saw the release of the film Dread Beat An' Blood, a documentary on Johnson's work. In 1980 Race Today published his third book, Inglan Is A Bitch and there were four more albums on with Island: Forces of Victory (1979), Bass Culture (1980), LKJ in Dub (1981) and Making History (1983). LKJ, Johnson's own record label, was launched in 1981 with two singles by the Jamaican poet Michael Smith, Mi Cyaan Believe It and Roots.
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The Aesthetics of Bass 3
1 2 The Aesthetics of Bass 3 4 5 Aesthetics and Postcolonial Politics in 6 Linton Kwesi Johnson’s Poetry 7 8 Louisa Olufsen Layne 9 10 11 13 15 17 19 21 23 25 27 29 31 33 34 35 36 Master’s Thesis in Comparative Literature 37 Department of Literature, Area Studies and European Languages 38 Supervisor: Anne Birgitte Rønning 39 UNIVERSITY OF OSLO 40 Spring 2013 41 I 42 43 II 43 44 III 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 IV The 77 Aesthetics 78 of Bass 79 80 81 Aesthetics and Postcolonial 82 Politics in Linton Kwesi 83 Johnson’s Poetry 84 85 86 87 88 89 90 91 92 93 Louisa Olufsen Layne 94 95 Master’s Thesis in Comparative Literature 96 Department of Literature, Area Studies 97 and European Languages 98 Supervisor: Anne Birgitte Rønning 99 University of Oslo 100 Spring 2013 101 102 103 104 105 V 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 © Louisa Olufsen Layne 127 128 2013 129 130 The Aesthetics of Bass: 131 Aesthetics and Postcolonial Politics in Linton Kwesi Johnson’s Poetry 132 133 Louisa Olufsen Layne 134 135 http://www.duo.uio.no 136 137 Trykk: Reprosentralen, Universitetet i Oslo 138 VI 139 140 VII 140 VIII 141 IX 141 X Abstract 142 This thesis examines the relationship between postcolonial politics and aesthetics in Linton 143 Kwesi Johnson’s poetry.
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Linton Kwesi Johnson LKJ in Dub Mp3, Flac, Wma
Linton Kwesi Johnson LKJ In Dub mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Reggae Album: LKJ In Dub Country: UK & Europe Released: 1991 Style: Dub MP3 version RAR size: 1437 mb FLAC version RAR size: 1601 mb WMA version RAR size: 1798 mb Rating: 4.6 Votes: 713 Other Formats: AA MPC WAV VQF MP4 VOX ASF Tracklist A1 Victorious Dub 3:33 A2 Reality Dub 2:45 A3 Peach Dub 3:48 A4 Shocking Dub 4:45 B1 Iron Bar Dub 3:42 B2 Bitch Dub 4:35 B3 Cultural Dub 3:28 B4 Brain Smashing Dub 3:28 Companies, etc. Phonographic Copyright (p) – Island Records Ltd. Copyright (c) – Island Records Ltd. Credits Alto Saxophone – James Danton Bass – Floyd Lawson, Vivian Weathers Drums – Winston Curniffe Drums, Percussion – Jah Bunny Guitar – John Kpiaye Harmonica – Julio Finn Keyboards – Dennis Bovell, Webster Johnson Mixed By – Dennis Bovell Percussion – Clinton Bailey, Everard Forrest* Producer – Blackbeard , Linton Kwesi Johnson Trombone – Rico* Trumpet, Flugelhorn – Dick Cuthell, Henry "Buttons" Tenyue* Barcode and Other Identifiers Label Code: LC 0407 Other (Distribution Code): PY 563 Other versions Category Artist Title (Format) Label Category Country Year Linton Kwesi LKJ In Dub (LP, Island ILPS 9650 ILPS 9650 UK 1980 Johnson Album) Records 162-539 Linton Kwesi LKJ In Dub (Cass, 162-539 Mango US 1990 650-4 Johnson Album, RE) 650-4 Island 203 181, Linton Kwesi LKJ In Dub (LP, Records, 203 181, Netherlands 1980 203.181 Johnson Album) Ariola 203.181 Benelux Linton Kwesi LKJ In Dub (LP, Island 6313 259 6313 259 France 1980 Johnson Album) Records Linton Kwesi
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