DOCSLIB.ORG

Bibliography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

BIBLIOGRAPHY The complete list of all sources consulted in the making of this book offers a comprehensive over- view of the literature and other materials available about reggae, Rastafari, Bob Marley, and other topics covered herein. Due to the fleeting nature of the Internet, where websites might change or dis- appear at any given time, online sources used at the time of writing might not be available any longer. The bibliography can also be found on the website of the book at www.reggaenationbook.com. Books History and Heritage (pp. 326-335). Routledge. Bennett, A. (2001). Cultures of Popular Music. Open University Press. Adejumobi, S. A. (2007). The History of Ethiopia. Biddle, I., & Knights, V. (Eds.) (2007). Music, National Greenwood Press. Identity and the Politics of Location: Between the Global Akindes, S. (2002). Playing It “Loud and Straight”. and the Local. Ashgate. Reggae, Zouglou, Mapouka, and Youth Bonacci, G. (2015). From Pan-Africanism to Rastafari: Insubordination in Côte d’Ivoire. In M. Palmberg African American and Caribbean ‘Returns’ & A. Kirkegaard (Eds.), Playing with Identities in to Ethiopia. In G. Prunier & E. Ficquet (Eds.), Contemporary Music in Africa (pp. 86-103). Nordic Understanding Contemporary Ethiopia: Monarchy, Africa Institute. Revolution and the Legacy of Meles Zenawi (pp. 147- Alleyne, M. (2009). Globalisation and Commercialisation 158). Hurst & Company. of Caribbean Music. In T. Pietila (Ed.), World Music Boot, A., & Salewicz, C. (1995). Bob Marley. Songs of Roots and Routes. Studies across Disciplines in the Freedom. Bloomsbury. Humanities and Social Sciences 6 (pp. 76-101). Helsinki Bordowitz, H. (2004). Every Little Thing Gonna Be Alright: Collegium for Advanced Studies. The Bob Marley Reader. De Capo Press. Anderson, B. (1983/2006). Imagined Communities: Bourne, R. (2011). Catastrophe: What Went Wrong in Reflections on the Origin and Spread of Nationalism. Zimbabwe? Zed Books. Verso. Boxill, I., & Douglas, E. T. K. (2008). The Lantern and Anderson, B. (2015). Papua’s Insecurity: State Failure in the the Light: Rastafari in Aotearoa (New Zealand). In I. Indonesian Periphery. East-West Center. Boxill (Ed.), The Globalization of Rastafari (pp. 70-97). Barnett, M. (2008). The Globalization of the Rastafari Arawak Publications. Movement from a Jamaican Diasporic Perspective. In Boyce Davies, C. E. (Ed.) (2008). Encyclopedia of the I. Boxill (Ed.), The Globalization of Rastafari (pp. 98- African Diaspora: Origins, Experiences, and Culture. 114). Arawak Publications. ABC-CLIO. Barnett, M. (2014). Rastafari in the New Millennium: A Bousquet, D. (2020). Reggae Outernational: Borders and Rastafari Reader. Syracuse University Press. Trans/National Identity in Jamaican Popular Music. Barrow, S., & Dalton, P. (2004). The Rough Guide to In C. Ross (Ed.), Reading(s) / across / Borders: Studies Reggae. Rough Guides. in Anglophone Borders Criticism (pp. 209-229). Brill/ Baulch, E. (2007). Making Scenes: Reggae, Punk, and Death Rodopi. Metal in 1990s Bali. Duke University. Bradley, L. (2001). Bass Culture: When Reggae Was King. Bendrups, D., Laufiso, P., & Iaheto, H. (2018). ‘Koile, ‘Te Penguin Books. Hua’ and the reggae-fication of cultural heritage. Branch, D. (2011). Kenya: Between Hope and Despair, 1963- In S. Baker, C. Strong, L. Istvandity, & Z. Cantillon 2011. Yale University Press. (Eds.), The Routledge Companion to Popular Music Buck, E. (1993). Paradise Remade: The Politics of Culture BibLIOGRAphy 407 and History in Hawai’i. Temple University Press. Daynes, S. (2004). The Musical Construction of the Burnett, D. (2009). Soul Rebel: An Intimate Portrait of Bob Diaspora: The Case of Reggae and Rastafari. In S. Marley. Insight Editions. Whiteley, A. Bennett, & S. Hawkins (Eds.), Music, Cambre, M-C. (2015). The Semiotics of Che: Affective Space and Place: Popular Music and Cultural Identity (pp. Gateways. Bloomsbury. 25-41). Ashgate. Campbell, H. (1987). Rasta and Resistance: From Marcus Daynes, S. (2010). Time and Memory in Reggae Music: The Garvey to Walter Rodney. Africa World. Politics of Hope. Manchester University Press. Chude-Sokei, L. (2012). Roots, Diaspora and Possible Dawes, K. (2002). Bob Marley: Lyrical Genius. Sanctuary. Africas. In C. Cooper (Ed.), Global Reggae (pp. 221- De Araújo Pinho, O. (2002). “Fogo na Babilônia”: 240). Canoe Press. Reggae, Black Counterculture, and Globalization Clough, B. (1995). Jamming Down-Under. Bob Marley’s in Brazil. In C. A. Perrone & C. Dunn (Eds.), Legacy and Reggae Culture in Australia and Brazilian Popular Music & Globalization (pp. 192-206). New Zealand. In E. Wint & C. Cooper (Eds.), Bob Routledge. Marley: The Man and His Music (pp. 23-33). Arawak De Kloet, J. (2010). China with a Cut: Globalisation, Urban Publications. Youth and Popular Music. Amsterdam University Press. Clough, B. (2010). From Our Brother: Reggae De Santana Pinho, P. (2010). Mama Africa: Reinventing Downunder. In S. Jordan (Ed.), World Music: Global Blackness in Bahia. Duke University Press. Sounds in Australia (pp. 44-54). University of New DeCosmo, J. (1995). Bob Marley: Religious Prophet? In E. South Wales Press. Wint & C. Cooper (Eds.), Bob Marley: The Man and His Clough, B. (2012). Oceanic Reggae. In C. Cooper (Ed.), Music (pp. 59-75). Arawak Publications. Global Reggae (pp. 263-284). Canoe Press. DeCosmo, J. (2008). Globalization and Rastafari Collins, J. (2002). The Generational Factor in Ghanaian Identity in Salvador, Bahia, Brazil. In I. Boxill (Ed.), Music Concert Parties, Highlife, Simpa, Kpanlogo, The Globalization of Rastafari (pp. 52-69). Arawak Gospel and Local Techno-Pop. In M. Palmberg Publications. & A. Kirkegaard (Eds.), Playing with Identities in Dieng, C. A. (2012). Reggae Griots in Francophone Contemporary Music in Africa (pp. 60-74). Nordic Africa. In C. Cooper (Ed.), Global Reggae (pp. 213-220). Africa Institute. Canoe Press. Connell, J., & Gibson, C. (2003). Sound Tracks: Popular Dos Santos Godi, A. J. V. (2002). Reggae and Samba- Music, Identity and Place. Routledge. Reggae in Bahia: A Case of Long-Distance Belonging. Cooper, C. (2004). Sound Clash: Jamaican Dancehall Culture In C. A. Perrone & C. Dunn (Eds.), Brazilian Popular at Large. Palgrave Macmillan. Music & Globalization (pp. 207-219). Routledge. Cooper, C. (2012). Jamaican Popular Music A Yard and Downing, J. D. H. (Ed.) (2011). Encyclopedia of Social Abroad. In C. Cooper (Ed.), Global Reggae (pp. 1-20). Movement Media. Sage. Canoe Press. Dunkley, D. A. (2011). Readings in Caribbean History and Coplan, D. (2008). In Township Tonight! South Africa’s Culture: Breaking Ground. Lexington. Black City Music and Theatre. University of Chicago Dunn, C. (2002). Tropicália, Counterculture, and the Press. Diasporic Imagination in Brazil. In C. A. Perrone & Crook, L. (2002). Turned-Around Beat: Maracatu de C. Dunn (Eds.), Brazilian Popular Music & Globalization baque virado and Chico Science. In C. A. Perrone & (pp. 72-95). Routledge. C. Dunn (Eds.), Brazilian Popular Music & Globalization Dunn, H. S., & Johnson-Brown, S. (2011). Reggae and (pp. 233-244). Routledge. Resistance (Jamaica). In J. D. H. Downing (Ed.) (2011). Crook, L. (2009). Focus: Music of Northeast Brazil. Encyclopedia of Social Movement Media (pp. 438-441). Routledge. Sage. D’Aquino, B. (2014). Reggae in Europe. In P. Prato & D. Edmonds, E. B. (1998). Dread “I” In-a-Babylon: Horn (Eds.), Encyclopedia of Popular Music of the World Ideological Resistance and Cultural Revitalization. In (Volume XI) (pp. 628-634). Bloomsbury. N. S. Murrell, W. D. Spencer & A. A. McFarlane (Eds.), Davis, S. (1985). Bob Marley. Doubleday. Chanting Down Babylon: The Rastafari Reader (pp. 23- Davis, S. (1994). Bob Marley: Conquering Lion of Reggae. 35). Temple University Press. Plexus. Edmonds, E. B. (2003). Rastafari: From Outcasts to Culture Davis, S. & Simon, P. (1977). Reggae Bloodlines: In Search Bearers. Oxford University Press. of the Music and Culture of Jamaica. Da Capo Press. Escalante, A. (1996). Palenques in Colombia. In R. Price Davis, S. & Simon, P. (1982). Reggae International. R&B. (Ed.), Maroon Societies: Rebel Slave Communities in 408 BibLIOGRAphy the Americas (3rd ed.). (pp. 74-81). Johns Hopkins Hebdige, D. (1995). Roots in the Airwaves. Popular University Press. Culture in a Global Context. In E. Wint & C. Cooper Farley, C. J. (2007). Before the Legend. The Rise of Bob (Eds.), Bob Marley: The Man and His Music (pp. 1-11). Marley. Harper Collins Publishers. Arawak Publications. Feld, S. (1995). From Schizophonia to Schismogenesis: Hepner, R. L. (1998). Chanting Down Babylon in the The Discourses and Practices of World Music and Belly of the Beast: The Rastafarian Movement in World Beat. In G. E. Marcus & F. R. Myers (Eds.), The the Metropolitan United States. In N. S. Murrell, W. Traffic in Culture: Refiguring Art and Anthropology (pp. D. Spencer, & A. A. McFarlane (Eds.), Chanting Down 96-126). University of California Press. Babylon. The Rastafari Reader (pp. 199-216). Temple Flaherty, A. (2015). Asserting Identity Through Music: University Press. Indigenous Hip Hop and Self-Empowerment. In Hoefte, R. (2014). Suriname in the Long Twentieth Century: C. Malone & G. Martinez Jr. (Eds.), The Organic Domination, Contestation, Globalization. Palgrave Globalizer: Hip Hop, Political Development, and Macmillan. Movement Culture (pp. 129-147). Bloomsbury. Homiak, J. (1999). Movements of Jah People: From Foster, C. (2013). Jamaican Musical Genres: Innovation Soundscapes to Mediascape. In J. W. Pulis (Ed.), and Transformation. In D. P. Hope
Recommended publications
  • Download (2399Kb)

    Download (2399Kb)

    A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/ 84893 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications Culture is a Weapon: Popular Music, Protest and Opposition to Apartheid in Britain David Toulson A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in History University of Warwick Department of History January 2016 Table of Contents Acknowledgements………………………………………………………………...iv Declaration………………………………………………………………………….v Abstract…………………………………………………………………………….vi Introduction………………………………………………………………………..1 ‘A rock concert with a cause’……………………………………………………….1 Come Together……………………………………………………………………...7 Methodology………………………………………………………………………13 Research Questions and Structure…………………………………………………22 1)“Culture is a weapon that we can use against the apartheid regime”……...25 The Cultural Boycott and the Anti-Apartheid Movement…………………………25 ‘The Times They Are A Changing’………………………………………………..34 ‘Culture is a weapon of struggle’………………………………………………….47 Rock Against Racism……………………………………………………………...54 ‘We need less airy fairy freedom music and more action.’………………………..72 2) ‘The Myth
  • Dancing to the Beat of the Diaspora: Musical Exchanges Between Africa and Its Diasporas

    Dancing to the Beat of the Diaspora: Musical Exchanges Between Africa and Its Diasporas

    African and Black Diaspora: An International Journal ISSN: 1752-8631 (Print) 1752-864X (Online) Journal homepage: http://www.tandfonline.com/loi/rabd20 Dancing to the beat of the diaspora: musical exchanges between Africa and its diasporas Paul Tiyambe Zeleza To cite this article: Paul Tiyambe Zeleza (2010) Dancing to the beat of the diaspora: musical exchanges between Africa and its diasporas, African and Black Diaspora: An International Journal, 3:2, 211-236, DOI: 10.1080/17528631.2010.481976 To link to this article: http://dx.doi.org/10.1080/17528631.2010.481976 Published online: 23 Jun 2010. Submit your article to this journal Article views: 398 View related articles Citing articles: 1 View citing articles Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rabd20 Download by: [US International University - Africa] Date: 01 November 2016, At: 01:09 African and Black Diaspora: An International Journal Vol. 3, No. 2, July 2010, 211Á236 Dancing to the beat of the diaspora: musical exchanges between Africa and its diasporas Paul Tiyambe Zeleza* Loyola Marymount University of Los Angeles, Los Angeles, California, USA This essay examines the complex ebbs and flows of musical exchanges between Africa and its diasporas. Specifically, it focuses on musical engagements between, on the one hand, the Caribbean and West Africa and, on the other, the United States and Southern Africa. It argues that the influence of diasporan music on modern African music, especially popular music, has been immense. These influences and exchanges have created a complex tapestry of musical Afro- internationalism and Afro-modernism and music has been a critical site, a soundscape, in the construction of new diasporan and African identities.
  • Published Papers of the Ethnomusicology Symposia

    Published Papers of the Ethnomusicology Symposia

    International Library of African Music PAPERS PRESENTED AT THE SYMPOSIA ON ETHNOMUSICOLOGY 1ST SYMPOSIUM 1980, RHODES UNIVERSITY (OUT OF PRINT) CONTENTS: The music of Zulu immigrant workers in Johannesburg Johnny Clegg Group composition and church music workshops Dave Dargie Music teaching at the University of Zululand Khabi Mngoma Zulu children’s songs Bongani Mthethwa White response to African music Andrew Tracey 2ND SYMPOSIUM 1981, RHODES UNIVERSITY (OUT OF PRINT) CONTENTS: The development of African music in Zimbabwe Olof Axelsson Towards an understanding of African dance: the Zulu isishameni style Johnny Clegg A theoretical approach to composition in Xhosa style Dave Dargie Music and body control in the Hausa Bori spirit possession cult Veit Erlmann Musical instruments of SWA/Namibia Cecilia Gildenhuys The categories of Xhosa music Deirdre Hansen Audiometric characteristics of the ethnic ear Sean Kierman The correlation of folk and art music among African composers Khabi Mngoma The musical bow in Southern Africa David Rycroft Songs of the Chimurenga: from protest to praise Jessica Sherman The music of the Rehoboth Basters Frikkie Strydom Some aspects of my research into Zulu children’s songs Pessa Weinberg 3RD SYMPOSIUM 1982, UNIVERSITY OF NATAL and 4TH SYMPOSIUM 1983, RHODES UNIVERSITY CONTENTS: The necessity of theory Kenneth Gourlay Music and liberation Dave Dargie African humanist thought and belief Ezekiel Mphahlele Songs of the Karimojong Kenneth Gourlay An analysis of semi-rural and peri-urban Zulu children’s songs Pessa Weinberg
  • 2010-11 Newsletter

    2010-11 Newsletter

    East Asian Studies Department & Program Newsletter 2010-11 The newsletter of Princeton University’s East Asian Studies Department and Program is published annually by the East Asian Stud- ies Program and is also available online. Unless otherwise stated, all activities reported are sponsored and organized by the East Asian Studies Program or Department, either solely or in collaboration with other departments or programs on campus. News and comments are welcome and should be addressed to the Program Coordinator. Photo Credits: Changdok Palace, Seoul, title page, and other motifs from Korea pp. 2, 25 (Buddhist Stone Sculpture, Mt. Namsan, Kyungju) and p.32 by Joy Kim. Images from PII, pp.9-11 by Yukari Tokumasu. Boy with brush, p.13 and Martin Heijdra, p.39 by Stephen F. Teiser. Classroom, p.13 by Nick Admussen. Mountain in Baiyu County, Sichuan province, p.27 by Doug Gildow. 2nd century B.C. garment, p.34, Abegg-Foundation, Riggisberg, Switzerland, courtesy Dieter Kuhn. From the photo contest by the Office of International Programs: p.8: Lotus, Beijing, by Evangeline Lew ’10; p.10: Inheritance, Jishou, Hunan, by Astrid Struth ’11; p.12: 3 Gorges, Sichuan, Province by Jeff Tang ’09; p.13: Girl in Red, Beijing, by Veneka Chag- wedera ’09. Princeton University Art Museum, photos by Bruce M. White: p.6: Scenes from the Tale of Genji (Genji monogatari), Edo, Japanese. Museum purchase, Fowler McCormick, Class of 1921 Fund [y1993 7]; p.7: Striding dragon, Northern Wei, Chinese. Gift of Mrs. Albert E. McVitty [y1949 26]; p.40: A Book from the Sky, Xu Bing, Modern, Chinese.
  • The Greater Antilles

    The Greater Antilles

    PART I The Greater Antilles Jamaica: The Wages of Love chapter 1 BRANDING on tv, it looked like the others were jogging. Halfway through the Olympic 100-meter final, Usain Bolt— Jamaican hero, fastest man in the world, performing in London before eighty thousand flashbulb-popping fans— pulled away. At six-foot- five, hurtling down the tile- red track, Bolt stretched his stride in a way none of his rivals— compact, muscular men all— could match. One moment, eight Lycra- clad figures were sprinting in a pack. Then there was one: long legs churning, face calm. In Beijing four years before, he’d turned this race, as one oft-quoted account had it, into “a palette on which an emerging and transcendent talent could splash his greatness.”1 Slap- ping his chest before the line, exulting as he crossed— Bolt charmed the world with his brash joie de vivre. Now, as he pulled away, TV replays caught him glancing at the stadium clock: in Beijing, he’d entered his- tory; here, he wanted to make it. And so he did. The clock showed the time— a new Olympic record. And Jamaica’s pride, his nation’s black, yellow, and green flag draped over his broad back, grinned and danced as he circled the stadium, soaking up its warm lights’ love. For most of the few hundred million around the globe watching on TV, the scene showed what the Olympic Games, Visa-sponsored cor- porate dross aside, could still be. Here was a beautiful human, from a little nation, moving with supernal grace on the world stage.
  • A Jewinican (Re)Collection Roberto Alejandro Santos University of Texas at El Paso, Rasantos@Miners.Utep.Edu

    A Jewinican (Re)Collection Roberto Alejandro Santos University of Texas at El Paso, [email protected]

    University of Texas at El Paso DigitalCommons@UTEP Open Access Theses & Dissertations 2010-01-01 Exile in the Gramola: A Jewinican (Re)Collection Roberto Alejandro Santos University of Texas at El Paso, [email protected] Follow this and additional works at: https://digitalcommons.utep.edu/open_etd Part of the American Literature Commons, Ethnic Studies Commons, Fine Arts Commons, and the Literature in English, North America Commons Recommended Citation Santos, Roberto Alejandro, "Exile in the Gramola: A Jewinican (Re)Collection" (2010). Open Access Theses & Dissertations. 2777. https://digitalcommons.utep.edu/open_etd/2777 This is brought to you for free and open access by DigitalCommons@UTEP. It has been accepted for inclusion in Open Access Theses & Dissertations by an authorized administrator of DigitalCommons@UTEP. For more information, please contact [email protected]. EXILE IN THE GRAMOLA: A JEWINICAN (RE)COLLECTION ROBERTO ALEJANDRO SANTOS Department of Creative Writing APPROVED: _____________________________________________ Benjamin Alire Sáenz, Committee Chair _____________________________________________ Sasha Pimentel Chacón, M.F.A. _____________________________________________ Maceo Dailey, Ph.D. _____________________________________________ Patricia D. Witherspoon, Ph.D. Dean of the Graduate School Copyright © 2010 by Roberto Alejandro Santos All Rights Reserved. Livication For my family & friends EXILE IN THE GRAMOLA: A JEWINICAN (RE)COLLECTION by ROBERTO ALEJANDRO SANTOS, B.A., M.F.A. THESIS Presented to the Faculty of the Graduate School of The University of Texas at El Paso in Partial Fulfillment of the Requirements for the Degree of MASTER OF FINE ARTS Department of Creative Writing THE UNIVERSITY OF TEXAS AT EL PASO May 2010 Preface to Exile in the Gramola : A Jewinican (Re)Collection What is a book of poetry but a collection of words and lines, truths and lies, questions and almost-answers.
  • Jamaican Politics, Nationalism, and Musical Culture in Transition, 1974-1984

    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.
  • Chant Down Babylon: the Rastafarian Movement and Its Theodicy for the Suffering

    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.
  • Mirror, Mediator, and Prophet: the Music Indaba of Late-Apartheid South Africa

    Mirror, Mediator, and Prophet: the Music Indaba of Late-Apartheid South Africa

    VOL. 42, NO. 1 ETHNOMUSICOLOGY WINTER 1998 Mirror, Mediator, and Prophet: The Music Indaba of Late-Apartheid South Africa INGRID BIANCA BYERLY DUKE UNIVERSITY his article explores a movement of creative initiative, from 1960 to T 1990, that greatly influenced the course of history in South Africa.1 It is a movement which holds a deep affiliation for me, not merely through an extended submersion and profound interest in it, but also because of the co-incidence of its timing with my life in South Africa. On the fateful day of the bloody Sharpeville march on 21 March 1960, I was celebrating my first birthday in a peaceful coastal town in the Cape Province. Three decades later, on the weekend of Nelson Mandela’s release from prison in February 1990, I was preparing to leave for the United States to further my studies in the social theories that lay at the base of the remarkable musical movement that had long engaged me. This musical phenomenon therefore spans exactly the three decades of my early life in South Africa. I feel privi- leged to have experienced its development—not only through growing up in the center of this musical moment, but particularly through a deepen- ing interest, and consequently, an active participation in its peak during the mid-1980s. I call this movement the Music Indaba, for it involved all sec- tors of the complex South African society, and provided a leading site within which the dilemmas of the late-apartheid era could be explored and re- solved, particularly issues concerning identity, communication and social change.
  • Songs to Keep You in the Caribbean Cruising Mood!

    Songs to Keep You in the Caribbean Cruising Mood!

    Songs to keep you in the Caribbean cruising mood! Best Buds’ Favorites (in bold) plus others suggested by Cruisecritic members Title Artist Genre 50 First Dates Album 50 First Dates sndtrk Movie A Beautiful Morning Young Rascals Rock A Lalala Long Inner Circle Reggae A Place in the Sun Pablo Cruise Rock A Salty Dog Procol Harum Rock Action Buju Banton Reggae Adios Mexico Texas Tornadoes Country Ain’t It Good to Know Beres Hammond & Buju Banton Reggae Ain’t No Mountain High Enough Diana Ross & The Supremes Rock Ain’t No Mountain High Enough Marvin Gaye & Tammi Terrel Rock Ali Baba Riddim Dub John Holt, King Tubby & Augustus Pablo Reggae All I Wanna Do Sheryl Crowe Rock All Nighter Elan Atias with Gwen Stefani Romance Almost Paradise Footloose soundtrack Ballad Always Look on the Bright Side of Life Hans Zimmer America the Beautiful Ray Charles Inspire American Pie Don Mclean Rock Anchors Aweigh/Marine Corps Hymn US Naval Academy Glee Club Inspire And Be Loved Damian Marley (Blue Crush sndtrk) Reggae And the Tide Rushes In Moody Blues Ballad Answer Riddim John Holt Reggae Aventura Mi Puerto Rico Dance Baby Blue Echoes Baby Come Back UB40 & Peabo Bryson Baby I Love Your Ways UB40 Back to the Island Baha Men Calypso Barbados Poco Ballad Barbados Goombay Dance Band Barbados Typically Tropical Calypso Barnacle Bill the Sailor Louis Prima Classic Be Young, Be Foolish, Be Happy Tams Rock Beach Baby First Class Rock Beautiful Barbados The Merrymen Island Beautiful Day U2 Rock Better Together Jack Johnson Ballad Between Us Two Ghetto Flex & Michele
  • Songs by Artist

    Songs by Artist

    DJU Karaoke Songs by Artist Title Versions Title Versions ! 112 Alan Jackson Life Keeps Bringin' Me Down Cupid Lovin' Her Was Easier (Than Anything I'll Ever Dance With Me Do Its Over Now +44 Peaches & Cream When Your Heart Stops Beating Right Here For You 1 Block Radius U Already Know You Got Me 112 Ft Ludacris 1 Fine Day Hot & Wet For The 1st Time 112 Ft Super Cat 1 Flew South Na Na Na My Kind Of Beautiful 12 Gauge 1 Night Only Dunkie Butt Just For Tonight 12 Stones 1 Republic Crash Mercy We Are One Say (All I Need) 18 Visions Stop & Stare Victim 1 True Voice 1910 Fruitgum Co After Your Gone Simon Says Sacred Trust 1927 1 Way Compulsory Hero Cutie Pie If I Could 1 Way Ride Thats When I Think Of You Painted Perfect 1975 10 000 Maniacs Chocol - Because The Night Chocolate Candy Everybody Wants City Like The Weather Love Me More Than This Sound These Are Days The Sound Trouble Me UGH 10 Cc 1st Class Donna Beach Baby Dreadlock Holiday 2 Chainz Good Morning Judge I'm Different (Clean) Im Mandy 2 Chainz & Pharrell Im Not In Love Feds Watching (Expli Rubber Bullets 2 Chainz And Drake The Things We Do For Love No Lie (Clean) Wall Street Shuffle 2 Chainz Feat. Kanye West 10 Years Birthday Song (Explicit) Beautiful 2 Evisa Through The Iris Oh La La La Wasteland 2 Live Crew 10 Years After Do Wah Diddy Diddy Id Love To Change The World 2 Pac 101 Dalmations California Love Cruella De Vil Changes 110 Dear Mama Rapture How Do You Want It 112 So Many Tears Song List Generator® Printed 2018-03-04 Page 1 of 442 Licensed to Lz0 DJU Karaoke Songs by Artist
  • Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin

    Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin

    Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin To cite this version: Denis-Constant Martin. Sounding the Cape, Music, Identity and Politics in South Africa. African Minds, Somerset West, pp.472, 2013, 9781920489823. halshs-00875502 HAL Id: halshs-00875502 https://halshs.archives-ouvertes.fr/halshs-00875502 Submitted on 25 May 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Sounding the Cape Music, Identity and Politics in South Africa Denis-Constant Martin AFRICAN MINDS Published by African Minds 4 Eccleston Place, Somerset West, 7130, South Africa [email protected] www.africanminds.co.za 2013 African Minds ISBN: 978-1-920489-82-3 The text publication is available as a PDF on www.africanminds.co.za and other websites under a Creative Commons licence that allows copying and distributing the publication, as long as it is attributed to African Minds and used for noncommercial, educational or public policy purposes. The illustrations are subject to copyright as indicated below. Photograph page iv © Denis-Constant