Biography of Linton Kwesi Johnson
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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. -
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. -
Media and Advertising Information Why Advertise on Bigup Radio? Ranked in the Top 50,000 of All Sites According to Amazon’S Alexa Service
Media and Advertising Information Why Advertise on BigUp Radio? Ranked in the top 50,000 of all sites according to Amazon’s Alexa service Audience 16-34 year-old trend-setters and early adopters of new products. Our visitors purchase an average of $40–$50 each time they buy music on bigupradio.com and more than 30% of those consumers are repeat customers. Typical Traffic More than 1,000,000 unique page views per month Audience & Traffic 1.5 million tune-ins to the BigUp Radio stations Site Quick Facts Over 75,000 pod-cast downloads each month of BigUp Radio shows Our Stations Exclusive DJ Shows A Strong Image in the Industry Our Media Player BigUp Radio is in touch with the biggest artists on the scene as well as the Advertising Opportunities hottest upcoming new artists. Our A/R Dept listens to every CD that comes in selecting the very best tracks for airplay on our 7 stations. Among artists that Supporting Artists’ Rights have been on BigUp Radio for interviews and special guest appearances are: Rate Card Beenie Man Tanya Stephens Anthony B Contact Information: Lil Jon I Wayne TOK Kyle Russell Buju Banton Gyptian Luciano (617) 771.5119 Bushman Collie Buddz Tami Chynn [email protected] Cutty Ranks Mr. Vegas Delly Ranx Damian Marley Kevin Lyttle Gentleman Richie Spice Yami Bolo Sasha Da’Ville Twinkle Brothers Matisyahu Ziggi Freddie McGregor Jr. Reid Worldwide Reggae Music Available to anyone with an Internet connection. 7 Reggae Internet Radio Stations Dancehall, Roots, Dub, Ska, Lovers Rock, Soca and Reggaeton. -
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. -
Linton Kwesi Johnson: Poetry Down a Reggae Wire
LINTON KWESI JOHNSON: POETRY DOWN A REGGAE WIRE by Robert J. Stewart for "Poetry, Motion, and Praxis: Caribbean Writers" panel XVllth Annual Conference CARIBBEAN STUDIES ASSOCIATION St. George's, Grenada 26-29 May, 1992 LINTON KWESI JOHNSON: POETRY DOWN fl RE66flE WIRE Linton Kwesi Johnson had been writing seriously for about four years when his first published poem appeared in 1973. There had been nothing particularly propitious in his experience up to then to indicate that within a relatively short period of time he would become an internationally recognized writer and performer. Now, at thirty-nine years of age, he has published four books of poetry, has recorded seven collections of his poems set to music, and has appeared in public readings and performances of his work in at least twenty-one countries outside of England. He has also pursued a parallel career as a political activist and journalist. Johnson was born in Chapelton in the parish of Clarendon on the island of Jamaica in August 1952. His parents had moved down from the mountains to try for a financially better life in the town. They moved to Kingston when Johnson was about seven years old, leaving him with his grandmother at Sandy River, at the foot of the Bull Head Mountains. He was moved from Chapelton All-Age School to Staceyville All-Age, near Sandy River. His mother soon left Kingston for England, and in 1963, at the age of eleven, Linton emigrated to join her on Acre Lane in Brixton, South London.1 The images of black and white Britain immediately impressed young Johnson. -
The Performance of Accents in the Work of Linton Kwesi Johnson and Lemn Sissay
Thamyris/Intersecting No. 14 (2007) 51-68 “Here to Stay”: The Performance of Accents in the Work of Linton Kwesi Johnson and Lemn Sissay Cornelia Gräbner Introduction In his study Accented Cinema, Hamid Naficy uses the term “accent” to designate a new cinematic genre. This genre, which includes diasporic, ethnic and exilic films, is char- acterized by a specific “accented” style. In his analysis of “accented style,” Naficy broad- ens the term “accent” to refer not only to speech but also to “the film’s deep structure: its narrative visual style, characters, subject matter, theme, and plot” (Naficy 23). Thus, the term “accent” describes an audible characteristic of speech but can also be applied to describe many characteristics of artistic products that originate in a par- ticular community. “Accented films” reflect the dislocation of their authors through migration or exile. According to Naficy, the filmmakers operate “in the interstices of cultures and film practices” (4). Thus, Naficy argues, “accented films are interstitial because they are created astride and in the interstices of social formations and cinematic practices” (4). Naficy’s use of the term interstice refers back to Homi Bhabha, who argues that cultural change originates in the interstices between different cultures. Interstices are the result of “the overlap and displacement of domains of difference” (Bhabha 2). In the interstice, “social differences are not simply given to experience through an already authenticated cultural tradition” (3). Thus, the development of alternative styles and models of cultures, and the questioning of the cultures that dominate the space outside the interstice is encouraged. -
The A-Z of Brent's Black Music History
THE A-Z OF BRENT’S BLACK MUSIC HISTORY BASED ON KWAKU’S ‘BRENT BLACK MUSIC HISTORY PROJECT’ 2007 (BTWSC) CONTENTS 4 # is for... 6 A is for... 10 B is for... 14 C is for... 22 D is for... 29 E is for... 31 F is for... 34 G is for... 37 H is for... 39 I is for... 41 J is for... 45 K is for... 48 L is for... 53 M is for... 59 N is for... 61 O is for... 64 P is for... 68 R is for... 72 S is for... 78 T is for... 83 U is for... 85 V is for... 87 W is for... 89 Z is for... BRENT2020.CO.UK 2 THE A-Z OF BRENT’S BLACK MUSIC HISTORY This A-Z is largely a republishing of Kwaku’s research for the ‘Brent Black Music History Project’ published by BTWSC in 2007. Kwaku’s work is a testament to Brent’s contribution to the evolution of British black music and the commercial infrastructure to support it. His research contained separate sections on labels, shops, artists, radio stations and sound systems. In this version we have amalgamated these into a single ‘encyclopedia’ and added entries that cover the period between 2007-2020. The process of gathering Brent’s musical heritage is an ongoing task - there are many incomplete entries and gaps. If you would like to add to, or alter, an entry please send an email to [email protected] 3 4 4 HERO An influential group made up of Dego and Mark Mac, who act as the creative force; Gus Lawrence and Ian Bardouille take care of business. -
Xango Music Distribution Release #20 – 2015 Pagina | 1
Xango Music local music from all over the world Office: Singelstraat 1, 3513 BL Utrecht, NL www.xmd.nl - [email protected] - +31 6 50 999 123 Warehouse: Berenkoog 53 C, 1822 BN, Alkmaar (NL) e: [email protected] t: +31 (0)72 - 567 3030 NEW RELEASES NR. 20 – 2015 Release November 20: Dennis Bovell: Dub 4 Daze GBLP 28 / 4030433602812 / label: Glitterbeat / format: LP (180g) / UK – Dub One of the most revered dub and reggae producers, Dennis Bovell has been leaving his mark on contemporary music for over 40 years. Born in Barbados, Bovell moved to south London at the age of 12 and by his late teens had started a musical trajectory that profoundly influenced Britain’s emerging roots, lovers rock, soundsystem and dub cultures. As a musician, songwriter and producer, Bovell spearheaded the seminal British reggae acts Linton Kwesi Johnson and Matumbi and was notably involved in the late 70’s UK punk/post-punk scene as the producer for The Slits, The Pop Group and Orange Juice. Dennis has also worked with Marvin Gaye, Ryuchi Sakamoto, Fela Kuti and most recently Joss Stone. “Dub 4 Daze” deeply mines Bovell’s inspired catalog of rhythms and sounds. Dennis describes the material as: “a collection of different dub mixes I found buried in my archive, and a few newly mixed cuts, done after re-exploring some earlier recorded material. I baked some 2" masters, transferred them to digital and mixed them using an analogue desk.”. Riccardo Tesi & Banditaliana: Maggio VM 3003 / 8012957991135 / label: Visage Music / format: CD / Italy - Folk The Italian quartet Banditaliana, with its sunny mix of Tuscan traditional music, a whiff of jazz and Mediterranean songs, has been a welcome guest at festivals and stages in the international world music scene for years. -
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. -
Dub Poetry - Culture of Resistance
DUB POETRY - CULTURE OF RESISTANCE Christian Habekost (Mannheim) It was the great Barbadian poet and literary critic Edward Kamau Brathwaite who wrote in his standard work on the development of a “Creole Society” about the emergence of a distinctive Caribbean culture: Whatever we did that was worthwile had to be blessed by Europe. And yet the folk tradition persisted. The drums beat from the blood, the people danced and spoke their un-English English until our artists, seeking at last to paint themselves, to speak themselves, to sing themselves, returned [...] to the roots, to the soil, to the sources.1 It is dub poetry that incorporates not only these elements of folk tradi tion Brathwaite is talking about, but blends several art forms like music, drama, poetry, literature and performance into one to produce a modern expression of pop culture that has achieved international recognition. Developing out of reggae music, which had already gained an interna tional status since Bob Marley & The Wailers had crossed the borders from 1975 on, dub poetry was able to reach an audience all around the world. The poetry took over the cultural values of the music, the revolu tionary spirit and its militant stance towards society and used the well- established channels reggae had already prepared. Yet even though dub poetry emerged when reggae was in fashion internationally, it still man aged to stay out of the vicious circle of artificial fads and promotional interests of the recording industry. Today, after reggae has returned to the ghettos where it once came from, dub poetry still enjoys international success and an increasing au dience in many countries of the world. -
"The Labels Pin Them Down"
"The labels pin them down" An Interview with Mervyn Morris by Pam Mordecail PA M Mo R 0 E C AI: There have been, I think, a fow definitions of dub poetry, and I would refer you to one that recently appeared in Ted Chamber /in 's Come Back To Me My Language.2 He talks about the business ofwhat the word "dub" originally means, which is putting just the music on the reverse side of a reggae piece and somebody else doing their own words to that music. And then he says: "Dubbing words over a musical background became common enough that dub poetry came to include any rendition incorporating reggae musical rhythms and any verse combining reggae rhythms with local speech. " How would you respond to that as a definition of dub? MERVYN MORRIS Thatmay do; I'll talk about Ted's thing in a moment. What might be more useful is for me to tell you when I first heard the tenn, and from whom under what circumstances. Because I first heard the tenn from Oku Onuora, whose name was then Orlando Wong, and his notion was that dub poetry, which he had started trying to write, was poetry that incorporated a reggae-rhythm; and you might find that you should be able to hear the reggae rhythm whether there was music playing behind the voice or not. That was sort of his central definition, which he gave me in 1979. Now, later on Oku, who personally I regard as the sort of source for a lot of my notions about what dub poetry is, because he has really been someone who's been thinking about it quite a long time - - I saw recently a documentary in Toronto, on dub poetry - and I hope I am not misinterpreting or misquoting them - but they said that dub poetry origi nated with Oku. -
Une Étude De L'oralittérature Dans Les Poèmes De Jean Binta Breeze
UNIVERSITÉ DE STRASBOURG ÉCOLE DOCTORALE 99 « Humanités » DUB POETRY Une étude de l’oralittérature dans les poèmes de Jean Binta Breeze, Linton Kwesi Johnson et Benjamin Zephaniah Tome 1 : Thèse David BOUSQUET Thèse de doctorat Etudes anglophones sous la direction de M. Christian GUTLEBEN vendredi 12 novembre 2010 Jury M. Christian GUTLEBEN (Université de Nice Sophia Antipolis) Mme Claire OMHOVERE (Université Paul Valéry – Montpellier 3) Mme Catherine PESSO-MIQUEL (Université Lumière – Lyon 2) Mme Charlotte STURGESS (Université de Strasbourg) 1 Errata Tome I p.14, note 2 : lire « observateurs » au lieu de « observatuers » p. 31 : lire « géographiques » au lieu de « géographies » p. 47 : lire « écrite/occidentale/savante » au lieu de « écrite/occidentale savante » p.61 : lire « n’est pas vue » au lieu de « n’est pas vue tant comme » p. 72 : lire « leur fonction » au lieu de « sa fonction » p. 73 : lire « ses caractéristiques » au lieu de « ces caractéristiques » p. 78 : lire « nécessaire de s’arrêter » au lieu de « nécessaire se s’arrêter » et « Peter Habekost » au lieu de « Christian Habekost » p. 79 : lire « (Habekost, 1986 : 13) » au lieu de « Habekost, 13 » p. 79, note 3 : lire « Peter Habekost » au lieu de « Christian Habekost » p. 83 : lire « Toute la discussion » au lieu de « Toute sa discussion » p. 95 : lire « critical standards can be applied. » au lieu de « critical standards can be applied.. » p. 97, note 3 : « lire « have two volumes » au lieu de « have tow volumes » p. 102 : lire « sont marquées » au lieu de « sont marqués » p. 113, note 6 : lire « (« call/response pattern ») » au lieu de « (« call/response patter ») » p.