Download Black Culture, White Youth: The Reggae Tradition from JA to by Simon Jones PDF

By Simon Jones

Northfield, Birmingham- October 1986
The time is approximately 2 a.m., in the course of the indefinable
zone among Saturday evening and Sunday morning. The
Birmingham suburb of Northfield has close down, its pubs
closed many hours in the past, and such a lot of its population lengthy since
retired to their beds- so much, yet now not all. For in a dilapidated
block of apartments at the back of the large Longbridge motor vehicle plant,
something is happening. lifestyles is stirring and folks relocating to a
particular form of rhythm, with a distinct feel of time to
that embodied by way of the adjoining monolith to British 'motoring'.
Tonight, Scientist Hi-Powa, champion sound process of south
Birmingham, are taking part in a 'musical meltdown', because it says on
the price ticket, to which 'all posses are welcome'.
Approaching the residences taking walks, the faint reverberations of a
bass line might be felt a number of blocks away, sporting through
the constructions and alongside the pavement. As we input via a
broken-down doorway, the DJ's voice turns into audible above
the now rumbling bass styles. relocating rapidly up the
stairs, we knock at the door, greet the gateman and input ...

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Additional info for Black Culture, White Youth: The Reggae Tradition from JA to UK

Sample text

Its ability to preserve a sense of racial identity was especially important in slave cultures, where music became a site in which self-dignity could be restored, as much as a relief from oppression (Patterson, 1967; Storm Roberts, 1973). Under conditions of enslavement, musical activity in itself became a crucial autonomous space of cultural and political freedom, a site of unsupervised 'freetime' onto which nonmusical activities were displaced. , 1983a; Patterson, 1967). Out of these funeral rites emerged various WestAfrican-derived wakes and forms of ancestor worship such as kumina, a practice of more recent origin introduced to Jamaica in the post-emancipation period by indentured labourers from central Africa (Brathwaite, 1978; Johnson, 1983; Bilby, 1985).

254; Brathwaite, 1981; Johnson, 1983). From the very earliest days of slavery the influence of L~Uropean music forms was indelibly stamped on the slave's musical culture. In Jamaica, the diversity of those influences was considerable, ranging from French and Spanish music, to various regional forms of British folk and religious music. Such influences were invariably mediated to the slaves through the mulattos and 'freed' slaves, or by the European staff and indentured labourers. Appropriated by black musicians, these various European forms were infused with 400 Years 9 African creative models, motifs and rhythmic structures.

60). It was the sound-system operators who responded to the drying up in the supply of danceable R & B by stimulating the production of an indigenous Jamaican version for local consumption Qohnson, 1983). This Jamaican R & B, or 'blues' music as it was called, evolved through the midand late 1950s and early 1960s into a unique Afro-Jamaican music form that came to be known as 'ska'. Ska emerged out of the melting-pot of creole forms and retentions that existed in the ghettoes and slums of Kingston in the late 1950s.

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