{"title":"Reggae ","description":null,"products":[{"product_id":"listen-to-bob-marley","title":"Listen to Bob Marley: The Man, the Music, the Revolution","description":"\u003cdiv\u003e\u003cdiv\u003e\u003cdiv\u003e\u003cb\u003eAn inspiring collection of poems, meditations, and lyrics by one of the world’s most revered musical legends\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/div\u003e\u003cdiv\u003eBob Marley’s music defined a movement and forever changed a nation. Known worldwide for their message of peace and unity, Marley’s songs—from “One Love” to “Redemption Song” to “Three Little Birds”—have touched millions of lives. This collection is the best of Bob Marley presented in three parts: “The Man,” giving an in-depth look into the life of Bob Marley; “The Music,” comprising his most memorable lyrics as well as links to many of his songs in iTunes; and “The Revolution,” containing his meditations on social equality and the Rastafari movement. 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Rastafarians were once a target of police harassment and public condemnation. Now the music is a marketing tool, and the Rastafarians are no longer a “violent counterculture” but an important symbol of Jamaica’s new cultural heritage.\u003cbr\u003e\u003cbr\u003e This book attempts to explain how the Jamaican establishment’s strategies of social control influenced the evolutionary direction of both the music and the Rastafarian movement.\u003cbr\u003e\u003cbr\u003e From 1959 to 1971, Jamaica’s popular music became identified with the Rastafarians, a social movement that gave voice to the country’s poor black communities. In response to this challenge, the Jamaican government banned politically controversial reggae songs from the airwaves and jailed or deported Rastafarian leaders.\u003cbr\u003e\u003cbr\u003e Yet when reggae became internationally popular in the 1970s, divisions among Rastafarians grew wider, spawning a number of pseudo-Rastafarians who embraced only the external symbolism of this worldwide religion. Exploiting this opportunity, Jamaica’s new Prime Minister, Michael Manley, brought Rastafarian political imagery and themes into the mainstream. 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Recorded in London after an assassination attempt on his life sent Marley into exile from Jamaica, it remains a masterpiece of spiritual exploration.\u003cbr\u003e\u003cbr\u003eVivien Goldman was the first journalist to introduce mass white audiences to the Rasta sounds of Bob Marley. Throughout the late 1970s, Goldman was a fly on the wall as she watched reggae grow and evolve, and charted the careers of many of its superstars, especially Bob Marley. So close was Vivien to Bob and the Wailers that she was a guest at his Kingston home just days before gunmen came in a rush to kill “The Skip.” Now, in \u003ci\u003eThe Book of Exodus\u003c\/i\u003e, Goldman chronicles the making of this album, from its conception in Jamaica to the raucous but intense all-night studio sessions in London.\u003cbr\u003e\u003cbr\u003eBut \u003ci\u003eThe Book of Exodus\u003c\/i\u003e is so much more than a making-of-a-record story. 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The genre initially found particular resonance in the Jamaican diaspora and defined the soundsystem cultures that rose to prominence in New York and London in the 1980s and 1990s, which would influence the origins of hip hop. 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After the book was completed during February 2003, I was shocked to have read a part of a book that was being sold on the market by a Jamaican writer. I will quote a part of that book as I have read it where the word Sebastian was repeatedly spell wrong. The next two paragraphs are from this mistake of a book. As the only survivor of that early period, Clement Coxsone Dodd is often said to have invented the sound system concept. But according to the late Count Matchukie, the first real Dance-hall sound system was Tom The Great Sebastian, the ?nom de record? of the Chinese hardware merchant Thomas Wong: ?There were other sets playing about the place, but Tom was the first sound with an amplifier properly balanced for the Dance-hall. Tom The Great Sebastian started getting competition from Sir Coxsone Downbeat, Duke Reid ?The Trojan, ? and Lloyd (The Matador) Daley. Tom was turned off by the violent rivalry among systems downtown and opened The Silver Slipper Club at Cross Roads. One night he committed suicide by gassing himself in his car, supposedly over financial troubles. Shortly after the Silver Slipper Club burnt to the ground? [End of excerpt from a bad mistake of a book] Tom (The Great) Sebastian did not own The Silver Slipper Club. Mr. Ho, who also ran the \"Esquire Restaurant\" on the same premises that now is called Silver Slipper Plaza, owned the club. He employed Tom on a gate percentage basis. The club did not burn to the ground, but was closed to make way for the Silver Slipper Plaza. Finally, Tom did not commit suicide over financial troubles, but over domestic problems. There are a large number of people who would like to associate themselves with the early history of Jamaica's music industry. They believe that you had to be standing on the corner of Luke Lane and Charles Street in downtown Kingston. Listening and sometimes dance to the sound of Tom The Great Sebastian (Sound System) Most of these so-called want-to-be were not old enough to realize what was happening concerning the new rising sound systems. I was under parent control at that time and will not lie to prove that I was there at the beginning. I was a part of the early building of Jamaica's Music Heritage, I contributed much more than most of these want- to- be's. I lived it then, not later. I was always a disc jockey, starting with my mother's RCA (His Master's Voice) table model gramophone. When I started high school I realize my dreams when I was introduced to Mr. Thomas Wong (Tom The Great Sebastian) and was taught the finer points of being a Sound system disc jockey. 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He became a member of the band, performing on stage and in the studio with Marley, as well as working with Peter Tosh, producing his iconic debut album, \u003ci\u003eLegalize It\u003c\/i\u003e. He later produced records for seminal Jamaican acts including Joe Higgs, Wailing Souls, Barrington Levy, and Morgan Heritage.\u003cbr\u003e\u003cbr\u003eThroughout their time together, Jaffe’s portraits of these legendary performers are set against the backdrop of a politically and socioeconomically turbulent Jamaica. His detailed first-person accounts and stories are accompanied by his photographs, providing music fans with key moments that inspired some of Marley’s most beloved lyrics and songs. This book embodies the energy of reggae culture.","brand":"None","offers":[{"title":"Couverture rigide","offer_id":46403247440082,"sku":"9780847835126","price":75.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8980\/5233\/files\/1_2be9fa99-4710-4101-a951-035b413b8f0a.jpg?v=1763684781"},{"product_id":"pump-it-up-magazine-14","title":"Pump it up Magazine","description":"\u003cp\u003eHey Pump It Up Magazine Family,\u003c\/p\u003e\r\n\u003cp\u003eGuess what? Love is in the air, and we're buzzing with the vibrant energy of Black History Month!\u003c\/p\u003e\r\n\u003cp\u003eOur February edition is here, loaded with passion, soulful beats, and the most amazing stories that make Black history unforgettable.\u003c\/p\u003e\r\n\u003cp\u003eHold on tight because we've got the incredible Irie Love, the Queen of Reggae Island, on our cover, bringing the heat with her soul-stirring singles \"Sugah\" and \"To Be Free.\" Trust me; you're in for a musical treat!\u003c\/p\u003e\r\n\u003cp\u003e\u003cem\u003eIn our exclusive interview with Irie Love, the Queen of Island Reggae, she shares her musical journey from singing in church at the age of 11 to winning her first record deal after a talent competition in high school, emphasizing her deep connection to reggae as the foundation of her music. Irie Love delves into her transformative track \"To Be Free,\" inspired by her 2017 divorce, and discusses her commitment to embodying freedom in all aspects of her life. 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This edition is a whole vibe-a celebration of love, passion, and the incredible resilience that defines Black history.\u003c\/p\u003e\r\n\u003cp\u003eDive in and soak up the rich tapestry of stories, music, and culture waiting for you in these pages.\u003c\/p\u003e\r\n\u003cp\u003eThanks a million for being part of our community. 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Robbing these peoples of their God given cultural and traditional knowledge of survival, void of cultural references and alienated from their traditional survival techniques and skills, the indigenous peoples had no other choice than to accept the ways of the earthly demi-gods, which was modernity and that came with many social disadvantages, worst of all, they would become second and third class citizens in a racially divided and dystopic world. The standard procedure was the implementation of acts that were intended to impart the greatest degree of fear, the fear of death and the fear of dying; whatever methods the noble savages thought would break the barbarian savages into submission. All manner of unthinkable acts of atrocity were employed against the indigenous peoples, because the objectives of the earthly demi-gods had to be met, which was to expropriate the lands and natural resources from these savages, these ‘uncivilized’ people.” The work of Niggers Sing Redemption Songs: Reggae, The heart-beat of a people takes aim at reaffirming the psyche and glory of the Black self as of utter importance in our efforts to make our world a better place. The unconscionable disregard for the glory of the Black self and by refusing to use it, has successfully stripped away Black humanity from the Black indigenous peoples’ collective consciousness; overall leading to a ‘niggerization’ process done for the benefits of the barbaric and ignobly self-acclaimed earthly demi-gods. The Black peoples of the world must bring back the ‘Black’ love of self and all things Black, that is your redemption and then, real life will be given to you. Additionally, what was most evidently conspicuous and surprising was a revelation that had emerged from the research of this study. The study has discovered evidences, which would indicate that because of social biases, for example, racial prejudices, and out-right arrogance, coupled with miss-education and deprecated mindsets, the attitudes of many Jamaican historians, the down trodden sectors of the Jamaican society were undermined and were not given meaningful historical documentations. The academics did not document, accurately, the accounts of Afro-Jamaican culture, for instance, the Rastafarians input into the cultural history of Jamaica. Although many academics of the time were themselves Afro- Jamaican, non-sympathizers to the Rasta movement, and, in most cases, just a generation or two removed from slavery, they were non-commiserated towards their people’s history and struggles. So much so, that they did not consider the documentation of their Afro-Jamaican culture as a priority, and as such, a deficit in proper documentation of historical material exists today. This becomes quite evident in the footnotes, where due to the lack of material, there is a redundancy in reference materials Therefore, in order to add further depth to the stock of the genre of Black Liberation Literature, this work advances a redemptive process which is aimed, primarily, at every individual that has been niggerized by White supremacy and their racist systems. Therein, that each nigger would cultivate an awareness that would be congruent with his\/her Black redemption, as is outlined in this literary work. Thus, that he\/her would be empowered sufficiently, to rise above the White supremacist world that had ungratefully grafted him\/ her and had restrained him\/her to oppressive states of meaningless existences. Black people must rise above their common bound, the social degradation of niggerization, a social construct of the White racist demi-gods and to accept the fundamental merits and opportunities that a Black redemption would have provided, which is, the reconstructed Black self, with all its social advantages, because White America will not change and they will not change for the sake of niggers or will they accept niggers as Whites. Sorry, but no skin bleaching formula will change Blacks into White. 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Radiating from the Jamaican centre, these illuminating essays highlight the ?glocalization? of reggae ? its global dispersal and adaptation in diverse local contexts of consumption and transformation.\u003c\/p\u003e \u003cp\u003eThe languages of Jamaican popular music, both literal and metaphorical, are first imitated in pursuit of an undeniable ?originality?. Over time, as the music is indigenized, the Jamaican model loses its authority to varying degrees. The revolutionary ethos of reggae music is ranslated into local languages that articulate the particular politics of new cultural contexts. Echoes of the Jamaican source gradually fade. 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It moves through early musical debates and incendiary intellectual contributions in Jamaican reggae to trace Jamaican popular music in new geographical locales and then returns home to contemporary dancehall posturing. The contributors to this collection incorporate a range of approaches that includes cultural studies, musicological analysis, lyrical analysis and historical contextualization.\u003c\/p\u003e\r\n\u003cp\u003eThe collection makes a seminal contribution with its presentation of significant work on reggae music in the Hispanic Caribbean (Mexico), particularly for the benefit of English speakers who may have faced restrictions in accessing such material. In a similar vein, the work also introduces material on reggae music in the former Soviet Union (Belarus), again opening spaces that may have been hidden from the anglophone debates. The work also makes another significant contribution in tackling Peter Tosh’s intellectual and lyrical legacy as a reggae revolutionary in an era where he has received scant literary and academic attention. 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