#coxsone’s music city

[thepastprotracted]

#coxsone’s music city #record store #reggae #brooklyn #jamaica #vinyl

[389]

Jamaican Sound Clash Culture

Jamaican sound clash culture has its roots in the 1950s and 1960s, when sound systems first began to emerge in Jamaica. These sound systems were essentially mobile DJ setups that would play music at outdoor parties, dances, and other events. They were an important part of the local music scene, and helped to popularize a variety of different genres, including ska, rocksteady, and reggae.

As the popularity of sound systems grew, so too did their competitiveness. DJs and sound system operators began to engage in battles or "clashes" where they would compete against one another to see who had the best music selection, sound quality, and overall performance. These clashes often took place in outdoor venues and were attended by large crowds of people who would dance and cheer on their favorite sound systems.

In the 1970s, sound clash culture really took off in Jamaica, as a new generation of sound system operators emerged, including some of the most famous names in the business, such as King Tubby, Duke Reid, and Coxsone Dodd. These sound systems were known for their powerful sound systems, huge music collections, and their ability to engage in quick-witted banter and insults, known as "dubplate specials."

During this time, sound clash battles became more intense and competitive, with sound system operators often spending large sums of money on rare and exclusive records and dubplates in order to gain an edge over their rivals. These battles became a major part of Jamaican culture, with fans and enthusiasts following their favorite sound systems and DJs around the country to attend clashes and other events.

In the 1980s, sound clash culture began to spread beyond Jamaica and into other parts of the world, as Jamaican immigrants brought the tradition with them to cities like New York, London, and Toronto. Today, sound clash culture continues to thrive in Jamaica and around the world, with new generations of sound system operators and DJs carrying on the tradition and keeping the spirit of competition and creativity alive.

The rivalry between sound systems is intense and the rules dictate that only exclusive dubplates are played, which are usually rare or specifically cut for the clash. These dubplates are unique cuts of certain popular tunes or other material. Watching a sound clash is good fun and the audience decides who is better by cheering the most, and the energy is usually insane. In this case, Rodigan acts as both his own DJ and MC, but sometimes other MCs are present and the selecta (DJ) is separate. In Jamaica, the MCs are called deejays and the DJs are called selectas. Sometimes there are even special dancers on stage to make the show even more energetic. Sound systems in Jamaica were popular because people couldn't afford to buy records or speakers, so they would play music in the streets for everyday people. Then, they began to develop a rivalry and a following. It got crazy in the 80s when dancehall became harder and more violent in its lyrics. The sound clash is all about who has the best records, rarest collection, and most unique dubplates cut by artists. The artists usually voice a special message into the dubplates, hyping up the selecta/sound system. Hip hop may have also copied some of this culture, but it's not clear whether it developed on its own or was copied from Jamaica.

#history #jamaican #sound clash #culture #video #dubplates #djs #selectas

[beverlydee-blog1]

[havatabanca]

Lee Gopthal, Trojan records

b. 1 March 1939, Constant Spring, Kingston, Jamaica, West Indies, d. 29 August 1997. Gopthal is regarded as a pioneer in promoting Jamaican music. He moved to the UK in 1952 where he qualified as an accountant, and by the early 60s was representing producer Leslie Kong in the UK. Initially, Gopthal was involved in providing records for the West Indian population through his primary venture, Pyramid Records. By the early 60s Chris Blackwell had arrived in the UK and joined forces with Gopthal, who distributed Black Swan and Island Records pressings under the Beat And Commercial banner. The association led to the inauguration of the Muzik City chain, which sold Jamaican music within the Afro-Caribbean community. The shops were opened in and around London and included the legendary Desmond’s Hip City in Brixton. In 1967 Gopthal’s Pyramid label released Desmond Dekker’s ‘The Israelites’, which topped the UK charts two years after its release and is acknowledged as the first reggae tune to conquer the US charts. Gopthal and Blackwell co-founded Trojan Records in 1967, releasing Jamaican hits and allocating labels to represent the growing number of producers, including Lee Perry, Joe Gibbs, Duke Reid, Clancy Eccles and, for a brief period, Coxsone Dodd. Gopthal also worked with UK-based performers, including Dandy Livingstone, whose production of Tony Tribe’s version of Neil Diamond’s ‘Red Red Wine’ gave the company its first reggae hit on the UK chart. Following his label’s early chart success Gopthal also enjoyed mainstream hits with ‘The Liquidator’, by Harry J.’s Allstars, ‘Long Shot Kick De Bucket’ by the Pioneers, ‘Wonderful World, Beautiful People’ by Jimmy Cliff, and the double a-side, ‘Return Of Django’/‘Dollar In The Teeth’, by the Upsetters. The hits continued in abundance following the departure of Blackwell, who decided to concentrate on the lucrative rock market, although the Wailers later emerged as the label’s most significant asset. By 1974, with increasing financial problems, Trojan were unable to compete with the major record companies, and the label was eventually sold to Saga Records. Gopthal maintained a low profile within the music industry until the late 70s when he decided to pursue a career in commerce.

#indo caribbean #lee gopthal #indo jamaican #Trojan records #British indo jamaican #indian diaspora

[kickmag]

R.I.P. Lee "Scratch" Perry

Reggae and dub pioneer Lee "Scratch" Perry died August 29th in Jamaica at age 85. Perry started his career as an apprentice to reggae producer Clement Coxsone Dodd. After a time of working with Amalagated Records he formed his Upsetter Records in 1968. He started his career as a solo artist with his inaugural single "People Funny Boy" being released under the name Lee Perry. A series of songs followed and were released on various labels he controlled and there was time spent working with his studio band The Upsetters. In 1970, he produced and released his first production for The Wailers, "Mr. Brown."  His famous Black Ark studio was constructed in 1973 and legendary sessions for Bob Marley, The Heptones, The Congos, Junior Murvin and Max Romeo took place. This was also the year he would collaborate with fellow dub designer King Tubby on the Upsetters 14 Dub Blackboard Jungle album which many consider to be the first dub album. Augustus Pablo, who became known for adding melodica to dub, is also on the album's personnel.

Perry's productions took reverb and echo to make rippling rhythms that reflected a disjointed diaspora yet united the various geographies in sound. Samples of American soul made itself into dub alongside the distinct reggae beat he helped to popularize with his first recordings. He saw the studio itself as an instrument to be manipulated and used as his own artificial intelligence hybrid. Perry claimed to have burned The Black Ark down himself at the beginning of the '80s. But he also had a creative resurgence and started working with producer The Mad Professor and others.

His fame continued to grow in the '90s and he had a high-profile appearance on the Beastie Boys' Hello Nasty album. The 2003 Grammy for Best Reggae Album award went to Perry for his 2002 Jamaican E.T. album. Perry collaborated with producers Bill Laswell and Adrian Sherwood for the Rise Again and The Mighty Upsetter projects during the 2000s. He would later venture into the dubstep genre with the group Dubblestandart and the Subatomic Sound System. Music was his life's work but he also became a visual artist and had his first exhibition at Dem Passwords Gallery in Los Angeles in 2010.

Perry stayed busy with music until the end of his life. He co-produced The Orb's 2012 The Observer In The Star House album and still went on tours. He participated in the first two Dub Champions Festivals in New York City in 2011 and 2012 and Coachella in 2013. Three documentaries were released about him; The Upsetter (2011), Lee Scratch Perry's Vision Of Paradise (2015) and The Revelation Of Lee "Scratch" Perry (2019). He released 77 albums and four this year including Dubz Of The Root, Friends, No Bloody Friends and To Conquer The Evil Duppies. There was a re-release and remaster of Roast Fish, Collie Weed and Cornbread for Record Store Day 2021.

Lee "Scratch" Perry's dub and reggae creations have seeped into punk, dance music and hip-hop. Several artists paid tribute to him on Twitter and acknowledged the way he forever changed music.

#lee scratch perry #Youtube

[peckhampeculiar]

For the record

Local resident Garth Cartwright has written a book chronicling the story of the UK record shop. As Record Store Day on April 21 approaches, he shares some snippets about the music shops of SE15

I’ve written a book that tells the tale of the UK record shop. The story stretches from 1890 – when wax cylinder recordings of music were first made commercially available – to the present.

Peckham has hosted all kinds of record shops over the past century. Having spent the last 25 years in south London (and much of it in SE15) I went looking for local stories to include. And I found some great ones.

Today the area is once again a music hub, with Rye Wax in the Bussey Building basement and Lorenzo’s Record Shack in Sky Shopping City both providing cutting-edge new and used vinyl selections.

Another local music shop, Maestro Records, opened in the mid-1990s on Parkstone Road, just off Rye Lane, in the building that once housed Reed Music Centre (later Reed For Records).

Owner Michael Fountaine, who has run Maestro since its inception, remembers shopping in Reed’s. His shop offers both CDs and vinyl, focusing on music for Peckham’s Afro-Caribbean community: reggae, soul, rap, gospel, soca and R&B.  

CD Base in Holdron’s Arcade sells CDs and DVDs and specialises in rap and dancehall; while Craig Jamieson of Peckham Soul offers up a small but tasty selection of vinyl LPs and singles – as well as branded clothing – from his base at Peckham Pelican.  

That said, since I last wrote about SE15 record shops for the Peculiar back in 2016, there have been a few closures. Yam Records in Holdron’s Arcade recently pulled down the shutters for the last time to relocate to Bermondsey.

This is a great shame as Yam was a real hub of youth activity, with a tiny radio station, a record label and all kinds of contemporary electronic music on 12-inch 45s, alongside some good ’n’ funky used records.

On Friary Road Sacred Records still stands, its window bedecked with bright LP sleeves, but it has not opened in more than a year. Run as a hobby by two close friends, it’s a treasure trove of LPs and obscure musical delights such as historic Maori and Croatian recordings.

Other music shops have come and gone over the years. In the past, Peckham was home to a handful of small but significant record stores, including the aforementioned Reed For Records.

For decades Reed’s was Peckham’s most significant and best-loved record shop and while no one has been able to verify exactly when it opened, I’m guessing it was some time during the early 1950s.

One commentator at the British Record Shop Archive website recalls Jean Reed running into the shop saying she’d just seen Bermondsey boy Tommy Steele audition and that he would be a big star. This would have been 1956 and Jean was proved correct.

She and her husband Ray ran the Parkstone Road shop and another branch in Forest Hill on Dartmouth Road.

Their early record bags – often the only trace left of these shops is their branded paper bags – also mention a connection with West End Reproducers on Tottenham Court Road but, so far, no further information has come to light about this shop.

Jean and Ray were much loved by the local community, with Jean possessing an encyclopaedic mind when it came to knowing what records had been released and what were about to be released.

Back then, almost all record shops kept the covers of the LPs out front and the actual vinyl behind the counter. Customers would then take the cover to the counter if they wished to have a listen.

Most shops had small listening booths until the late-1970s where, if you were considered a serious customer and not just a time waster, you would be allowed to listen to the record of your choice – or purchase.

Older Peckham residents recall how Rye Lane was once known as the “golden mile” for shopping, and remember the vast Jones & Higgins department store that once dominated the top end of the Lane, stretching from Peckham High Street to Hanover Park.

Jones & Higgins housed a gramophone department – as many of the big stores did pre-World War Two – and this would have sold sheet and recorded music.

Many market traders would also have sold records: from the introduction of the 78 (it overtook cylinders in sales by 1910) until the late 1970s, large amounts of 78s, 45s and LPs were sold on market stalls across the UK.

Again, older residents recall buying records at market stalls in the 1960s – and Jamaican, Trinidadian and African records were often sold alongside food, beauty products and such by traders who catered specifically to the new immigrant communities.

Bicycle shops were also popular outlets for 78s but if Wilson’s on Peckham High Street – Peckham’s oldest trading shop and still a bike shop today – ever sold shellac there is no record of it.

The cardboard 78 sleeves often boasted the name of the outlet, with bike and electrical shops being prominent retailers. A1 Records, which existed from the 1920s to the 1990s on the corner of Walworth Road and East Street Market, was based in the back of a light fittings outlet.

While Wilson’s remains a mystery I do know that, directly along from it in the shop that is now home to the fabulous Persepolis, there once stood the majestic Peckham Gramophone Stores.

A photo taken in what I believe to be 1933 demonstrates a group of men and boys – and one woman (and possibly a girl in the far left corner) – watching as a man puts needle to 78 on a portable gramophone.

What are they listening to? Most likely the new Jack Hylton 78, as a large, framed image of Hylton rests against the shop window and a cardboard stand of Jack is right beside the early DJ.

Jack was a towering figure in British dance music during the 1920s and 30s and lived the life of a star – squiring beautiful women, driving fast cars and residing in a mansion. In 1933 a new Hylton 78 could well have had Peckhamites out on the street and listening to the music play.

The photo shows that Peckham Gramophone Stores sold not just records, but gramophones, wirelesses (radios) and newspapers, specifically the Daily Herald – a paper that existed from 1912-1964 when it relaunched as The Sun.

What happened to Peckham Gramophone Stores? So far, no one has come forward with any information on it but, as World War Two led to a shortage of shellac – the resin used to make 78s – it’s likely this is what helped bring about its closure.

Sally Butcher, the polymath who owns Persepolis, says the building appears to have been a sweet shop for some time, so it’s unlikely Peckham Gramophone Stores was in competition with Reed Music Centre. As Persepolis sells Persian CDs today, the tradition continues.

In the 1970s Peckham changed from being a predominantly white community to an Afro-Caribbean one and reggae “shacks” opened selling Jamaican 45s as fresh and hot as a saltfish patty.

The most famous of these shacks was Intone at 48 Rye Lane, which was run by the legendary sound system DJ and record producer Lloydie Coxsone and attracted legions of loyal  customers including Radio 1 DJ John Peel.

Peel was so enthused by the new dub and roots reggae records he would buy in Intone, that he championed it both on his radio show and in his column in Sounds, which was a music weekly.

Peel seemed to take a certain glee in taking the train from Victoria Station to Peckham Rye and then venturing into Intone, where the music was so loud you couldn’t hear yourself think and the air was filled with ganja smoke.

Intone closed sometime in the mid-1970s and, not long after, Dub Vendor opened its very first shop in the arcade by Peckham Rye Station.

Dub Vendor’s founders were John MacGillivray and Chris Lane, two white London youths who were obsessive Jamaican music fans. They would develop DV into several shops and the Fashion record label – home to Smiley Culture’s hits.

Yet their Peckham venture proved a disaster: having only been open a month, they arrived one morning to find the shop turned over – stereo, speakers and stock all stolen.

Dub Vendor subsequently quit Peckham, operating as a market stall in Clapham Junction before opening celebrated reggae shops in Ladbroke Grove and Clapham.

Crime was a threat to other record shops too. Ray Reed was attacked and robbed in Reed’s in the 1970s, as was Mr Tipple, the owner of Tipple’s newsagent and record shop on Peckham Park Road.

Mr Tipple was infamous for his rudeness – he often refused to let customers see the records, which were kept in the back of the shop – and for his deep stock: if you were lucky enough to get access you could find mint records dating back to the 1950s.

Tipple’s closed at some point around 1990 when Mr Tipple died. Ray Reed passed away in the late 1970s but Jean kept the Peckham shop going until she retired in the 1990s. These shops may be gone but the memories, stories and records they sold live on.

..............................

In-depth stories on Peckham’s record shops – and many more across London and the UK – feature in Going For A Song: A Chronicle Of The UK Record Shop (Flood Gallery Press). It’s available now in all good book and record shops (including Lorenzo’s and Persepolis). If you have any memories of record shops to share, please visit garthcartwright.com to get in touch.

[aplaceoflonging]

COXSONE’S MUSIC CITY RECORD SHOP; SELLING REGGAE, SALSA, CALYPSO, JAZZ, GOSPEL AND SPANISH MUSIC.

[yasbxxgie]

Sugar Minott Love And Understanding (band: Brentford Disco Set) (writ.: Clement Dodd & Sugar Minott) Love And Understanding / If I Were A Carpenter 12″ (Studio One (JA), 1979)

#sugar minott #love and understanding #reggae #rocksteady #clement dodd #coxsone dodd #brentford disco set #jamaica #studio one #roots reggae #1979 #jamaica recording studio #coxsone's music city #black music #music #youtube music #12" #12-inch #12 inch #45 rpm #vinyl

[rastavibes-reggae-shop]

LPs Soul Jazz Uk - Various Artists - Coxsones Music 2 The Sound Of Young Jamaica More Early Cuts From The Vaults Of Studio 1

LPs Soul Jazz Uk - Various Artists - Coxsones Music 2 The Sound Of Young Jamaica More Early Cuts From The Vaults Of Studio 1: reggae shop LPs Soul Jazz Uk - Various Artists - Coxsones Music 2 The Sound Of Young Jamaica More Early Cuts From T... http://www.rastavibes.net/reggae-shop/?lang=en&p=catalogue&format=lp&item=01089 Heavyweight Triple Vinyl Download Code 01. Roland And His Alley Cats - Jerk Pork 02. Neville Esson - Lovers Jive 03. Monty & The Cyclones - Lazy Lou 04. Owen Gray - Get Drunk 05. Monty & The Cyclones - Dog It 06. Clancy Eccles - More Proof 07. Tommy Mccook & The Skatalites - Exodus 08. Clue J And His Blues Blasters - Swanee River Rock 09. Delroy Wilson - Spit In The Sky 10. Roland Alphonso - Federal Special 11. Owen Gray - Grandma Grandpa 12. Don Drummond - Cuban Blockade 13. Theophilus Beckford With Clue J & His City Slickers - Little Lady 14. Tommy Mccook - Away From You 15. Clancy Eccles With Hersan & His City Slickers - I Live And I Love 16. Roland Alphonso And His Alley Cats - Hully Gully Rock 17. Delroy Wilson - Lion Of Judah 18. Tommy Mccook - Two For One 19. Toots & The Maytals - Sweet Sweet Jenny 20. Roland Alphonso - Grand National 21. Owen Gray With Hersan & His City Slickers - Sinners Weep And Mourn 22. Tommy Mccook - Peanut Vendor 23. Toots & The Maytals - Shining Light 24. Lascelles Perkins With Clue J & His Blues Blasters - Lonely Moments 25. Toots & The Maytals - Six And Seven Books Of Moses 26. Cecil Lloyd - It Happens 27. Bonny & Scully - Don't Do It 28. Don Drummond - Scrap Iron 29. Lascelles Perkins With Clue J & His Blues Blasters - Creation 30. Tommy Mccook - Don't Slam The Door 31. Winston & Bibbie And The Rhythm Aces - Joybells Of Independence 32. Roland Alphonso - Jack Ruby 33. Toots & The Maytals - Hallelujah 34. Bob Marley & The Wailers - Habits 35. Frank Anderson & Tommy Mccook - Wheel And Turn 36. Busty & Cool - Kingston To Mo'bay 37. Don Drummond - Mr Propman 38. Higgs & Wilson - Mighty Man 39. Tommy Mccook And Roland Alphonso - Trotting In 40. Bunny & Skitter With Count Ossie And His Wareikas - Cool Breeze 41. The Mellow Larks - Light Of My Life http://dlvr.it/N5L40n

#LPs #Reggae #Vinyl

[donsinclair]

Downbeat The Ruler Tony Screw Live & Direct in Full Effect In London 2018 🎼🔥 Since the early 70’s, Tony Screw, a.k.a. Downbeat the Ruler, has been entertaining and educating crowds, from Brooklyn to Berlin, with his inimitable blend of stage presence, exclusive dubplates and a second sense for keeping a dance floor packed. Named in honor of Tony Screw’s musical mentor Sir Coxsone Dodd, Downbeat the Ruler Sound has introduced generations of reggae fans to the sounds of Studio One, the blueprint of Jamaican music. For those who really don't know the history of Down Beat "The Ruler" here is the bio... New York City, home to a sizeable population of Jamaican emigrants, maintained a relatively low profile in the reggae world until the 1980's. Then, the music's transition from roots to dancehall was accompanied by explosive growth in New York's local reggae scene. In the Jamaican tradition, this scene was centered around locally-run sound systems, and of these, the sound now known as Downbeat the Ruler (originally called Downbeat International) has proved to be the most enduring. Founded in the seventies by selector Tony Screw, Downbeat rapidly became not only a regional force, but one that could compete with the strongest sounds from Jamaica. In the "rub-a-dub" era of the 1980's, sound systems were as much a showcase for live performances as they were for records, and Downbeat ensured its success by regularly featuring the best of Jamaica's microphone talent. Brigadier Jerry of Jah Love Muzik was a frequent visitor, and other top artists like Josey Wales, Charlie Chaplin, Super Cat, Shabba Ranks, Lone Ranger, Nicodemus, Early B, Jim Brown, Johnny Osbourne, Ninjaman, Papa San, Lieutenant Stitchie, Professor Nuts, Wolfman, Peter Metro, Ricky Sterio, Colin Roach, Major Mackerel, Michigan and Smiley, and more came to New York to perform for the sound. In addition to hosting these Jamaican performers, Downbeat provided exposure for New York's local artists, some of whom went on to achieve worldwide recognition. The core of the Downbeat crew included Shinehead, Louie Ranking, Sister Carol, and Santa Ranking, and other locals like Mikey Jarrett, Burru Banton, Alton Irie, Reverend Badoo, Verdi Green, Neville Valentine, and Brimstone would occasionally appear as well. .

[donsinclairblr-blog]

Glama Wayne - Hail Him Live & Direct at YouTube Born in the UK, raised the JA way; Glama Wayne is a singer, song writer, arranger and producer living in the City of Birmingham. Glama Wayne like many of the reggae artists born in the UK growing up, he was naturally influenced by the Caribbean and its rich History, Culture, Life Style, Music past and present; in particular the Island of Jamaica, his parents place of birth. Glama’s style of music is influenced by Reggae Pioneers producers like Lee Scratch Perry, Coxsone Dodd (Studio one) singers and performers like Sugar Minot, Denis Brown, Bob Marley, Morgan Heritage with sprinklings of fellow Birmingham reggae icons Steel Pulse and London’s Aswad to name a few. These influences have blended perfectly with his distinctive vocals, expressing his own infectious style and production. ❤️💛💚Uk's Leading Broadcast Station For Reggae & Sound System Culture Artists, Sound Systems, Preserving & Documenting #Reggae SoundSystems Culture For more Quality Vibes Subscribe to our YouTube Channel https://bit.ly/2LX43gl

[kazakhsmongoliaxhiphop-blog]

HipHop

General:

Hip hop is a modern interpretation of poetry and displaying your emotion, experiences and energy in a form full of metaphors, analogies and various poetic devices. Through this it does not only help the artist to get his message out there and cope, but also helps others who listen and not just hear the songs.

Timeline:

Late 1970’s :

The influences of Hip Hop from the States, are reaching the bijlmer. The youth form the Bijlmer is getting inspired by rappers, b-boy and graffiti artist from the States. These three points make Hip Hop, and another subculture was born.

Hip Hop & Nederhop

Hip Hop is a movement it is the definition for a lifestyle. “you are Hip Hop”.

Rap : Is an art inside of Hip Hop.

Nederhop

But in the 1980’s the dutch made their own definition called “ nederhop”.

Nederhop was rapping like they did in the States, but in dutch.

The Bijlmer was one of the places where nederhop started. The raps that you made where mostly about sorrows. And the things that you saw in your neighborhood. Because the government didn’t care for the Bijlmer at the time. The Bijlmer became a place of crime and drug use.

Nederhop was away off telling your story and telling others about your life.

Expressing your self in the art form of spoken word this was away of letting emotions out.

The expression

A neighborhood that is left for death by his government is called a ghetto. It is a hood that has been polluted not by his people but by his government.

Hip Hop and many other subcultures raised from these so-called ghettos.

In the ghettos where a large group of the black community lived, was still suppressed by the white government. In the 90’s it was in the form of Hip Hop that Black community could speak up for them self’s. By rap and Hip Hop the black youth community could express them self’s, by letting out there sorrows about white suppression.

Expression of the Bijlmer

Not only in the states white suppression is a common thing, also in the slums of the Netherlands. A large group of Surinam and Antilean people lived in the slums and was being suppressed by a white government. So it’s not weird that the Bijlmer took Hip Hop in his arms because the youth field the same way they did in the States.

2001 : Gangster rap in the Bijlmer

Gangster rap has been on the rise in the States, rappers like : snoop dog, NWA, notorious B.I.G and Tupac had there prime time in the 90’s. They rapped about selling drugs and crime. It took some time before the Bijlmer picked this up. At this point the youth from the Bijlmer had to deal with the same issues as the rappers from the states. So they started to rap about the same stuff as gangster rappers from the states to express their struggles.

2008 : Bijlmerstyle clothing

Robert ( founder of the clothing company )

My inspiration source was Eazy-E with his Compton caps. I love the pride they had in their neighborhood. I felt that shit. Also knew that it is something from there and you can not copy it here. You should not want to. But my own neighborhood, create my own shit. It's that fraternity, that common thing you have, to promote that communal.

2009 : Dret en Krullen

In 2009 Dret en Krullen won the Groteprijs. A award they won for best Hip Hop album of the year.

the duo stands for the contrast between gangster rap en good energy rap.

They mainly focus on teaching the youth about drugs and violence of the Bijlemer.  They also rap about how the government is letting people down in the Bijlmer, en how the community should rise from this despair.

2009 : Doofpot Gikkels

In the song “Doofpot” opens Gikkels up about the suppression that he feels. He speaks up about how the government and the media ruined the Bijlmer.

He raps about how the government calls the people in the Bijlmer caveman, and that it is the fouled of the people that there is a drug problem. But it’s because the government that does not care for the Bijlmer. He points out that racism still is a big thing in the government of the Nederland’s.

Graffiti Bijlmer

because of the lack of care for the Bijlmer, lots of buildings are taking down bij the government. A empty building is the a canvas for graffiti artist that’s why a large group of talented graffiti artists comes from the Bijlmer.

definition: Hip-hop, cultural movement that attained widespread popularity in the 1980s and ’90s; also, the backing music for rap, the musical style incorporating rhythmic and/or rhyming speech that became the movement’s most lasting and influential art form.

deejaying/ turn tabling

rapping/ rhyming

graffiti

‚B-boying‘  (hip hop dance style)

   (+ only valid for ‚socially conscious hip-hop‘ -> knowledge of self/ consciousness)

Origins and the Old School:

economically depressed

The New School

gave rise to gangsta rap together with Snoop Dogg, Schoolly D …

culminated in murders

combination of street credibility, neo-islamc mysticism & kung fu lore

- hip-hop generated huge sales of products in the fashion, liquor, electronics, and automobile industries that were popularized by hip-hop artists on TV stations such as MTV or magazines

Hip-Hop in the 21st century

in the early 2000s, hip-hop’s creative centre moved to the American South

Dr.Dre remained a crucial figure but went in the producer direction whereas Eminem became the ‚biggest pop star‘ after 8 Mile (2002)

stars continued to emerge like e.g. Lil Wayne, Jay-Z, Kanye West, M.I.A. (she personifies hip-hop in the 21st century probably the best though her politically radical lyrics)

dates back to the 1920s

influenced by Jamaican dancehall

leads back to poets like Muhammed Ali and Gil Scott-Heron -> presented poems over beats

1950, the sound clash contest b/w Coxsone Dodd’s ‚Downbeat‘ and Duke Reid’s ‚Trojan‘ gives birth to the concept of DJ battling

Clive Campbell is known as the ‚father of hip hop‘ (born in Jamaica, 1956 & moved to NYC later) -> introduced the huge sound systems of Jamaica to inner-city parties

around 1970’s DJs begin to refer to the music culture ‚hip hop‘

after years of being neglected by the mainstream it gets its own show on MTV (1988) thanks to Run-D.M.C

N.W.A pioneers gangsta rap movement with their album ‚Straight outta Compton‘ (1988)

1996 Fugees’ album ‚The Score‘ introduces ‚socially aware hip hop‘ (conscious lyrics)

#Research

[tropicalfete]

Grammy Nominated Legendary Jamaican Jazz Great Monty Alexander Returns To NYC’s Jazz Standard

Grammy-nominated, award-winning Jamaican jazz pianist and band leader, Monty Alexander, will begin the New Year in fine style as he returns to the Jazz Standard, one of NYC’s renowned jazz clubs, from Jan. 31st to Feb. 4, 2017 for ten shows under the theme: “Looking Back.”

Alexander kicks off a five-night series of shows on January 31st by looking back on his career of pure jazz performances as he remembers and revisits his musical journey in jazz and jazz collaborations with some of the greatest giants of the genre between 1959 and 1977.

On Jan. 31st and Feb. 1st, Alexander, along with special guests Warren Wolf, (vibraphone), and Ron Blake, (tenor sax), will reprise songs from the Impulse! LP: ‘That’s The Way It Is,’ an outstanding album by the Milt Jackson Quintet – featuring Alexander, Ray Brown and Teddy Edwards that was recorded live in 1969 at Shelly Manne’s Manne-Hole in Los Angeles.

On Feb. 2, 2017, the jazz maestro, whose “right-hand lines ring out with the power of a great vocalist” according to NPR, will remember legends Dizzy Gillespie, Milt Jackson and Norman Granz and Jazz at the Philharmonic/Montreux 1977. The show wraps up on Friday, Feb. 3rd and Saturday, Feb. 4th with a special Jamaican fusion spotlight as Alexander, Jamaica’s Commander of Distinction, and his band, the Harlem-Kingston Express, bring the vibes of his beloved homeland to their fans, while remembering Clement Seymour “Sir Coxsone” Dodd, CD and Studio One, one of Jamaica’s most influential record producer whose record label and recording studio has been described as the ‘Motown of Jamaica.’

Show times are 7:30 and 9:30 P.M. nightly.Caribbean and other jazz fans who call New York City home can secure their tickets for the shows here or by logging on to the Jazz Standard website. Tickets are $35 for per show from Jan. 31st to Feb. 2nd and $40 per show from Feb. 3rd – 4th.

For over a decade, the Jazz Standard, at 116 E 27th St, New York, NY, has been setting the standard for world-class jazz, warm hospitality, pitch-perfect sound and award-winning Southern cuisine and barbecue in an intimate and comfortable environment.

Alexander is an American classic. His performances have been called pure magic by many journalists and jazz fans around the world and his sets are undoubtedly “a refined concept of groove.” This extraordinary musician continues to tour the world relentlessly with various projects, delighting a global audience drawn to his vibrant personality and soulful message. His energetic pieces, documented on more than 70 CDs, draws upon the timeless verities: endless melody-making, effervescent grooves, sophisticated voicings, a romantic spirit, and a consistent predisposition “to build up the heat and kick up a storm,” as Alexander puts it.

In the course of any given performance, Alexander applies those aesthetics to a repertoire spanning a broad range of jazz and Jamaican musical expression – the American songbook and the blues, gospel and bebop, calypso and reggae. Like his “eternal inspiration” – Erroll Garner – Alexander is cited as the fifth greatest jazz pianist ever in The Fifty Greatest Jazz Piano Players of All Time (Hal Leonard Publishing) and mentioned in Robert Doerschuk’s ’88: The Giants of Jazz Piano.’

Alexander’s voluminous discography includes albums for many labels including MPS, Concord Music, Island Jazz, Telarc and Studio One. Two of his most fondly remembered professional associations was with legendary jazz entrepreneur and producer Norman Granz, who conceived of Jazz at the Philharmonic back in the late 40’s/50’s and “Sir Coxsone Dodd.” The pianist recorded “Monty and the Cyclones” between 1959-1961 for Studio One and released three LPs on Granz’s Pablo label in the 70’s – Jamento (1978), In Tokyo (1979), and Soul Fusion (1978) by Milt Jackson & The Monty Alexander Trio.

For more on Monty Alexander and his music visit him on YouTube or at montyalexander.com . You can also like him on Facebook at facebook.com/officialmontyalexander or keep up to date on his performance on Twitter at @montyHKE.

#Monty Alexander #Jamaican Jazz #Grammy nominee #Jazz Standard NYC

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Live & Direct @ Buzwakk Studios Brixton ft Bucky Jo, Errol Dunkley, Robert Lee, Christopher Ellis Errol Dunkley One of reggae's early performers, Errol Dunkley bridged the roots music of Jamaica, in the 1960s, and London's Brit-reggae scene of the ‘70s. His biggest hit, a remake of John Holt's "OK Fred", which barely missed the UK top ten in 1978, was re-recorded, as a duet with Queen Sister *N*, in 1996. Eleven years old when he made his recording debut, Dunkley went on to work with many of Jamaica's greatest producers. His debut 1964 recording, "My Queen", was produced by Prince Buster, while Joe Gibbs oversaw the recording of his first hit, You're Gonna Need Me", in 1967. Although he recorded several tunes for Clement "Coxsone" Dodd's Studio One and Bunny Lee, none became a hit. He fared much better with "Three In One", produced by Rupie Edwards, in 1969, and dancehall anthem, "Black Cinderella", produced by Jimmy Rodway, in 1972. His first album, Presenting Errol Dunkley, followed shortly afterwards. BUCKY JO a young progressive and determined (C.E.O/ PRODUCER/ ARTIST) @ BUZWAKK RECORDS started in the music industry at a tender age of ten singing at church and also adapting skill’s as a player of instruments. From a young age playing Dad's large collection of records from a toddler and loving sound systems, BUCKY JO formed his own sound system (BLACKHAWK INT) at fifteen playing throughout London and the UK with many top sound’s from all over the world. At the age of sixteen he was introduced to the studio field while voicing dub plates at local Recording studio’s and it’s there he went on to be schooled by top engineers working in the UK. BUCKY JO quickly progressed in this field and went on to build his own Recording studio. In 2008 BUCKY JO teamed up with RENK (Manager @ STRENT2STRENT) on their very progressive production’s (STRENT2STRENT PRODUCTIONS) and also BUCKY JO's own BUZWAKK PRODUCTION, which consists of Dj's, Singer's such as REAL AFRICAN & QUEENY and also Players of instruments. He has also gone on to teaching & Mentoring young and talented artist's around him and worked with many top Artist’s & Musicians in UK and around the world such as: GYPTIAN, JUNIOR CAT, MR EASY, HARRY TODDLER, JUNIOR REID, ERROL DUNKLEY, ROBERT LEE, JAH MASON, JIMMY LONDON, BUNNY LIE LIE, GAPPY Christopher Ellis was born the youngest male progeny to “The Godfather of Jamaican Rocksteady”, the late ALTON ELLIS.  Talented in his own right, the soulful 28 year-old Roots Reggae, R&B crooner has been astounding audiences with his incredibly natural, smooth vocal stylings since the age of 11. The Jamaica Gleaner notes, “His look and sound closely mirror those of his dad, he has beyond a doubt inherited the soulful vocals of his father.” Born on March 12, 1982 in London , England , CHRISTOPHER ELLIS frequently performed with his legendary father on world tours, leaving lasting impressions on international audiences across the globe, including in the territories of : Jamaica, New York City , Italy , Germany , London, Spain and Canada , to name but a few.  But, it wasn’t until the fledgling songbird was about 14 years old that he started to realize how groundbreaking his father’s legacy was, what his father meant to the country of Jamaica and the enormous influence that his father had on the development of the reggae and dancehall music genres. Christopher Ellis was born the youngest male progeny to “The Godfather of Jamaican Rocksteady”, the late ALTON ELLIS.  Talented in his own right, the soulful 28 year-old Roots Reggae, R&B crooner has been astounding audiences with his incredibly natural, smooth vocal stylings since the age of 11. The Jamaica Gleaner notes, “His look and sound closely mirror those of his dad, he has beyond a doubt inherited the soulful vocals of his father.” CHRISTOPHER ELLIS frequently performed with his legendary father on world tours, leaving lasting impressions on international audiences across the globe, including in the territories of : Jamaica, New York City , Italy , Germany , London, Spain and Canada , to name but a few.  But, it wasn’t until the fledgling songbird was about 14 years old that he started to realize how groundbreaking his father’s legacy was, what his father meant to the country of Jamaica and the enormous influence that his father had on the development of the reggae and dancehall music genres. Robert Lee was also one of the in-demand singers at Jammys because of his characteristically 'out of key' singing style. Here the King Tubby produced 'Tempo' rhythm was rearranged by Jammys and Robert Lee calmly liberate his flow with his aggressive lyrical expression to create another killer song. ❤️💛💚 Uk's Leading Broadcast Station For #Reggae & #SoundSystem #Culture  For more Quality Vibes Subscribe to our YouTube Channel.

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Official Dancehall Reggae Sound Clash: David Rodigan VS Downbeat [New York] 2006 Since the early 70’s, Tony Screw, a.k.a. Downbeat the Ruler, has been entertaining and educating crowds, from Brooklyn to Berlin, with his inimitable blend of stage presence, exclusive dubplates and a second sense for keeping a dance floor packed. Named in honor of Tony Screw’s musical mentor Sir Coxsone Dodd, Downbeat the Ruler Sound has introduced generations of reggae fans to the sounds of Studio One, the blueprint of Jamaican music. For those who really don't know the history of Down Beat "The Ruler" here is the bio... New York City, home to a sizeable population of Jamaican emigrants, maintained a relatively low profile in the reggae world until the 1980's. Then, the music's transition from roots to dancehall was accompanied by explosive growth in New York's local reggae scene. In the Jamaican tradition, this scene was centered around locally-run sound systems, and of these, the sound now known as Downbeat the Ruler (originally called Downbeat International) has proved to be the most enduring. Founded in the seventies by selector Tony Screw, Downbeat rapidly became not only a regional force, but one that could compete with the strongest sounds from Jamaica. Rodigan began his reggae broadcasting career in 1978 on BBC Radio London. He moved to Capital Radio in 1979 and remained there for eleven years broadcasting his legendary ‘Roots Rockers’ show every Saturday night. His credibility was ensured when he began clashing with Jamaica’s champion DJ, Barry G on JBC Radio in Jamaica. He then went on to clash with all the top Jamaican sound systems in the West Indies, the USA and England and in 2012 he won the ultimate clash victory when he took the Champion Trophy at World Clash Reset in New York. In 1984 he joined BFBS (British Forces Broadcasting Corp) where broadcast his weekly reggae show for 25 years until 2009. Preserving & Documenting #Reggae #SoundSystems #Culture For more #Quality Vibes #Subscribe to our YouTube Channel..

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Official Reggae Sound Clash: Downbeat Sound System vs Soul Stereo Sound System Since the early 70’s, Tony Screw, a.k.a. Downbeat the Ruler, has been entertaining and educating crowds, from Brooklyn to Berlin, with his inimitable blend of stage presence, exclusive dubplates and a second sense for keeping a dance floor packed. Named in honor of Tony Screw’s musical mentor Sir Coxsone Dodd, Downbeat the Ruler Sound has introduced generations of reggae fans to the sounds of Studio One, the blueprint of Jamaican music. For those who really don't know the history of Down Beat "The Ruler" here is the bio... New York City, home to a sizeable population of Jamaican emigrants, maintained a relatively low profile in the reggae world until the 1980's. Then, the music's transition from roots to dancehall was accompanied by explosive growth in New York's local reggae scene. In the Jamaican tradition, this scene was centered around locally-run sound systems, and of these, the sound now known as Downbeat the Ruler (originally called Downbeat International) has proved to be the most enduring. Founded in the seventies by selector Tony Screw, Downbeat rapidly became not only a regional force, but one that could compete with the strongest sounds from Jamaica. In the "rub-a-dub" era of the 1980's, sound systems were as much a showcase for live performances as they were for records, and Downbeat ensured its success by regularly featuring the best of Jamaica's microphone talent. Brigadier Jerry of Jah Love Muzik was a frequent visitor, and other top artists like Josey Wales, Charlie Chaplin, Super Cat, Shabba Ranks, Lone Ranger, Nicodemus, Early B, Jim Brown, Johnny Osbourne, Ninjaman, Papa San, Lieutenant Stitchie, Professor Nuts, Wolfman, Peter Metro, Ricky Sterio, Colin Roach, Major Mackerel, Michigan and Smiley, and more came to New York to perform for the sound. In addition to hosting these Jamaican performers, Downbeat provided exposure for New York's local artists, some of whom went on to achieve worldwide recognition. The core of the Downbeat crew included Shinehead, Louie Ranking, Sister Carol, and Santa Ranking, and other locals like Mikey Jarrett, Burru Banton, Alton Irie, Reverend Badoo, Verdi Green, Neville Valentine, and Brimstone would occasionally appear as well. In addition to this large and varied supply of top-ranking live performers, Downbeat was also known to possess a deep box of "dubplates," exclusive recordings cut by artists for Downbeat alone to play. Featuring custom-built lyrics proclaiming Downbeat’s dominance, these dubplates served the sound well in sound clashes (face-offs in which opposing sound systems exchange exclusive tunes and improvised lyrics in attempts to win crowd support). Armed with its fearsome wax and sizeable host of artists, Downbeat successfully clashed not only American competitors like African Love and Papa Moke, but also top sound systems from Jamaica like Silverhawk, Black Scorpio, Volcano, and Stereo One, who would fly to New York to battle the local champion. The Soul Stereo Sound was created in November 1998 by Fatta & Reeko who will be joined in 2003 by Tarzan… The first Official Dance they kept was at Divan du Monde Paris in December 1998, since they have being keeping Thousands Shows all around France & Europe… Many Artists appeared alongside Soul Stereo & came entertain during their set… Many Reggae Legends did Tour with them, like Johnny Osbourne, Lone Ranger, Carlton Livingston, Luciano, Mickey Général, Junior Kelly, Morgan Heritage, Aidonia, Bitty McClean, Ras Demo, Anthony Red Rose, King Kong, John Wayne, Chronicle, Reggie Stepper, Echo Minott, Jim Brown, U-Roy, Alton Ellis, Dawn Penn, U Brown, Alpheus, Rod Taylor, Earl16, Joseph Cotton, Dennis Alcapone, Daddy Nuttea, Taiwan Mc, Marina P, Guive and many more… They keep the Old Tradition of Live Shows on Sound System Style. During their career that took them to Jamaica many Times, Soul Stereo have recorded a lot of Dubplates regularly & finally enter the European Sound Clash Business in January 2004 when they won the South Clash2 against Heartical Sound. There, they prooved to the World that the Soul Stereo Sound is ready to take over the Dancehalls… 10425016_806863399324576_4962565151954059607_n They did the Studio One Revue in Garance Festival 2011 with more than 15 Studio One Artists, the Musical War with Downbeat the Ruler from NY at the Garance 2012 & with Killamanjaro from Kingston in Garance 2013… They created also the Label Soul Vybz Records, released Riddims like the Sunrise, the National Front, the Rise or the GP with Artists like Capleton, Luciano, Barrington Levy, Anthony B, Busy Signal, Demarco, Pressure, Fantan Mojah, Junior Kelly & Chezidek… ❤️💛💚 #Reggae & #SoundSystem #Culture For more Quality Vibes Subscribe to our YouTube Channel....