Here is some more #isolationcontent.
This video tells the story of the popular Bajan Dub/Bashment Soca in 5 minutes.
Here is some more #isolationcontent.
This video tells the story of the popular Bajan Dub/Bashment Soca in 5 minutes.
Last month I contributed to an article written by Sharine Taylor from Noisey.
Here is the link.
Crop Over has seen its first controversy for 2017.
For those not in Barbados, it concerns the release of Nikita’s song, “Same Way,” which basically was released 2 years before by DeeVine and called “We De Same.”
Check the links below:
For any artist involved in the Carnival music industry this mix-up is pretty much as life-shattering as they come and here are 3 reasons why I would be in terminal depression if what had happened to Nikita had happened to me.
To get any song out for Crop Over is expensive. There is the song-writer, the producer, the studio time, the mixing and the mastering to pay for. Those bills could run north of 5000 BDS easily. So to shell out all of that cash to realize my song is not the original work I intended would have put me in firm connection with the Kleenex box.
2. I look like a thief
Stealing is reprehensible no matter how and when it happens. It is even worse when it looks like a public heist of lesser known artist. If I was made to look like a hustler at best, or a thief at worse, when I am not even close to being dishonest, then I would be completely broken.
3. I have one shot at this.
The carnival music complex is a CRUEL model. It allows for no mistakes. So to have a single which is going to be my only major release for the YEAR caught up in plagiarism is possibly the worse thing that can happen. It can also rule me out of the lucrative lottery of the soca competitions.
Are there other issues in the Caribbean? Yes, they are.
But do not overlook for one minute the personal and professional predicament Nikita and the other members of the production team have been placed in. This is a serious matter of integrity that is being played out VERY PUBLICLY. So after reading this, do like me and place yourself in her position and if you come out positive, then you are as good as Nikita, Deevine and the Red Boyz.
But if you think you would be equally depressed…
You are not alone
I would feel DE SAME WAY!
Roy Byer was a cultural activist and archivist who passed away in 2014.
He was also one of the best commentators on Caribbean and Bajan culture I have ever come across. I have posted this short clip today because it goes some way to explain two social events happening currently in Barbados. These are:
1. The xenophobic public reaction to 90 Nigerian students studying here
2. The alleged/or not so alleged desires of a headmistress to patrol black natural hair
Here Roy is speaking about music but he is really addressing how black cultural practices have historically been viewed in Barbados.
This post might appear quite local but race and identity politics are Caribbean wide issues.
Over to you Roy!
* Banja was a term used by early 19th and 20th century Barbadians to denote rhythmic, black working class music.
Christmas is an important event in the Caribbean.
Here are five musical genres that are/were rooted/routed to this time of year.
1. Tuk – Barbados
Tuk music is a fife and drum music. It is perhaps the only indigenous Afro-Barbadian genre to have survived colonialisation. At Christmas, Tuk groups would come through villages playing and drinking rum. Tuk music is hardly ever played at this time anymore and has moved into the realm of nationalist celebration.
2. Masquerade – Guyana
Masquerade is another fife and drum music with a strong musical similarity to Tuk. Like Tuk, the playing of it at Christmas has waned.
3. Plena – Puerto Rico
Plena is the one of the major indigenous Puerto Rican musical forms. The music is seen to have been created by English-speaking Caribbean migrants in the 1800s. It is also one of my personal favourites when it comes to Caribbean genres.
4. Parang – Trinidad and Tobago
Trinidad is one of the more cosmopolitan islands in the Caribbean. Parang shows the Hispanic cultural influence as it was traditionally sung in Spanish and uses instruments found in other folk cultures of the Hispanic Caribbean. There is a Soca-Parang variant that is popular but here it is in its traditional form.
5. Parranda – Venezuela
To end, here is a popular genre from Venezuela. Parranda sounds like a more rhythmically complicated version of parang and I am sure they come from the same root. Here is one of my favourite groups, Maracaibo 15.
So I hope you have enjoyed this brief Christmas blog.
All that I am left to do is wish you a
Please enjoy it wherever you are.
Caribbean Music Man
Roy Byer was one of the THE people when it came to Bajan knowledge.
He passed away this month.
As Roy was a serious archivist, I have included the following video clips as tributes.
These clips will be housed on my “Words From the Masters” page as long as the internet lives.
Please enjoy, and remember him this way,
as a passionate and opinionated lover of Barbadian culture.
I am poor with lyrics.
In fact, I am dismal with them.
However, a number of lyrics have stuck in my head and really meant something to me over the years.
Here then is my Top Ten lyrics list (of Caribbean music of course, the US has enough lists to last for generations)
Top 10 Lyrics
What are some of yours?
Firstly, let me say that I, of course, would recommend my book, Caribbean Composers’ Handbook on Amazon.com for all of those interested in the actual music of Caribbean music but outside of that, here are some others. 🙂
1. Cooper, Carolyn. Noises in the Blood: Orality, Gender, and the “vulgar” Body of Jamaican Popular Culture. Durham: Duke University Press, 1995.
Carolyn Cooper is one of the premier academics on Dancehall culture in Jamaica. This book is seminal in how it seeks to re-examine the common perspectives on Dancehall. Even though she is an academic, the book is generally accessible and Cooper’s points are still valid some near 20 years later.
2. Bradley, Lloyd. Bass culture: when reggae was king. London, Viking 2000.
Bradley’s Bass Culture is one of the best overviews on Jamaican Reggae music I have ever read. Bradley takes the reader from the pre-sound system of the nineteen forties to the emergence of Dancehall. All the major figures are there from the three big sound system operators of the 60s to the early Dancehall pioneers like Yellowman.
3. Cowley, John. Carnival, Canboulay, and calypso: traditions in the making. Cambridge [England]; New York, NY, Cambridge University Press, 1996.
Cowley presents a well-researched book on carnival. Cowley provides a great volume of historical information on early Carnival. He also gives many 2nd hand references on important events, such as the Carnival riots and early Calypso competitions. A good one for those who have to teach calypso history.
4. Pérez Fernández, Rolando. A. La binarización de los ritmos ternarios africanos en América Latina. Ciudad de La Habana, Cuba, Casa de las Américas, 1987.
Pérez Fernández’s book is in Spanish. However, this should not put off persons who do not speak the language. Pérez Fernández ideas are fascinating and unlike many other academics, he deals with the musical sounds of Caribbean music. His main idea is that there was a process which changed African music into the folk music of the Americas we know today. The influence of this work is obvious as he is frequently quoted.
5. Guilbault, J. Zouk: world music in the West Indies, Chicago, University of Chicago Press, 1993.
There are few texts on Zouk in English, Guilbault’s book is one of them. Guilbault details the origins of this music as well as the identity implications it creates as a French Antillean identity emerges through Zouk. Guilbault also interviews the important players within the movement and provides transcriptions. Another plus is the inclusion of a CD which is also fantastic when dealing with music as a subject.
6. Kenneth M. Bilby and Michael D. Largey. Caribbean currents: Caribbean music from rumba to reggae. Philadelphia, Temple University Press, 1995.
This book seeks to be an overview of Caribbean music in general. It does a decent job within the introduction of describing the conditions which led to the creation of many genres. It also seeks to detail the important regions within the Caribbean giving summaries and identifying important figures. This book is a good entry into the multi-faceted world of Caribbean music.
7. Rivera, Raquel Z, Wayne Marshall, and Deborah Hernandez Pacini. Reggaeton. Durham: Duke University Press, 2009.
Reggaeton is possibly the youngest popular genre to have a book about it in the Caribbean region. This book is excellent and through the different perspectives of the contributors, we get a wide view on Reggaeton from its sexual to musical implications. If you want to know anything about the genre, seek out this text.
8. Lesser, Beth. Rub a dub Style: The Roots of Modern Dancehall, 2012.
This book is the only one that is available online free of cost as a pdf download. Beth Lesser said she did this to avoid the usual accusations leveled at outsiders who write about other cultures. Lesser’s book is good though and she details all the important figures in the genre; from U-Roy to Beanie Man. Pick it up!
9. Rohlehr, Gordon. Calypso and society in pre-independence Trinidad. Port of Spain 1990.
Rohlehr, like Cooper, was an academic from the University of the West Indies. Rohlehr is a literary scholar and in this book, he provides thorough analysis and documentation of the literary form of the Calypso. Rohlehr also details important historical events and how they impacted on the Calypso. It is a formidable text in terms of length so be prepared for the long haul.
10. Mauleon, Rebeca. Salsa Guidebook: for piano and ensemble. S.I. Sher Music 1993.
This is another book which deals with the sounds of the music. Mauleon is fantastic at providing the necessary listening for the genres she is looking at. She also provides direct transcriptions from these songs. As it deals with Salsa, Mauleon also transcribes from the lesser-known Puerto Rican genres of Bomba and Plena.
So there it is. Remember it is only “a” list and there are other fantastic books out there. Leave a comment for other books you would recommend.
The wide genre known as calypso has been a major part of the Crop Over festival in Barbados since its inception.
Here is part I of a video that traces its aural history in Trinidad. Unlike most Calypso history documents that I have come across, this one actually has music. Enjoy and educate yourself, in fact, enjoducate yourself!
Here it is below.
Subscribe to my channel if you like what you see so you won’t miss part II.
*Oh yeah and here is the slide presentation from it in case you want to teach this or have really great parties.
In Peter Wade’s book, “Music, Race and Nation,” he makes the observation that many of the Caribbean and Latin-American countries have very similar types of “national music.”
I never realized how similar they actually were until I read this, and with the intervention of that great illustrator, YouTube, I was able to see this as well in living html video.
Here they are:
First up is this lesser known Big Drum style from Cariacou.
Also bearing some similarity to this is the Tambú tradition from Curacao.
Not to be left out, here is Bomba from Puerto Rico with none other than Big Bird in attendance.
From the South American continent, here is festejo from Peru.
This list can go on and on, not indefinitely of course as the region is limited, but we can also add merengue tipico from Dominican Republic,gwo ka from Guadeloupe and Rhumba from Cuba. All of them are:
In short, it is ironic how these expressions which are so closely linked to parochial nationalism are less unique than the states which promote them like to say. In fact, there is a strong argument for a Latin American and Caribbean culture over a nationalist one, but alas, difference is far too appealing, but don’t they look similar?