Here is a video to go with the article “White People Can’t Dance” currently on this blog.
A blog on all things Caribbean Music and Culture
Here is a video to go with the article “White People Can’t Dance” currently on this blog.
There are few sub-genres in Soca at Crop Over that are as divisive as Bashment Soca (both 1st and 2nd comings see my article).
To refresh, Bashment Soca (the I and the II) makes heavy use of Bajan dialect with speech as melody.
Most with traditional musical training usually dismiss it as sonic drivel sighting its harmonic simplicity and melodic monotony.
But are they looking for music in the right places?
Let’s take a look at “Go Stabby” to try and answer that question.
“Go Stabby” is a typical Bashment Soca song.
Here is it below.
To my surprise, “Go Stabby” was popular outside of Barbados despite Stabby being unintelligible to most non-Barbadians. Why may you ask? It is because “Go Stabby” connected on a different musical level to other pop and carnival soca songs; it is was all about the RHYTHM!
Believe it or not “Go Stabby” is quite interesting rhythmically. “Go Stabby” has something called rhythmic tension and release with the “Go Stabby” repeated line, the tension and the “Stabbyyyyy,” the release.
It also helps that these two parts of the song are the ones most clearly understood by non-Bajan speakers.
In short, there is a reason for everything under the sun, and though some might claim the reason for “Go Stabby’s” popularity was because of duped and ignorant audiences, that’s not the case.
One has to look in the right places.
* Side note, I performed this song as part of the backing band at Bacchanal Calypso Tent in 2008. The initial reaction was tremendous, but in performance, Stabby didn’t realise that the verses were not what people wanted to hear, and he chose to perform it like the recording. Of course, the verses fell flat, meaning the live performance was lukewarm at best. Which brings us to a future blog, performance of Soca, stay tuned.
Downtown Kingston has to be the most influential piece of musical real estate in the world.
Please note I said Kingston and not Jamaica because the majority of music which exploded globally came from inner city Kingston and not the country at large. In fact, all Jamaican music you can think of, with the possible exception of mento, has its roots firmly planted Downtown.
The impact of their artists, Rastafarianism and weed use are well-known. However, I want to look at other things.
So here are 4 not so-straightforward ways Downtown Kingston has influenced the world.
1. Showing Communities you can do it too – Reggae en Español
Many dancehall and dub producers were NEVER professionally trained and by demonstrating that technical expertise does not limit expression, Kingstonians opened the door for all with tape recorders to immortalize themselves and their neighbourhoods.
Here is a typical lo-fi example:
Reggae en Espanol from Panama*.
2. Giving people not considered singers chances to perform.
Kingston’s music gave those without access to music education a chance to participate by opening up the aesthetics of music. By using devices such as speech rhythm, it allowed many people to perform who might have never had the chance to because they thought they couldn’t sing.
Here is Rankin Taxi from Japan who clearly shows what I am talking about.
3. You could look like anything once you are unique
Reggae and dancehall have all types performing within it. Unlike other popular music, you don’t have to have a look, you just need a UNIQUE voice. To show you what I mean take a look at some big Kingston stars below.
The biggest piece of technology that Kingston has given to the world is the soundsystem. This record player hooked up to speakers created a sense of belonging for so many neighbourhoods across the world and created billions. Here is an example of one in the Philippines which obviously took the soundsystem culture and ran with it.
The 4 influences here show how much of a sledgehammer Downtown Kingston music has been on world culture.
Thank you Kingston
Can you think of anymore?
I love doing workshops.
Here I am at Edna Manley College in Jamaica speaking to how Dancehall music can be used as melodic and harmonic material for Jazz large ensemble.
The case study here is Summertime, the Vybz Kartel composition mixed with the more well known Gershwin one. The students are using the fused melody to go through various Caribbean styles as well.
Red Plastic Bag has been one of the foremost contributors to Crop Over music. He is also one of the most loved human beings in Barbados and its overseas departments in Brooklyn, Toronto and London. This love not only relates to his music, (he has won the national calypso competition more times than I can count) but also to his personality and public image. Here he is live in 2009.
I grew up a Red Plastic fan and still am for that matter. However, after outgrowing the blind acceptance forced upon me by my equally Bag fanatic family (who as it goes in Barbados was also Gabby non-lovers, which I am totally not now by the way), I asked myself:
“Why do Bajans like Red Plastic Bag so much?”
The answer to this question is really not obvious when I began to think about it. Let me show you why…
In terms of popular music, an artist’s potential fan appeal is based on a number of criteria. These are:
There are artists who tick all of these boxes and as a result are sought after commodities. So Chris Brown for example:
When it comes to local soca, there are a number of artists who tick these boxes as well. Edwin Yearwood for example, when he emerged in 1995, used his real name, was young and could sing and dance. Thus his popularity can be explained away easily given the normal modes of musical popularity outlined above. See clip below.
In terms of Red Plastic Bag however it becomes much less obvious and here is why:
So is Bag loved because of his lyrical ability? Because no one can turn a phrase, pun a pun, meet a metaphor, save a simile like Red Plastic Bag?
To me, Red Plastic Bag shows that there is something else going on when it comes to popularity. Red Plastic Bag constructs himself as everyone’s friend, everyone’s neighbour, everyone’s son and brother. To many, Plastic Bag is so cool because he ISN’T cool. He is not too flashy, his music is not confrontational or philosophically complicated, it doesn’t chide. He also doesn’t make non-muscle men like myself jealous, he doesn’t boast in song, instead he is just….BAG.
So my friends, if you are in Barbados and see people swooning over Red Plastic Bag, remember it is his kingdom. Also remember that you don’t have to tick all the popularity boxes to be a cultural icon; you just have to be honest and know who you are…
oh and being a brilliant lyricist and hook writer does help 😉
Musicians generally have certain types of ears.
It is pretty important to have those ears if you deal with sound all day.
Musicians, no matter the style, have all developed awareness towards the components which make up music – melody, harmony, rhythm and texture.
For example, dance/house/electronica musicians are what I call textual bosses, in that so much of their work revolves around the ability to make sure the synthesized sounds are performing their assigned function. Check this link below.
For Dancehall producers on the other hand, it is all about the rhythm. For them the groove needs to be right. See King Jammy below.
I can go on and on and include performing musicians as well because the ability to hear and decode/work out what the hell you are hearing on stage is equally important as in the studio setting.
Musicians therefore feel justified in thinking (by their years of discussion and reproduction of what they are hearing) that everyone should hear like them. After all, what is music education other than – this is music – listen to it this way. However, given the general lack of traditional music education in many places, musicians find themselves frustrated when people do not hear music the same way they do. Watch the following link which has done the pandemic viral rounds on the Web.
If you did not hear those four chords no problem. It just means that you listened to those songs completely differently to how I did. However, Classical musicians, in whose company I do not include myself, must be saying, can’t they hear that?? Those are the same chords over and over damn it! While jazz musicians (not the pop-smooth ones) are saying that second chord could have been a lot more tasty with some harmonic tension. In short, they are all listening to it with musician’s ears recognizing what they think is musically important and what is musically lacking. But are they in fact justified? Should their (our) listening practices be more respected, appreciated or ‘righter’ than those of the ‘Average Listener’?
These are not easy questions to answer. What I do believe is that everyone has a musical opinion and what musicians do is provide different perspectives on that particular experience. I do not however subscribe to the idea that the musician’s way of listening should be the ONLY way a song should be listened to. Take this example from Gyptian.
When this song was released in 2006 it was extremely popular. However, musicians would identify some glaring mistakes in the second verse not to mention the horrible tuning of the instruments. But should this take away from the pleasure of the so-called ’Average Listener’ ? In my view, it should not and there are other factors like Gyptian’s approach and singing style that still make this a TUNE!!!
To end, the listening experience and who is ’right’ within it is not a topic with easy answers. To me this is the difference between the arts and sciences, all interpretations are valid one, even if musicians think otherwise. So don’t be ashamed when a musician gives you strange looks, we just listen differently! Just look here at Harry Connick Jnr. who is dumbfounded at the aural ignorance of Jennifer Lopez.
*There are several good discussions on this by Tagg and Middleton. Check them out.
Singing, as most of my friends and family will say, is not a strong suit of mine.
Singing was also not an activity I was particularly interested in either.
However, as this blog generally poses questions to accepted norms, it is only fitting that I ask, am I really that bad a singer?
Actually, I think I am not a good singer but definitely not a bad one. Here is why.
To start us off here is a clip of me singing.
It is obvious that I am not a technically gifted and by that I mean I don’t have the natural ability where my voice apparatus, vocal muscles etc, creates sound that matches pitches. Of course this was no big deal before the modern recording age. In fact, many communities before modernity were communal and their music activity was centred around participation, think Amazonian or West African village life, so no matter your voice, you sang!
What modernity did though was create the professional singer. And the recording of the professional singer gave value to a certain kind of singing which in some ways eroded how people considered singers globally, this ultimately made singers like me…
Listen to the following clips, first up is Wendy Moten then Beyonce.
These songs are damn fricking hard to sing.They also have a certain history and tradition behind them that many people globally were not a part of. So for example, if a Tuvan tried to sing these, he might not succeed, even though he might be an excellent throat singer.
In other words, Wendy Moten and Beyonce are not only PROFESSIONALl singers, they are also showing a CERTAIN TYPE of good singing based on the values of their music culture. It does not make the Tuvan a bad singer. If you are unsure what Tuvan throat singing is let us reverse this now and take a listen to some Tuvan throat singing.
Here is a clip from American Idol where this guy was dismissed.
The judges and audience thought he was crap but was he? They were just using the value system from their music culture which was totally inappropriate to judge Tuvan throat singing. If I used the Tuvan method, Beyonce and Wendy Moten were rubbish because they only produced one pitch, in fact where was the drone Queen Bee!!!???
In short, there are no universal values when it comes to singing. Singing is dependent like all value systems on who makes the rules. So if I someone calls you a bad singer, just ask them if they understand the discourse of power at work in aesthetics. If the look at you blankly, continue singing just like I will now…
* This post does not condone karaoke. Any suggestion that it does is just a coincidence. 🙂