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Reggae is a music genre that originated in Jamaica in the late 1960s. The term also denotes the modern popular music of Jamaica and its diaspora. A 1968 single by Toots and the Maytals, "Do the Reggay", was the first popular song to use the word reggae, effectively naming the genre and introducing it to a global audience. While sometimes used in a broad sense to refer to most types of popular Jamaican dance music, the term reggae more properly denotes a particular music style that was strongly influenced by traditional mento as well as American jazz and rhythm and blues, and evolved out of the earlier genres ska and rocksteady. Reggae usually relates news, social gossip, and political commentary. It is instantly recognizable from the counterpoint between the bass and drum downbeat and the offbeat rhythm section. The immediate origins of reggae were in ska and rocksteady; from the latter, reggae took over the use of the bass as a percussion instrument.
Raggamuffin music, usually seen as ragga, is a subgenre of dancehall and reggae music. The instrumentals primarily consist of electronic music. Similar to hip hop, sampling often serves a prominent role in raggamuffin music.
Riddim is the Jamaican Patois pronunciation of the English word "rhythm". In the context of reggae and dancehall, it refers to the instrumental accompaniment to a song and is synonymous with the rhythm section. Jamaican music genres that use the term consist of the riddim plus the voicing sung by the deejay. The resulting song structure is distinctive in many ways. A given riddim, if popular, may be used in dozens—or even hundreds—of songs, not only in recordings but also in live performances.
Roots reggae is a subgenre of reggae that deals with the everyday lives and aspirations of Africans and those in the African Diaspora, including the spiritual side of Rastafari, black liberation, revolution and the honoring of God, called Jah by Rastafarians. It is identified with the life of the ghetto sufferer, and the rural poor. Lyrical themes include spirituality and religion, struggles by artists, poverty, black pride, social issues, resistance to fascism, capitalism, corrupt government and racial oppression. A spiritual repatriation to Africa is a common theme in roots reggae.
The music of Jamaica includes Jamaican folk music and many popular genres, such as mento, ska, rocksteady, reggae, dub music, dancehall, reggae fusion and related styles.
Dancehall is a genre of Jamaican popular music that originated in the late 1970s. Initially, dancehall was a more sparse version of reggae than the roots style, which had dominated much of the 1970s. In the mid-1980s, digital instrumentation became more prevalent, changing the sound considerably, with digital dancehall becoming increasingly characterized by faster rhythms. Key elements of dancehall music include its extensive use of Jamaican Patois rather than Jamaican standard English and a focus on the track instrumentals.
Jamaican culture consists of the religion, norms, values, and lifestyle that define the people of Jamaica. The culture is mixed, with an ethnically diverse society, stemming from a history of inhabitants beginning with the original inhabitants of Jamaica [the tainos] The Spaniards originally brought slavery to Jamaica. Then they were overthrown by the English. Jamaica later gained emancipation on 1 August 1838, and independence from the British on 6 August 1962. Black slaves became the dominant cultural force as they suffered and resisted the harsh conditions of forced labour. After the abolition of slavery, Chinese and Indian migrants were transported to the island as indentured workers, bringing with them ideas from their country.
Clifton George Bailey III, better known by his stage name Capleton, is a Jamaican reggae and dancehall musician. He is also referred to as King Shango, King David, The Fireman and The Prophet. His record label is called David House Productions. He is known for his Rastafari views expressed in his songs.
In Jamaican popular culture, a sound system is a group of disc jockeys, engineers and MCs playing ska, rocksteady or reggae music. The sound system is an important part of Jamaican culture and history.
The dance halls of Jamaica in the 1950s and 1960s were home to public dances usually targeted at younger patrons. Sound system operators had big home-made audio systems, spinning records from popular American rhythm and blues musicians and Jamaican ska and rocksteady performers. The term dancehall has also come to refer to a subgenre of reggae that originated around 1980.
"Wake the Town" is a reggae song recorded by Jamaican toaster U-Roy in 1970. It was U-Roy's first big hit and one of the songs that established U-Roy as the grandfather of the modern deejay phenomenon. It also helped create dancehall style in Jamaica.
A sound clash is a musical competition where crew members from opposing sound systems pit their skills against each other. Sound clashes take place in a variety of venues, both indoors and outdoors, and primarily feature reggae and dancehall music. The object is to beat or "kill" their competitors.
Carolyn Cooper CD is a Jamaican author, essayist and literary scholar. She is a former professor of Literary and Cultural Studies at the University of the West Indies, Mona, Jamaica. From 1975 to 1980, she was an assistant professor at Atlantic Union College in South Lancaster, Massachusetts. In 1980, she was appointed as a lecturer in the Department of Literatures in English at the University of the West Indies (UWI), where she continued to work until her retirement as a professor in 2017. Also a newspaper journalist, Cooper write a weekly column for the Sunday Gleaner.
Yasus Afari is a Jamaican dub poet.
Tom the Great Sebastian was an early Jamaican sound system started by Tom Wong in 1950, named for a trapeze performer in Barnum and Bailey's circus. The group has been called "the all-time giant of sound systems" and helped launch several notable artists. Count Matchuki is generally credited as Tom's first deejay, before he joined Coxsone Dodd, and Duke Vin was one of Tom's selectors. The sound was also backed by Prince Buster. It was later known as Metromedia.
Emperor Faith was an early Jamaican sound system from the Red Hills Area of Kingston, Jamaica, one of the most popular sounds of the early 1970s. The sound was run by Mikey Faith, who was Bob Marley's accountant. Emperor Faith worked with producers such as Clive Chin. They occupied the corner of Rosemary Lane and Tower Street and often performed in the house of Roy Anthony Johnson.
Black Scorpio is a Jamaican sound system and record label run by Maurice "Jack Scorpio" Johnson.
Ratchet knife in Jamaica is a general type of folding knife, generally German-made, considered easy to open quickly and associated with "rude boy" masculinity, the Okapi being a favourite brand. It is also used by the local Rastafari community to grind cannabis.
Anthony Cameron, better known as Anthony Red Rose, is a Jamaican singjay.
Nyabinghi, also Nyahbinghi, Niyabinghi, Niyahbinghi, is the gathering of Rastafari people to celebrate and commemorate key dates significant to Rastafari throughout the year. It is essentially an opportunity for the Rastafari to congregate and engage in praise and worship. For example, on July 23rd of each year, a Nyabinghi is held to celebrate the birth of Emperor Haille Selassie I. During a Nyabinghi celebration men and women have different roles and expectations. Men are expected to remove any hair coverings, whilst women must keep their hair covered. A group of men typically organise themselves in a line or semi-circle and are assigned to beat the drums throughout. The remaining congregation continue to sing well known songs or 'chants', some of which are Hebraic scriptural verses that evidence the divinity of Haile Sellassie. For example, 'I have a little light in I and I'm going to make it shine, Rastafariiii, shine' and 'Holy Mount Zion is a holy place and no sinners can enter there, so let the words of my mouth and the mediation of my heart, be acceptable in thy sight, of Rastafari'. Nyabinghi is a Rastafari tradition that promotes Rastafari unity, strengthens the Rastafari spirit with fellowship and raises the consciousness and presence of Rastafafari in the heart of those in attendance. At some points passages of the bible are read. Rastafari recognise the significance of Jesus Christ, due to Haile Sellassie I fulfilling the teachings and prophecy of scripture.
References
- 1 2 Stolzoff, Norman C. (2000). Wake the Town & Tell the People . Duke University Press. ISBN 0-8223-2514-4.
- ↑ Cooper, Carolyn (1995). Noises in the Blood. Duke University Press. ISBN 0-8223-1595-5.
- ↑ Du Noyer, Paul (2003). The Illustrated Encyclopedia of Music (1st ed.). Fulham, London: Flame Tree Publishing. p. 362. ISBN 1-904041-96-5.
