Bøger om Reggae og ska

Learn Authentic Rhythm & Lead Parts for Reggae, Ska, Rocksteady, Dub and MoreIt's no understatement to say that reggae music forever changed the world. A compelling mix of soul, jazz, R&B and Jamaican mento, it's the ultimate feel good music with its hypnotic, laidback grooves.The Reggae & Ska Guitar Book is a one-of-a-kind guide to the guitar styles at the heart of reggae. In fact, it's is a chronological guide to the development of reggae through the decades and shows how to play its many sub-genres with authentic, stylistically accurate guitar parts. Your journey includes scheduled stops at:Ska, the early years - how American R&B combined with elements of calypso and mentoRocksteady - the bridge between the original ska and later reggae erasReggae - the emergence of seminal groups including Bob Marley & The WailersDub - how versions or "doubles" creatively expanded the sound of reggaeSka revival - an offshoot of the punk/mod eras, explore the sounds of The Specials, Madness, The Selecter and moreThe Third Wave - how ska burst upon the US from a California-based revival, with bands like Reel Big Fish, The Mighty Mighty Bosstones and SublimeLovers Rock - reggae surfaces again, this time combining the sweet melodic soul of Motown with laidback Jamaican groovesGoing Full Circle - how reggae influenced world music and artists such as Paul Simon, Eric Clapton and The PoliceDancehall and Beyond - fusing island musical sensibilities with hip-hop, dancehall adopted a new type of reggae drum groove that has influenced countless contemporary pop records ever sinceLearn the Essential Techniques of Reggae GuitarWith each sub-genre of reggae and ska came refinements and changes to the role of the guitar. There is so much more to it than hitting chord stabs on the up-beats! You'll learn...The skank groove that forms the backbone of the ska soundStylistically accurate major and minor chord voicingsHow to introduce double-stops, triplet ideas and sliding articulationsSingle-note pentatonic riffs and fillsHow to play the chicken scratch technique pioneered by Hux BrownUsing delay pedal effects to expand your sonic arsenalAdding jazz, rock 'n' roll licks, and even modal scales to spice up single-note accompaniments in the style of the greatsThe rhythms and approach of the ska-punk movement of the Third Wave

The career of Burning Spear - the Rastafarian roots reggae singer otherwise known as Winston Rodney

Copeland Forbes is one of the most consequential figures in the history of modern Jamaican music. Through his roles as personal and tour manager for some of the most iconic personalities in music, Forbes has been a witness to and a participant in some of the most intriguing dramas in the annals of modern popular music. Forbes is a much sought after speaking at music symposia and seminars across the world where his name is often a prime attraction and his vast knowledge a source of enlightenment and entertainment. Forbes has copped numerous awards for his outstanding contribution to the music industry including the Order of Distinction from the Government of Jamaica in 2017. In Reggae My Life Is, Forbes provides riveting accounts of incidents and colorful portraits of personalities that have helped to shape our society and our culture. It is a matter of easy concession that Forbes has led an exciting life. He has seen so many places and has made so many things happen during the 60 years he was entrusted with handling the affairs of some of the most celebrated figures ever to grace our planet. Among some of the fascinating figures making appearances in Forbes’ retrospective Bob Marley, Peter Tosh, Dennis Brown, Jimmy Cliff, Bunny Wailer. Rita Marley, Frankie Crocker, Danny Sims, Marcia Griffiths, Gregory Issacs, Chris Blackwell, Mick Jagger, Mark Zuckerberg, Richard Branson, Don Taylor, Sly and Robbie, Grace Jones and Don King. Forbes, with his prodigious recall, is able to situate some of the more seminal moments in the history of Jamaican music with clarity and humor. His knowledge of venues, dates and personalities is encyclopedic. Yet Forbes’ intention is not to provide fodder for the gossip mill. His aim is, instead, to clarify and contextualize in order to provide important lessons for those who seek to learn from art and life.

"Of all the various acts of inequity throughout time, none was more severe than the submission forced upon the indigenous peoples of the earth by their earthly demi-god counterparts. 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 Am...

This book focuses on underexplored aspects of Bob Marley in relation to media representation, connecting the two through forms of political discourse and ideologies relevant to social change in different contexts globally, such as civil rights, anti-racism, Rastafari, and liberation movements.

One of Pitchfork's 11 Best Music Books of 2021Recommended book in Rolling Stones June 2021 IssueWith an additional 30,000 words of compelling stories, research, and analysis, music journalist and In Defense of Ska podcast creator/host Aaron Carnes presents the case that ska never died, by jumping headfirst into ska's "lost years," i.e., the period after the '90s third-wave ska boom.New topics covered include LA's ongoing vibrant traditional ska scene and how young Latinos are keeping the ska torch aflame, how the devastation of Hurricane Katrina inadvertently kicked off a thriving scene focused on keeping community alive in New Orleans, a deep review of Christian ska group Five Iron Frenzy, who broke a Kickstarter record in the '10s while making progressive activists out of their fan base, a close inspection of a hipster rocksteady scene in Brooklyn that grew so popular it nearly kicked off a nationwide revival, and more secret ska past revelations with none other than Fall Out Boy lead singer Patrick Stump-who has a story that, up until recently, was carefully guarded.Plus, the book re-explores several bands featured in the first edition, revealing new layers and more details about all the bands fans love, like Mighty Mighty Bosstones, Operation Ivy, the Slackers, Hepcat, Mephiskapheles, and Reel Big Fish. With 30,000 additional words, this is the complete ska package.

The book, "The Journey," is titled after my first CD project. It is all about the process I went through from beginning to end to record my first CD. The Inspiration and message behind the music tell the story of why I wrote each song. I opened up about what was going on in my life that contributed to the songs. I share the scriptures that inspired me and the message I wanted to convey to the readers.