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argyrocratie · 1 year ago

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"When I first went to Jamaica in 2012 as a graduate student studying the environmental politics of the Maroons, an Afro-Indigenous community who freed themselves from enslavement in the 18th century and established an autonomous society in the mountainous interior of the island, Chinese overseas development policy seemed irrelevant to my work. Yet as my field research progressed over the following eight years, first as a doctoral student in African diaspora studies and then as a post-doctoral researcher, the impact of Chinese infrastructural development and extractive industry on the Jamaican people and environment became increasingly apparent.

The timing of my field work overlapped with an unprecedented surge in Chinese economic and diplomatic engagement with Jamaica and the Caribbean as a whole.

(...)

It is beyond the scope of this article to detail the political economic dynamics and immense social impact of debt in Jamaica over the last 40 years.4 Suffice it to say that the island became a byword for structural adjustment during this period, with every new loan from the World Bank, or default on payments thereof, coming with International Monetary Fund-mandated austerity.

Health and education were notable casualties of this socio-economic assault. By the start of my field research, Jamaican child mortality had almost doubled over the span of a single decade while completion of primary school dropped from 97% to 73% in the same period. This despite the fact that Jamaica had already repaid more money than it had been lent, with continuing debt servicing accounting for a 106% debt-to-GDP ratio according to the latest World Bank figures.

All this is only a small snapshot of the catastrophic outcomes of debt wielded as a tool of neocolonialism.

With the island’s status as one of the most indebted countries on the planet, Chinese infrastructural development was received with fanfare from Jamaican elites, a possible economic lifeline out of the debt trap.

(...)

Jamaican elites may appreciate that they can pay back debts with land, and that China does not directly require broad policy changes like the structural adjustment conditions of IMF and World Bank loans.

However, even with the above and the fact that the Jamaican debt to China is small compared to that claimed by Western IFIs and private firms, Jamaican politicians are growing increasingly wary of the costs of doing business with China. In November 2019, Prime Minister Andrew Holness announced that Jamaica would no longer borrow from China, a scant seven months after formally joining the BRI.

As usual, most Jamaicans are not privy to the inter-governmental discussions and deals driving these decisions, but their government’s newfound reticence in engaging with China reflects deeper concerns among BRI partners that the initiative is a debt trap.

(...)

Almost two decades of Chinese loans and infrastructure-led development have left Jamaican workers and farmers as precarious and dispossessed as ever. The hard-fought and generational struggle for Jamaican workers’ power (trade unions were instrumental to Jamaica’s independence struggle) has been curtailed and rolled back by China’s transposed sovereignty.

Furthermore, Chinese mining interests appear poised to pick up where their Western counterparts left off in terms of irreversible ecological destruction and threats to indigenous survival. Certainly, Jamaica cannot bear another 50 years of capitalist exploitation and extractive industry.

If there is any hope in turning this dire situation into revolutionary momentum, it will be in Jamaicans making common cause with the Chinese laborers imported to the country. According to China Labor Watch, Chinese workers on overseas BRI projects are often subject to “deceptive job ads, passport retention, wage withholding, physical violence and lack of contracts” to the extent of constituting forced labor and human trafficking.

In fact, at least one Chinese worker in Jamaica has already blown the whistle on such conditions. Unfortunately, as of the time of writing this article, there appears to be no organized effort to make solidaristic alliances among Jamaican workers, Chinese workers, and Maroons. The Maroons are organized as an indigenous community seeking land and sovereign rights, rather than workers seeking class emancipation, and remain locked in a fractious political battle with the Jamaican state toward those ends.

Furthermore, the cultural and language barriers between Jamaicans and imported Chinese workers are significant. Yet both countries have rich revolutionary traditions. If Jamaican labor militancy and Maroon struggle were able to reconcile and align their interests, while cultivating strategic allies among the heavily exploited Chinese workers, a powerful relationship of international solidarity from below could be forged."

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#jamaica #Belt and Road Initiative

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cielles-random-vault · 2 years ago

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random hobie brown headcanons!

all will be sfw the nsfw/spicy ones will be in pink

trying real hard not to delete this acc and kms bc of a sudden trigger

also this won't be proofread because im in the middle of a mental breakdown

he always looks for you when he performs

he's not the jealous "i show everyone who is my lover" type, more like the subtle "let's go" kind in crowded places to yk do unholy things

also small public demonstrations of affection <3 <3

like holding hands, putting his hand on your waist when you walk, small kisses both on your cheek and on your lips, small notes when he wakes up earlier than you since he's yk a spider man

he gave you one of his very own spike bracelets which i feel would be really dear to him

prob made you one esp for you

no matter how your styles differ he will still find a way to have something that reminds him of you on him whether it's a badge, a hair clip or even rings

taking you to the piercer as a first date!!

despite him being an anarchist he's actually very caring

you're sick? fuck capitalism he will make you his own medicine with some of his teas

unrelated but i feel like he's Jamaican or smth wait lemme check

ok i didn't find anything but ill js hc him as jamaican

so like yea when you're sick he makes you jamaican medicine

"take this shortcake! i know it doesn't seem yummy but i promise you'll feel better in a snap after!

you did feel better in a snap

(for fem aligned readers) when you're on your period he turns into the sweetest man ever

sometimes the two of you meet after his concerts - even though that's smth really important for him he makes sure you know you're his actual priority- you go on a rooftop and he tells you about his parents

feeling dysphoric because you're transmasc and on your period ? he makes sure you're the most handsome person he ever knew

when the two of you are doing it, he always makes sure he has your consent before trying anything new - or even before trying anything at all

he's not afraid to admit he's in love with you and he treats you like ROYALTY

you like this specific song? he'll post you to this song and even write love songs for you. remember that specific cat café you mentioned three months ago? he'll bring you there for your birthday.

going nonverbal and being overstimulated? that's no problem for him he'll sit with you in the dark in silence until you feel better.

THIS MAN IS A MAN OF AFTERCARE "you did so well for me darling <3 now what about we get some sweets and cuddle under the stars?"

he's a top most of the but yk he secretly lives when you're in control

HICKEYS HICKEYS HICKEYS ALL OVER YOUR BODY esp on your neck and in between your thighs

speaking of thighs whenever you feel insecure he turns into your girl best friend

having big thighs ? it's more comfy for when he has his head on his lap. big boobs?more comfy for cuddling. no/small boobs? it's ok clothes fit more easily. the list goes on but he always cheers you up.

UNLABELLED THEY/HE HOBIE‼️‼️‼️‼️

p sure he love when you ride him

like you're on top of him in some way but he somehow keeps control

probably likes to asset his dominance by putting a hand around your neck (wdym i don't have a choke kink i do)

BUT HE ALWAYS MAKES SURE YOURE OK THAT MAKES HIM LITTEALLY SM HOTTER OMG

he's always down for ditching class but he somehow has the best grades

which upsets you bc you're the one who always want to ditch class but your grades ain't following

omg it's giving academical rivals au

so like he sometimes comes at your place to help you w the subjects you have trouble with

eventually you end up pinned down on your desk passionately kissing

+ seeing you in a school uniform makes him go feral

fucking you in your school skirt? boy he sure is turned on

quickies in the school's bathroom ? man he loves danger so he's obviously down

+ he loves the way kissing you makes his piercing feel (idk but if i had healed piercings on my lips id love the way it'd feel)

SLOW BURN MAKE OUT SESSION IN THE RAIN

can you tell i love rain? bc i do

he makes sure you feel loved and says it to everyone he knows

"hey that's (reader's name) did you know they're my partner i love them sm"

he notices small habits and picks them up when he misses you (idk how to explain bit for example i sometimes twitch my nose because of my allergies- in that case if you did he would too)

HIGH PATTERN RECOGNITION even though he won't force you to tell him why you feel bad he instantly notices the changes in your behavior

"can you repeat, darling? i didn't hear what you said"

he makes sure you use your words despite you being overstimulated

+ his hands. they make you go crazy.

he's actually a lonely guy, give this poor man a big hug :(

no but fr tho he went through sm his backstory made me cry

OK bit of a vent now🕺🏻 but first tysm for reading ily ! <3 /p

i suddenly lost all motivation to post full fics bc i keep comparing me to others, most well known posters and it really triggers me so i guess i'll make the lonely series go on a hiatus. also working on requests! but it's getting harder to not kms bc of the pressure im putting on myself 🫠

anyhoo, kaheri there,back to dreamland! see you in the next dream! (new outro who dis?)

#x reader #atsv hobie #hobie brown #hobie brown smut #hobie brown x reader #kaheri's chronicles #headcanons #hobie x reader #hobie spiderverse #hobie x you #gender neutral reader #queer writers #writers on tumblr #writers and poets

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beardedmrbean · 7 months ago

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A Florida family is no longer sending their teen to a California college after their car was "bipped" when they moved their son into his dorm on Saturday, costing them thousands of dollars in lost belongings and important personal documents.

Rhomel Crossman had just graduated from a Florida high school and was slated to attend Lincoln University in downtown Oakland this fall — but after his family was robbed, they told KTVU FOX 2 San Francisco they intend to rescind his enrollment.

"In Oakland, California, you just gotta be careful," Crossman's mother, Nerissa Murray Watson, told the outlet. "Everything is totally gone."

Crossman's family flew to Oakland on Saturday and rented a car with Thrifty, the mother said. After registering their son, the family left their rental car parked a block away from Lincoln University on the corner of 15th and Franklin Street to pick up food at a Jamaican restaurant nearby.

When they returned 15 minutes later, the windows of the rented white Nissan Rogue were broken and their five suitcases stolen.

Among their contents were "three thousand dollars in a bag my husband put under the seat with three passports, social security cards, and my son’s high school diploma and birth certificate," Watson said.

The family also lost a sleep apnea machine that they said they'd left in the car, per KTVU.

"Bipping" is a slang term that comes from the police language "burglary in progress" and refers to smash-and-grab robberies from unattended cars, according to the San Francisco Standard. Thieves commonly use a "bipping hammer," a small, easily concealed tool used to easily and quietly break car windows without much force.

Witnesses told the family they saw masked men driving in a car without a license plate in broad daylight, KTVU reported. "I didn't know that these things happen in America, so it's really strange to me," the Florida mother said. "To me, it's lawless because we even called the police station three times and they said they can't come," she said, telling the outlet that their family was told to file a police report at the station. "I have to bring my son to Florida because it's not safe here," Watson told KTVU.

KTVU and Fox News Digital did not hear back from Lincoln University at press time. UC Berkley told the California outlet that they warn students not to leave belongings in their cars and educate them about safety practices during orientation.

The city of Oakland has recently reported lower crime rates, KTVU reported, touting a violent crime rate that is 30% lower than in 2023 and a burglary rate reduced by 60%.

#nunyas news

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justforbooks · 2 years ago

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The reggae pioneer and record producer Jah Shaka, who has died suddenly in his late 60s, was a giant of the British sound system scene. In a career that lasted more than 55 years, he transformed the sound system landscape with a distinctive and idiosyncratic style, eschewing the dominant trends to focus exclusively on contemporary reggae that was spiritually uplifting and politically relevant, presenting the music as a means of inspiration and empowerment for the disenfranchised and oppressed.

At the many dances he held in diverse underground spaces, playing on an ancient and archaic Garrard turntable in a trance-like state, Shaka would chant messages of encouragement as well as exhortations of transcendent devotion to Rastafari, adding custom-built effects and live percussive elements to increase the dramatic tension.

Through his masterful use of components such as a pre-amp, a syndrum and a homemade siren box, he made the sessions visceral and immersive, boosting the subsonic bass frequencies at regular intervals to create a transportive and transformative experience. He reinforced this shamanistic persona by not revealing his given name or other details of his personal life.

An integral part of the black community of his home base in Lewisham, south-east London, during the late 1970s, Shaka deployed a sonic wizardry that made a dramatic impact on the post-punk music of Public Image Limited and the Slits, whose members were then among the few white attendees of his dances. Broader audiences became aware of his importance when he appeared in Franco Rosso’s evocative 1980 urban drama film Babylon, playing himself at a south London sound system session as the action draws to a climax.

Jamaican reggae subsequently underwent dramatic changes during the mid-80s as the dancehall style came to the fore, its output largely preoccupied with lasciviousness, violence and frivolity. British sound systems inevitably embraced the new style, but Shaka opted to become a lone voice in the wilderness that kept the roots reggae flame burning, advancing an up-tempo homegrown variant that became known as UK Steppers.

With a backing band he dubbed the Fasimbas after a local activist group established in response to the discriminatory treatment of black children in the British school system, from 1980 Shaka also produced original music with upcoming unknowns such as African Princess and Sister Audrey, as well as self-produced work.

He went on to produce reggae vocalists such as Bim Sherman, Johnny Clarke, the Twinkle Brothers, Max Romeo and Horace Andy, and released an impressive series of dub albums, including collaborative works with Aswad and Mad Professor. In the same period he ran a three-storey community hub in New Cross, known as the Culture Shop, which acted as a focal point for local black youth and housed a record store, a Caribbean food outlet and a Rastafari-oriented hair salon.

Although his record productions did not achieve much mainstream success, they were consistently popular with his core audience, and, more importantly, the uniqueness of his sound system would ultimately inspire acolytes such as Iration Steppas and Zion Train, as well as various sound system operators across the world.

Shaka spent his infant years in rural Clarendon, south Jamaica, before his parents moved the family to the UK in 1956 in search of betterment. They settled in south-east London, and it was while attending Samuel Pepys comprehensive school that he began an apprenticeship on the local soul sound system Freddie Cloudburst, beginning in 1968 as a “box boy”, helping to transport and set up the speaker boxes.

Later he ensured that the amplifiers and speakers were functioning properly, and finally became the resident selector to showcase work by Nina Simone, the Temptations, the Drifters, Diana Ross and other Motown acts. Then, after being inspired by activists such as Marcus Garvey, Malcolm X and Angela Davis, as well as his overarching Rastafari faith, he formed his own sound system in 1970, which he named Jah Shaka after the Zulu king.

Armed with exclusive dubplates and a powerfully commanding presence on the microphone, Shaka soon began building a name on the sound system underground, triumphing at many a sound clash. But along with the accolades came tensions with the police, who raided a dance he held in Brockley, south-east London, in 1975, beating attendees and damaging his equipment.

Undaunted, Shaka established a residency at Phebes nightclub in Stoke Newington, north London, in the late 70s, followed by another at Club Noreik in Tottenham, and was crowned the top sound system at the Black Echoes reggae awards in 1980 and 1981. His audience widened during the 90s, when he enjoyed a popular residency at the Rocket, adjoining the University of North London (now London Metropolitan University).

Shaka made his first pilgrimage to the African continent in 1984, and established the Jah Shaka Foundation in Ghana in 1992 to distribute medical supplies, library books and other materials to schools and medical clinics. He also undertook charitable works in Ethiopia, Jamaica and Kenya.

His extensive touring schedule took him throughout Europe and to Japan, Africa, Mexico and Peru. He became a regular festival headliner while mentoring his son, known as Young Warrior, who became a leading sound system practitioner and record producer in his own right.

Noted for his stamina and for presiding over all-night sessions without a break, Shaka continued to command large audiences at events in the UK and abroad.

He is survived by his extended family.

🔔 Jah Shaka, sound system owner and record producer, born circa 1954; died 12 April 2023

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

#JUST FOR BOOKS #Jah Shaka #in memoriam

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grantgoddard · 10 months ago

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Mister Soul Of Jamaica … and Thamesmead : 1938-2008 : reggae artist Alton Ellis

The first record played on the first week’s show of the first reggae music programme on British radio was a single by Alton Ellis, a magnificent singer/songwriter too often overlooked when reggae legends are named. I immediately fell in love with his soulful voice, his perfect pitch and his beautifully clear enunciation, rushing out to buy ‘La La Means I Love You’ [Nu Beat NB014], unaware it was recorded two years earlier. Like many of Ellis’ recordings, this was a cover version of an American soul hit (despite the label’s songwriter credit), though Ellis distinguished himself from contemporaries by also writing his own ‘message’ songs with striking lyrics and memorable hooks. My next single purchases were noteworthy Ellis originals:

‘Lord Deliver Us’ [Gas 161] included an unusual staccato repeated bridge and lines that demonstrated Ellis’ humanitarian pre-occupations, including “Let the naked be clothed, let the blind be led, let the hungry be fed” and “Children, go on to school! Be smarter than your fathers, don’t be a fool!” Its wonderful B-side instrumental starts with a shouted declaration “Well, I am the originator, so you’ve come to copy my tune?” that predates similar statements on many DJ records.

‘Sunday’s Coming’ [Banana BA318] has imaginative chord progressions, a huge choir on its chorus and lyrics “Better get your rice’n’peas, better get your fresh fresh beans’’ that locate it firmly as a Jamaican original rather than an American cover version. Why does it last a mere two minutes thirty seconds? The B-side’s saxophone version demonstrates how ethereal the rhythm track is and shows off the dominant rhythm guitar riff beautifully. It’s a masterclass in music production.

It was only after Ellis had emigrated to Britain in 1973 that a virtual ‘greatest hits’ album of his classic singles produced by Duke Reid was finally released the following year, entitled ‘Mr Soul Of Jamaica’ [Treasure Isle 013]. I recall buying this import LP in Daddy Peckings’ newly opened reggae record shop at 142 Askew Road and loved every track on one of reggae’s most consistently high-quality albums (akin to Marley’s ‘Legend’). It bookended Ellis’ most creative studio partnership in Jamaica when Reid had to retire through ill health.

What was it that made Ellis’ recordings so significant? Primarily, as the album title confirms, it was that his voice uniquely sounded more ‘soul’ than ‘reggae’, occupying the same territory as Jamaica’s ‘Sam & Dave’-like duo ‘The Blues Busters’. I have always harboured the sentiment that, if he had been able to record in America during the 1960’s, Ellis could have been a hugely popular soul singer there. Maybe label owner Duke Reid shared this thought, having recorded ‘soul’ versions of some of Ellis’ biggest songs for inclusion in a 1968 compilation album ‘Soul Music For Sale’ [Treasure Isle LP101/5]. However, at the time, reggae was a completely unknown genre in mainstream America, so Reid’s soul recordings remained unknown there. [The sadly deleted 2003 compilation ‘Work Your Soul’ [Trojan TJDCD069] collected some fascinating soul versions by Reid and other producers.]

Secondly, Ellis’ superb Duke Reid recordings were backed by Treasure Isle studio house band ‘Tommy McCook & the Supersonics’ whose multitude of recordings during the ska, rocksteady and reggae eras on their own and backing so many singers/groups demonstrated a tightness and professionalism that is breathtaking. Using only basic equipment in the studio above Reid’s Bond Street liquor store, engineer Errol Brown produced phenomenal results for the time, operating a ‘quality control’ that belied the release of dozens of recordings every month.

Finally, Ellis’ recordings displayed a microphone technique that was unique in reggae and demonstrated his astute knowledge of studio production techniques. At the end of lines, he would sometimes turn his head away from the microphone whilst singing a note. Because Jamaican studios were not built acoustically ‘dead’, Ellis’ head movement not only translated into his voice trailing off into the distance (like a train pulling away) but also allowed the listener to hear his voice bouncing off the studio walls. ‘Reverberation’ equipment to create this effect technically was used minimally in studios until the 1970’s ‘dub’ era, so Ellis seemed to have improvised manually. Perhaps he had heard this effect on American soul records of the time?

On one of his biggest songs from 1969, ‘Breaking Up Is Hard To Do’ [Treasure Isle 220], you can hear Ellis use this effect during the chorus when he sings the words “everybody knows”, particularly just prior to the fade-out. It is similarly evident on Ellis’ vocal contribution to the brilliant DJ version of the same song, ‘Melinda’ by I-Roy [on album Trojan TRLS63] recorded in 1972.

The same vocal technique is audible on other songs including ‘Girl I’ve Got A Date’ [Treasure Isle DSR1691] in which Ellis elongates the word “tree” into “treeeeee”, as well as “breeze” into “breeeeeeze”, whilst moving his head away from the microphone.

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I had always been intrigued by Ellis’ recording technique but had not thought anything more of it until, entirely by accident half a century later, I found startling 1960’s footage recorded at the Sombrero Club on Molynes Road up from Half Way Tree, Jamaica. Backed by Byron Lee’s Dragonaires, an uncredited vocal group I presume to be ‘The Blues Busters’ performed their 1964 recording “I Don’t Know” [Island album ILP923] during which one of the duo (Lloyd Campbell or Phillip James) moves his head away from the microphone at the end of lines, similar to what can be heard on Ellis’ recordings.

This started me searching for 1960’s footage of Ellis performing live. Sadly, I found nothing (either solo or in his previous duo with Eddie Parkins as ‘Alton & Eddy’ [sic], similar to ‘The Blues Busters’) to see if he emulated this vocal technique on stage too. For me, it remains amazing that the smallest characteristics audible in a studio recording (particularly from analogue times) can offer so much insight into the ad hoc techniques adopted to overcome the limitations of available technology. The ingenuity of music production in Jamaica during this period was truly remarkable.

Prior to emigration, Ellis had toured Britain in 1967, performing with singer Ken Boothe. Whilst in London, he recorded a single ‘The Message’ [Pama PM707] in which he raps freestyle rather than sings, fifteen years prior to Grandmaster Flash’s hit rap track of the same name, and declares truthfully “I’m the rocksteady king, sir”. Its B-side pokes fun at 'English Talk' that he must have heard during his visit. The backing music is the clunky Brit reggae of the time, but Ellis’ subject matter is fascinating for its innovation.

1971’s ‘Arise Black Man’ [Aquarius JA single] includes the lyric “From Kingston to Montego, black brothers and sisters, arise black man, take a little step, show them that you can, ‘coz you’ve got the right to show it, you’ve got the right to know it”. The verses and chorus “We don’t need no evidence now” are backed by a big choir. It’s a phenomenal tune despite not even having received a UK release at the time. (Was the chorus a reference to Britain's 1971 Immigration Act in which a Commonwealth applicant was "required to present [...] forms of evidence" to "prove that they have the right of abode" in the UK?)

The same year, ‘Back To Africa’ [Gas GAS164] has the chorus “Goin’ to back to Africa, ‘coz I’m black, goin’ back to Africa, and it’s a fact’ backed by a choir once again. There’s an adlibbed interjection “Gonna stay there, 1999, I gotta get there” that predates Hugh Mundell’s seminal song ‘Africans Must Be Free By 1983’.

Again in 1971, Ellis re-recorded his song ‘Black Man’s Pride’ [Bullet BU466], previously made for producer Coxson Dodd [Coxson JA single], with it’s shocking (at the time) chorus “I was born a loser, because I’m a black man”. The verses are a history lesson in slavery: “We have suffered our whole lives through, doing things that they’re supposed to do, we were beaten ‘til our backs were black and blue” and “I was living in my own land, I was moved because of white men’s plans, now I’m living in a white man’s land”. I consider this phenomenal song the direct antecedent of similarly themed, outspoken recordings by Joe Higgs (‘More Slavery’ [Grounation GROL2021]) and Burning Spear (“Slavery Days” [Fox JA pre]) in 1975. If only this Ellis song was as well-known as Winston Rodney’s! [In initial recorded versions, “loser” was replaced by “winner” and the song retitled ‘Born A Winner’.]

I first discovered Ellis’ song ‘Good Good Loving’ [FAB 165] as the vocal produced by Prince Buster for a DJ track by teenager Little Youth on the 1972 compilation album ‘Chi Chi Run’ [FAB MS8, apologies for the language] called ‘Youth Rock’. At the time, I was crazy about this recording, combining a high-pitched youthful talkover with a solid rhythm and Ellis’ trademark voice in the mix. I will be forever mystified as to why the DJ (sounding like Hugh Mundell/Jah Levi) seems to refer to “Cool Version by The Gallows [sic]” in his lyrics!

In 1973, Ellis released the song I never tire of hearing, ‘Truly’ [Pyramid PYR7003], that benefits from such a laid-back rhythm that it feels it could come to an abrupt stop at times. It is one of Ellis’ simplest but most effective songs and has become a staple of reggae ‘lovers’ singers since, employing wonderfully unanticipated chord changes. It sounds like a self-production, even though UK sound system man Lloyd Coxsone’s name is on the label. This should have been a huge hit record!

There are so many more Ellis tracks from this fertile early 1970’s period that make interesting listening, recorded for many different producers and released on different labels. Sadly, no CD or digital compilation has managed to embrace them all. I still live in hope.

After Ellis moved permanently to Britain during his late thirties, he must have struggled in the same way as some of his contemporaries, trying to sustain their careers in the ‘motherland’. Despite UK chart successes, Desmond Dekker, Nicky Thomas, Bob Andy and Jimmy Cliff were very much viewed as one-off ‘novelty’ hitmakers by the mainstream media rather than developing artists. Worse, Ellis had never touched the British charts. Neither did the majority of reggae tracks produced then in British studios sound particularly ‘authentic’ to the music’s audience, let alone the wider ‘pop’ market. Ellis performed at the many reggae clubs around Britain but the rewards must have been limited.

Ellis’ British commercial success came unexpectedly when another ‘novelty’ reggae single shot to number one in the UK charts in 1977. Its story is complicated! The previous year, Ellis’ 1967 song ‘I’m Still In Love With You’ had been covered in Jamaica by singer Marcia Aitken [Joe Gibbs JA pre]. A DJ version by Trinity over the identical rhythm followed called ‘Three Piece Suit’ [Belmont JA pre]. Then two young girls, Althia & Donna, recorded their debut as an ‘answer’ record to Trinity on the same rhythm and named it ‘Uptown Top Ranking’ [Joe Gibbs JA pre]. Other producers released their own ‘answer’ records, rerecording the identical rhythm, all of which could be heard one after the other blaring from minibuses’ sound systems in Jamaica at the time. Unfortunately for Ellis, Jamaica had no songwriting royalty payment system in those days.

I remember first hearing ‘Uptown Top Ranking’ as an import single on John Peel’s ‘BBC Radio One’ evening show. Even once it had been given a UK release [Lightning LIG506], Ellis was still omitted from the songwriting credit by producer Gibbs. Legal action followed and eventually Ellis was rewarded with half of the record’s songwriting royalties (for the music but not the lyrics), a considerable sum for a UK number one hit then. The same track (re-recorded due to producer Joe Gibbs’ intransigence) was then included on an album that Althia & Donna made for Virgin Records the following year [Front Line FL1012] that had global distribution, earning Ellis additional royalties.

Also in 1977, Ellis produced twenty-year-old London singer Janet Kay’s first record, a version of hit soul ballad ‘Lovin’ You’, released on his ‘All Tone’ label [AT006] that, prior to emigration, he had created in Jamaica to release his own productions. Ellis’ soul sensibilities and music production experience inputted directly into the creation of what became known (accidentally) as ‘lovers rock’, a uniquely British sub-genre that perfectly blended soul and reggae into love songs recorded mostly by teenage girls. This ‘underground’ music went on to dominate British reggae clubs and pirate radio stations for the next decade, even pushing Kay’s ‘Silly Games’ [Arawak ARK DD 003] to number two in the UK pop singles chart two years later.

Into the 1980’s and 1990’s, Ellis continued to release more UK productions on his label, including a ‘25th Silver Jubilee’ album [All Tone ALT001] in 1984 that revisited nineteen of his biggest hits, celebrating a career that had started in Jamaica as half of the duo in 1959. I recall Ellis visiting ‘Radio Thamesmead’ in 1986, the community cable station where I was employed at the time. He was living on London’s Thamesmead council estate and was interviewed about his label’s latest releases.

On 10 October 2008 at the age of seventy, Ellis died of cancer in Hammersmith Hospital. He had been awarded the Order of Distinction by the Jamaica government in 1994 for his contributions to the island’s music industry. I continue to derive a huge amount of satisfaction from listening to his many recordings dating back to the beginning of the 1960’s and wish he was acknowledged more widely for his outstanding contributions to reggae music.

Now, when I think of Alton Ellis, I fondly recall my daily car commute into work at KISS FM radio, Holloway Road in 1990/1991 with colleague Debbi McNally, us both singing along at the top of our voices to my homemade cassette compilation playing Alton Ellis’ beautiful 1968 rocksteady version of Chuck Jackson’s 1961 song ‘Willow Tree’ [Treasure Isle TI7044].

“Cry not for me, my willow tree … ‘coz I have found the love I’ve searched for.”

[I have curated an Alton Ellis playlist on Spotify though many significant recordings are unavailable.]

#Grant Goddard #Jamaica #London #lovers rock #music #radio #radio station #Radio Thamesmead #record shop #reggae #Youtube

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sexypinkon · 1 year ago

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Sexypink - JACQUELINE BISHOP, writer and visual artist, born in Kingston, Jamaica, and who now lives and works in New York City. She has held several Fulbright Fellowships, and exhibited her work widely in North America, Europe and North Africa. She is also an Associate Professor in the School of Liberal Studies at New York University.

On one hand, the market woman/huckster is the most ubiquitous figure to emerge from plantation Jamaica. Yet, as pervasive as the figure of the market woman is in Jamaican and Caribbean art and visual culture, she remains critically overlooked. In this set of fifteen dishes, I am both paying homage to the market woman—centering her importance to Caribbean society from the period of slavery onwards—and placing her within a critical context. In particular, I place the market woman within a long tradition of female labor depicted in diverse imagery that I have sourced online, including early Jamaican postcards, paintings of enslaved women from Brazil, the colonial paintings of the Italian Agostino Brunias, and present-day photographs, which I collage alongside floral and abolitionist imagery.

I work in ceramics because all the women around me as I grew up—my mother, my grandmother, my great-grandmother—cherished ceramic dinner plates. These were centerpieces kept in one of their most important acquisitions, a specially made mahogany cabinet. To fabricate the plates, it is important that I am working with Emma Price, a British ceramicist based in Stoke-on-Trent in the former Spode factories. In the realization of the series, that connection imbues them with a meaning that shows the long and enduring relationship between England and Jamaica. For that same reason, British Art Studies is a fitting venue for their first ever publication and partner to create an accompanying film exploring the plates and their themes.

Though the likenesses of none of the women in my family are represented in this series, centering the market woman is my way of paying homage to my great-grandmother Celeste Walker, who I grew up knowing very well, and who was a market woman/huckster/milkwoman par excellence. Celeste was born in the tiny district of Nonsuch hidden high in the Blue Mountains in Portland Parish on the island of Jamaica. Her mother died on the way home from a market, when my great-grandmother was too young to even remember her face. In her adulthood, while my great-grandfather farmed the land, my great-grandmother was the huckster who could easily carry bunches of bananas and baskets of food on her head; the market woman who travelled to far away Kingston to sell in Coronation Market, the largest market on the island. She also hawked fresh fish, and prepared and sold coconut oil, ginger beer, cut flowers, and cocoa beans that were pounded in a heavy wooden mortar. I remember her in my childhood as the milkwoman waking very early in the morning and walking through the district selling fresh cow’s milk. The tradition of huckstering would be passed on to my grandmother who relished the role in her older years. My hope in doing this work is to give much respect to the market women of the Jamaican and larger Atlantic world who have fed, and continue to feed, nations. The market woman is the defining symbol of Jamaican and Caribbean societies.

My work integrates the mediums of painting, drawing and photography to explore issues of home, ancestry, family, connectivity and belonging. As someone who has lived longer outside of my birthplace of Jamaica, than I have lived on the island, I am acutely aware of what it means to be simultaneously an insider and an outsider. This ability to see the world from multiple psychological and territorial spaces has led to the development of a particular lens that allows me to view a given environment from a distance. Because I am also a fiction writer and poet as well as a visual artist, the text and narrative are significant parts of my artistic practice.

Oftentimes I utilize a process of competing narratives to have the viewer participate in the creation of meaning. In my “Folly” series I recount a story I heard as a child, of two tales of a “haunted” house. In time, I researched the history of the house and through a process of photomontage combined photographs I took with archival footage to try and tell the two stories. The ghostly images of the past occupants are integrated into the walls and on the grounds of the present-day ruins. The overall effect is spectral and haunting. I also used this process of photomontage in an ongoing series of ethereal and transcendent “Childhood Memories,” in which characters are often split between heaven and earth. There is a palpable sense of loss in these images as characters seek to inhabit a time and a place long gone.

The “Babylon” and “Zion” paintings are about the Rastafarian ideas of Babylon being a place of captivity and oppression while Zion symbolizes a utopian place of unity and peace. In the Babylon series, I write the lyrics from songs and poems to create text-based drip paintings leading up to the “Hanging Gardens of Babylon,” in which I use popular dancehall posters to evoke the inner-city Babylonian “walls” of Kingston. The Zion series is comprised largely of monochrome paintings to delineate this symbolic paradise. Glitter is present in these works not only as a representation of the paradise that Rastafarians seek in the Biblical homeland of Zion but also as a commentary on the ‘bling and glitter’ culture that has enveloped much of Jamaican society. Consequently, my work is very much engaged with helping me to understand my heritage.

#sexypink/Jaqueline Bishop #sexypink/Jamaican Art #sexypink/ceramics #tumblr/Jaqueline Bishop #ceramics #Jamaican Artist #plates #porcelain pieces #Jaqueline Bishop

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danscetteminiworld · 2 years ago

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I HATE SCHOOL AND TRIGONOMETRY

WHAT THE ABSOLUTE FUCK IS AN APOTHEM AND WHY IS IT IMPORTANT LIKE NOBODY KNOWS WHAT IT IS MEANING IT CLEARLY IS NOT IMPORTANT FOR THE FUTURE WHY DON'T THEY JUST TEACH US USEFUL SHIT AT SCHOOL LIKE HOW TO PAY TAXES MOTHER FUCKER

I WANNA DROP OUT BUT I GOT JAMAICAN PARENTS

Anyways I love Daron Malakian

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blackhistorychatgpt · 2 years ago

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Great Figures

me: Can you give me 50 important Black historical figures that I can study with a short bio for each of them?

ChatGPT:

Certainly, here are 50 important Black historical figures along with a short bio for each:

Martin Luther King Jr. (1929-1968) - Civil rights leader who led the Montgomery Bus Boycott and advocated for nonviolent resistance to racism and segregation.

Harriet Tubman (c. 1822-1913) - Born into slavery, Tubman escaped and later became a "conductor" on the Underground Railroad, leading hundreds of enslaved people to freedom.

Barack Obama (1961-) - First Black president of the United States, serving from 2009 to 2017.

Frederick Douglass (1818-1895) - Born into slavery, Douglass escaped and became a prominent abolitionist, writer, and speaker.

Nelson Mandela (1918-2013) - South African anti-apartheid revolutionary and political leader who became the country's first Black president.

Rosa Parks (1913-2005) - Civil rights activist who refused to give up her seat on a Montgomery bus, sparking the Montgomery Bus Boycott.

Maya Angelou (1928-2014) - Poet, author, and civil rights activist who wrote the autobiographical book "I Know Why the Caged Bird Sings."

W.E.B. Du Bois (1868-1963) - Civil rights leader, historian, and sociologist who co-founded the NAACP and was the first Black person to earn a PhD from Harvard.

Malcolm X (1925-1965) - Civil rights activist and leader of the Nation of Islam, known for his advocacy of Black self-determination and his criticism of nonviolent resistance.

Sojourner Truth (c. 1797-1883) - Born into slavery, Truth became an abolitionist and women's rights activist, giving her famous "Ain't I a Woman?" speech in 1851.

Angela Davis (1944-) - Political activist and author who was involved in the Black Panther Party and later became a professor of philosophy.

Carter G. Woodson (1875-1950) - Historian and author who founded Black History Month and dedicated his life to promoting the study of African American history.

Thurgood Marshall (1908-1993) - Civil rights lawyer who argued the landmark case Brown v. Board of Education before becoming the first Black Supreme Court justice.

Shirley Chisholm (1924-2005) - Political trailblazer who was the first Black woman elected to Congress and the first Black person to seek a major party's nomination for president.

James Baldwin (1924-1987) - Author and civil rights activist who wrote about the experiences of Black Americans in works such as "The Fire Next Time" and "Go Tell It on the Mountain."

Mae Jemison (1956-) - Astronaut who became the first Black woman in space in 1992.

Marcus Garvey (1887-1940) - Jamaican-born political leader and founder of the Universal Negro Improvement Association, which advocated for Black nationalism and Pan-Africanism.

Ida B. Wells (1862-1931) - Journalist and civil rights activist who documented lynching and other forms of violence against Black people.

Medgar Evers (1925-1963) - Civil rights activist who worked to desegregate schools and public places in Mississippi before being assassinated by a white supremacist.

Huey P. Newton (1942-1989) - Co-founder of the Black Panther Party, which advocated for Black self-defense, community empowerment, and socialism.

Paul Robeson (1898

#chatgpt #black history month #civilrights #africanamericanhistory #blackhistorymonth #equality #justice #change

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c-40 · 2 days ago

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A-T-5 008 Doug E Fresh & Slick Rick

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Doug E Fresh & The Get Fresh Crew - La-Di-da-Di

By 1984 Doug E Fresh put out a few singles out and appeared in the film Beat Street. In 1985 he was back with The Get Fresh Crew, Barry Bee, Chill Will, and MC Ricky D of the Kangol Crew. Like Kangol hats MC Ricky D or Slick Rick, as he became more widely known, was a British import. Slick Rick (Ricky Walters) moved to the US with his family around 1976, at the same time hip hop was being born. He met Dana Dane at school High School and together they formed The Kangol Crew. In 1984 Rick entered a talent showcase where he caught the attention of Doug E Fresh. Doug Fresh invited him to join The Get Fresh Crew

Slick Rick is probably the first British rapper to be embraced by the culture on its home turf. America and hip hop shares issues with Jamaicans and reggae... the authenticity is questioned, the music is often dismissed as lowbrow if it comes from outside the US. Slick Rick is recognised as authentic because, like MF Doom, he came up inside the culture in New York City. The Cold Crush Brothers and Busy Bee put on performances at the school he attended in the Bronx. Hip hop historian Jayquan says his vocals "cut to tape" meaning they just sound nice out the box (or booth, or larynx). In 1988 his debut solo album is released and Rick The Ruler is crowned "the world's greatest storyteller" (America standing in for the world here as it commonly does for Americans. No fucks given in the global south)

Slick Rick becomes an America citizen in 2016 after a long legal battle. He then came to the UK to visit family without the fear of being held at customs and deported when reentering the US

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Doug E Fresh & The Get Fresh Crew - The Show

The Show. I was 11-years-old when this was released and it blew me away. It was my favourite record at the time. The track's inclusion on Electro 9 introduced me to the Street Sounds Electro series

"The Show" went to 7 on UK singles chart in 1985 and 13 in the Netherlands. It uses the theme from the cartoon Inspector Gadget. Later in 1985 The Kartoon Crew release a track Inspector Gadget to cash in on the success of the show, it's awful! Electro 9 segues "The Show" into "Bad Boys" by Bad Boys which isn't awful, it's grrrrrrrreat

I've only just found out the line "I'm known for the.... not for the...." was a dig at The Human Beat Box from the Fat Boys

There are a few live recordings from 1985 online. Props to Doug E Fresh's two DJs Chill Will and Barry B. Like a lot of hip hop their lyrical content hasn't aged the best. This one needs a misogyny warning

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I still find it exciting

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#1985 #doug e fresh #slick rick #chill will #barry b #beatbox #hip hop #new york #usa #80s music

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freenewsreport · 3 days ago

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Diane Abbott Net Worth: Unveiling the Finances of a Trailblazing Politician

Diane Abbott is a name synonymous with breaking barriers in British politics. As the first Black woman elected to the UK Parliament, she’s made waves with her dedication to social justice, equality, and public service. What’s Diane Abbott net worth But while her political legacy is well-documented, many are curious about her financial standing. How has her career shaped her finances?

Diane Abbott's Political Journey

Early Life and Education

Born in London in 1953, Diane Abbott grew up in modest circumstances. Her parents were Jamaican immigrants who emphasized the importance of education. Abbott attended Harrow County Grammar School before earning a degree in History from Newnham College, Cambridge.

Her entry into politics wasn’t immediate. Before stepping into Parliament, she worked as a civil servant, a Race Relations Officer, and a public relations officer at the Greater London Council (GLC). This diverse background set the stage for her impactful political career.

Breaking Barriers in Westminster

In 1987, Abbott made history as the first Black woman elected to the House of Commons. Representing Hackney North and Stoke Newington, she’s held the seat for decades, cementing her status as a political trailblazer.

Her career has been a mix of advocacy and controversy. From championing causes like healthcare reform and education equality to facing scrutiny over personal remarks and policy positions, Diane Abbott’s journey has been anything but ordinary.

How Does Diane Abbott's Net Worth Stack Up?

When discussing politicians’ finances, it’s essential to separate speculation from facts. Diane Abbott’s net worth is estimated to be around £1 million, according to public records and credible sources. While this may not place her among the wealthiest politicians, it’s a testament to her long-standing career in public service and other endeavors.

Breakdown of Income Sources

Parliamentary Salary

As a Member of Parliament (MP), Abbott earns a standard salary of approximately £86,000 annually. This figure excludes additional allowances for housing, travel, or other parliamentary duties.

Media Appearances

Over the years, Abbott has appeared on television programs and debates, including her regular spot on shows like This Week. Such engagements not only amplify her voice but also contribute to her income.

Authorship and Publications

Abbott has penned articles for prominent newspapers and magazines. Although writing isn’t her primary income source, it does add to her financial portfolio.

Investments and Property

Like many seasoned professionals, Abbott is believed to have investments, though details remain private. Reports suggest she owns property in London, adding significantly to her net worth.

Challenges and Controversies

No financial profile would be complete without addressing the controversies that often shadow public figures. Diane Abbott has faced her fair share of challenges, some of which have indirectly impacted her financial reputation.

Media Scrutiny: Her every move, from policy stances to personal expenses, has been under the media microscope. While this comes with the territory of being a public figure, it’s occasionally led to public backlash.

Expenses Scandals: Like many MPs, Abbott’s parliamentary expenses have occasionally sparked debates. However, there’s no concrete evidence of financial misconduct.

Despite these challenges, Abbott’s resilience has allowed her to remain a prominent figure in British politics.

The Legacy of Diane Abbott

Contributions to Equality

Abbott’s impact extends far beyond her financial portfolio. She’s a staunch advocate for:

Racial and Social Equality: Her speeches and policies often center on dismantling systemic racism and promoting diversity.

Healthcare Improvements: From addressing mental health disparities to advocating for the NHS, Abbott’s focus on healthcare resonates with many constituents.

Awards and Recognition

Her contributions haven’t gone unnoticed. Abbott has received several awards for her services to politics and her unwavering commitment to social justice.

Key Takeaways from Diane Abbott's Financial Profile

Here are some insights into what her financial journey reveals:

Consistency Matters: Decades of public service, coupled with disciplined financial management, have contributed to her stable net worth.

Influence Over Income: Abbott’s legacy highlights that financial wealth isn’t the sole measure of success—impact and influence carry significant weight.

Navigating Challenges: Despite controversies, her ability to remain steadfast showcases resilience, a trait that inspires many.

Conclusion

Diane Abbott net worth may not rival that of high-profile business magnates or even some of her political peers, but it reflects a life dedicated to public service and advocacy. From breaking barriers in Westminster to championing social justice, her financial standing is just one facet of a multifaceted legacy.

While wealth often grabs headlines, Abbott’s story reminds us that true success lies in making a difference. Whether you admire her politics or critique her methods, there’s no denying her role as a trailblazer in British history.

#Diane Abbott #UK Politics #British Politician

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cleverhottubmiracle · 11 days ago

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Love was in the air this year and it was great to see some of our favorite fashionable couples styling and profiling in coordinated looks. From Rihanna & A$AP Rocky who showcased their individuality, to Meagan Good and her beau Jonathan Major who displayed unity on the red carpet, below are a list of the most stylish couples who were boo’d up year long. Ahead, read more and be sure to vote for your favorite fashion bomb couple of the year! Faby’s Awards 2024: Vote for the Fashion Bomb Couple of the Year Rihanna & A$AP Rocky A$AP Rocky told us it’s because “she’s a fashion killa and he’s a trendy n*gga,” and that couldn’t be further from the truth. The fashionable duo, who shares two sons RZA, and Riot showed us the importance of individuality, and owning your style. With both of them being Puma ambassadors, we saw both of them incorporate athleisure-wear into the wardrobe. We also saw them serve the hottest designer looks from Bottega Veneta and Louis Vuitton, while maintaining their own distinct identities. Not to mention that if anyone show us the power of bomb accessories, it’s undoubtedly these two. Savannah & Lebron James Savannah and Lebron James have been holding each other down since their high-school years, and they’ve come quite a long way since their first date at Outback Steakhouse. After all these years, and three children later, it great to see that Savannah is still Lebron’s sweetheart. Whether they’re sitting court side together at a basketball game, or attending the MET gala, these two are always fashionably locked in. Meagan Good & Jonathan Majors Jonathan Major’s put a ring on it y’all, and it’s so great to see Meagan Good glowing and genuinely happy. The couple who met inside of a unisex bathroom at the Ebony Power 100 event 2-years ago debuted their engagement at this year’s event which felt like a full circle moment. From Jonathan Majors being suited and booted with baker boy hats to his bae donning the most exquisite gowns, we saw their incredible chemistry on full display. Ashanti & Nelly They say, “If you love someone, let them go and if they come back, then it was meant to be,” and after 20-years Nelly and Ashanti have chose to rekindle their love affair. It was great to see this hip-hop couple reunite last year, and even more blissful to see them welcome their precious bundle of joy in July. From Ashanti wearing bold colors, and mink coats, to Nelly staying true in his Air Force 1’s and Jordans, their styles compliment each other, and standout in any setting. Photo Credit: Getty Images Gucci Mane & Keyshia Kaior You know what happens when Alabama and Jamaica meet? A love affair that’s sure to stand the test time and Gucci Mane and his wife Keyshia Kaior are showing us how it’s done. The couple that met back in 2010 on the set of the rapper music video “911 Emergency,” have been going strong ever since. From the Jamaican beauty showing her fierce side in animal print, and architectural dresses to Gucci Mane giving his name justice in the most luxe suits, it’s evident that they’re a whole vibe. Joey Badass & Serayah Joey Badass and Serayah are the couple that we didn’t know we needed, and black love never looked so darn good. When it came down to their coordinated looks this year, think rich gold monochromatic hues, island inspired looks and avant-garde evening wear. If you thought they came with the heat this year, we can’t wait to see how they show out in 2025! Taylor Swift & Travis Kelce New York, NY – Taylor Swift and Travis Kelce step out for a double date with Blake Lively and Ryan Reynolds at The Corner Store in Soho, New York. Pictured: Taylor Swift, Travis Kelce BACKGRID USA 11 OCTOBER 2024 BYLINE MUST READ: JosiahW / BACKGRID USA: +1 310 798 9111 / [email protected] UK: +44 208 344 2007 / [email protected] *UK Clients – Pictures Containing Children Please Pixelate Face Prior To Publication* Does anyone hear wedding bells? Because we sure do when it comes down to Taylor Swift and Travis Kelce. We think the mega superstar just may have found her match and we’ve loved witnessing their love union. From Taylor attending Kansas City Chief games in red jerseys and bomber jackets to represent her man, to Travis getting into character on stage in costume attire, there’s nothing these two won’t do to support each other. New York, NY – Taylor Swift and Travis Kelce arrived at Chez Margaux in New York City, dazzling in contrasting black, white, and red ensembles. Pictured: Taylor Swift, Travis Kelce BACKGRID USA 28 DECEMBER 2024 BYLINE MUST READ: BlayzenPhotos / BACKGRID USA: +1 310 798 9111 / [email protected] UK: +44 208 344 2007 / [email protected] *UK Clients – Pictures Containing Children Please Pixelate Face Prior To Publication* Steve & Marjorie Harvey Steve Harvey and his wife Marjorie Harvey are the OG’s who you look up to when it comes to fruitful love unions. They dated each other back in the day, and years later chose to give their love another shot. We loved seeing their joined families on vacation over the summer in some of the chicest and dapper summer looks. Steve represented for fashionable men everywhere in linen and silk sets, while Marjorie served all white looks and designers accessories from Hermes and Loewe. Gabrielle Union & Dwayne Wade Gabrielle Union and Dwyane Wade continue to inspire fans with their love and fashion sense. This year, they have been seen at numerous high-profile events, glittering in bespoke gowns and tailored tuxes. It’s clear this Fashion Bomb Couple loves to have fun, and adores shining together, no matter the occasion. Monique & Melvin Rodriguez Mielle Organics Co-Founders Monique and Melvin’s relationship has blossomed in the public eye this year, with their fashion choices reflecting their playful personalities. Monique, often styled by her long-time collaborator Jeremy Haynes, has embraced bold prints and vibrant colors, while Melvin opts for classic looks with a modern twist. Their appearances together, whether on stage or at events, highlight their strong bond and shared love for fashion, making them a couple that resonates with many fans and consumers. Blake Lively and Ryan Reynolds Blake Lively and Ryan Reynolds are the quintessential Hollywood couple, captivating audiences with their charm and style in 2024. Blake’s outfits, frequently styled by the talented Elizabeth Saltzman, have been the talk of the town, with her ability to mix high fashion with approachable looks. Ryan complements her with his effortless style, often seen in chic casual wear and sharp suits. Their playful banter on social media adds to their allure, making them a beloved couple in the eyes of fans. Miracle Watts and Ty Leplay Miracle Watts and Ty Leplay have become a dynamic couple in 2024, captivating fans with their stylish presence and love story. Miracle, often styled by the talented Ayo M. Olubunmi, showcases a blend of elegance and boldness in her fashion choices, whether it’s for public appearances or casual outings. Ty complements her aesthetic with his own flair, often seen in trendy yet sophisticated attire. Their social media showcases playful moments and heartfelt messages, making them a couple that resonates deeply with their followers. Sarah Jakes and Toure Roberts Can you be sanctified and slay? Sarah Jakes and Toure Roberts prove that you definitely can. With the creative direction of J. Bolin, each photo shoot looks like it could be out of a magazine or a movie, with the duo in coordinating looks with a picture perfect backdrop to match. It will be hard to top their moves in 2024; we’ll have to see what 2025 brings. Vote for your favorite ‘Couple of the Year’ below: Faby’s Awards 2024: Vote for the Fashion Bomb Couple of the Year And RSVP to TheFabys.eventbrite.com. Want to sponsor? Email [email protected]. Source link

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norajworld · 11 days ago

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ellajme0 · 11 days ago

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chilimili212 · 11 days ago

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grantgoddard · 2 years ago

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Is it because I’m (not) Blacker Dread? : 2006 : Rockers International Record Shop

“It’s for you,” shouted the man behind the counter, holding the telephone handset at arm’s length toward me after having answered the call.

“For me?” I echoed incredulously. “But nobody even knows I’m here!”

I was standing in a shop, but not just any shop. This was a record shop. I dread to calculate how many thousand hours I must have spent in record shops over the last half-century, thumbing through vinyl. It started with my first record purchase in 1968, from Dykes Records in Camberley, of the novelty single ‘Cinderella Rockefella’, after it was performed on The Eammon Andrews Show. In the early 1970’s, my first ‘job’ was helping during lunch breaks in the Recordwise shop opposite my school in Egham where owner Adam Gibbs paid me in vinyl rather than cash. He taught me so much about the retail end of the music industry inside his huge, well stocked record shop, while my classmates were otherwise occupied feeding their pocket money into a nearby café’s pinball machines.

I was standing in a record shop, but not just any record shop. This was a reggae music record shop. From 1972, I would spend many weekends standing at reggae stalls and shops listening to new releases, initially around Brixton’s Granville Arcade, having travelled to London by flashing my green cardboard British Rail school season ticket paid for by Surrey County Council. Soon my trips extended to Harlesden, Finsbury Park and occasionally the East End to find the latest imported ‘pre’ singles. A common response to my multiple requests to buy certain new ‘tunes’ was “It finish, man”, an indication that the limited quantities had already sold out. I still have a wants list of unfound records from that time, probably never to be fulfilled.

I was standing in a reggae record shop, but not just any reggae record shop. This was Rockers International Record Shop, established by musician and producer Augustus Pablo. I had followed his output passionately since hearing his melodica versions on single B-sides and was hooked by the time his ground-breaking debut album was released in 1974, the first reggae LP I had heard mixed in stereo. Although Pablo had succumbed to long-term illness in 1999, his shop remained and my visit that day was to try and fill a few gaps in my collection of the man’s works.

The shop was on a street, but not just any street. This was Orange Street in downtown Kingston, Jamaica where the island’s music industry had been centred for decades. Across the street was the long-closed shopfront of Prince Buster’s Record Shack, after this artist and producer’s prolific and internationally successful career had fizzled out thirty years earlier. No single street in the world has been responsible for as great a volume of music as Orange Street. After Savoy Record Shop opened at number 118 in the mid-1950’s, the entire long street was soon heaving with noisy music, musicians, producers, record shops and studios. In its heyday, hundreds of new reggae singles were released right here every week. Small island, big sounds.

The man behind the counter was still offering me the phone receiver on its coiled cable. I approached the counter and took it from him, despite complete bafflement as to how a call could possibly be for me. Jamaica often proved as confusing as this.

“Hello,” I said with great trepidation.

“How was your flight? I hope you had a safe journey,” said an unrecognisable man with a Jamaican accent on the other end.

“I did, thank you for asking, but I ….”

“And the place you are staying is working out well for you?” he interrupted. I had absolutely no idea who I was talking to, but he was so quick to interject before I could explain.

“Yes, thank you,” I replied, not wanting to offend this stranger. “Where I am staying is fine but I think you should …”

“And have you found some music you wanted in the record shop?” he interrupted again.

“Yes, I have,” I answered, but this time I continued with more haste to try and avoid him interrupting me yet again. “But who do you think you are talking with?”

“Look,” he replied. “I’m sorry I haven’t yet arrived at the shop and I know I had promised I would meet you there.” It was evident that this man had misunderstood or simply ignored my seemingly straightforward question. How can communication sometimes prove so difficult?

“Don’t worry yourself,” I spluttered, as if it really was me that he had arranged to meet. “But I think there must be some confusion because I had not agreed to meet anyone here.”

“So my man is not with you yet?” he asked. “But will he arrive there later? Do you know what time he will arrive? Shall I call again later?”

It felt as if I was rapidly descending into a Kafka-like world of intrigue and ’39 Steps’ hazard, all because I had been mistaken for someone who I definitely was not. It was time to draw a halt to this madness.

“Please, please tell me exactly who it is you had arranged to meet here?” I pleaded with him.

“Blacker Dread, man, of course,” he finally blurted out. “Is he travelling with you?”

“No, he is not with me, but I know of him,” I explained. Finally, a little light had started to shine at the end of this conversational tunnel. But it soon became apparent that I had failed to choose my wording precisely enough and was misunderstood yet again.

“So you know Blacker and you know we are going to meet up when he has some time, so we can catch up together,” the man continued. “And you will be accompanying him too?”

Just when I thought we had made progress, that glimmer of light began to fade away again. It was imperative to put a stop to this right now. I needed to break out of my timid English-ness to fix this nonsense. I needed to be firm and I needed to explain my mistaken identity in the bluntest language I could muster.

“No, you have misunderstood, I’m afraid,” I started. “I don’t KNOW Blacker Dread personally. I know OF him. I know WHO he is. But I haven’t met him. He is not with me. I just happened to be in this record shop when your call came in. But Blacker Dread is not here. I’m sorry but I have no idea if, or when, he will be in this shop or even in Jamaica. It is just a coincidence that I am here and the man in the shop insisted that I take your call.”

“Oh, oh, okay, okay” said the man, as if I had been telling him off. In a way, maybe I was. Why cannot people simply identify themselves when they call someone? Why can they not ask for the person they wish to speak with? Why do they launch straight into conversations without first establishing that they are connected to the person they want? Anyway, it had taken some time but now the misunderstanding had finally been sorted out.

But who is Blacker Dread? Born in Jamaica (coincidentally the same year as me), his family had emigrated to South London when he was nine and he attended Penge Grammar School after having passed the 11+ exam (twice!). In the 1980’s he was selector for Lloyd Coxsone’s legendary London sound system. In 1993, he opened the Muzik Store record shop in Brixton and made huge contributions to the local community through his voluntary work. A remarkable and moving feature-length documentary, ‘Being Blacker’ by Molly Dineen, was broadcast in 2018 on BBC2 that followed three years in his life, including a tragic prison sentence in 2014 that forced closure of his shop and curtailment of his community work and reggae productions. I could never hope to achieve Blacker Dread’s stature.

Before ringing off the phone call, I asked the unknown man who he was. He said he was Jimmy Radway. I knew the name instantly as a respected 1970’s roots reggae producer whose releases had included ‘Warning’, ‘Black Cinderella’ and ‘Mother Liza’ on his record label Fe Me Time. (For me, Big Youth’s doom-laden prophetic 1975 DJ version of ‘Warning’ about Haile Selassie’s assassination, titled ‘Wolf In Sheep’s Clothing’, has always remained an absolute favourite.) I thanked Radway for his patience with me and bided him goodbye.

I handed the phone back to the man behind the counter and asked him exactly what the caller had said after he had answered the phone.

“He said he wanted to talk to the Englishman in the shop,” the man replied, “so I knew that must be you.”

I looked around the tiny record shop. I certainly had been the only Englishman in the shop. In fact, I had been the only person in the shop for the last hour while I flicked through vinyl records … except for my brother-in-law who had been waiting patiently nearby for me to finish.

“Who were you talking with?” he asked me.

“It was Jimmy Radway and he thought he was talking to Blacker Dread,” I explained. Having himself worked in the reggae music industry, my brother-in-law laughed heartily. We both realised that there could never have been a more unlikely case of mistaken identity in a reggae record shop on Orange Street, Kingston, Jamaica.

[Respect to DJ Conscious for jogging my memory. My curated discography of 700+ Augustus Pablo tunes is a Spotify playlist.]

#Augustus Pablo #Blacker Dread #Grant Goddard #Jamaica #Jimmy Radway #music #record shop #reggae #Rockers International

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