Those of you who saw the second part of Irie Up’s Reggae Movement Exhibition or saw the film First Rasta will know the critical importance of the Pinnacle and Leonard P. Howell in the Rastafari movement. How history repeats itself … We’re doing our part to circulate this petition and we ask you to check out the story for yourselves.
We’ve now sold out of any remaining back issues in hard copy, but we’re now going to make some of the back issues available as digital copies only.
Issues will be delivered by email.
Our Reggae Movement Exhibition tracing the evolution of reggae and dub started around 1920, but follow this map and you’ll notice that Jamaican work songs around 1800 were the first evolution of Western dance music as a result of blending traditional African music with Western folk songs:
Check this out!
The new models of publishing and the old realities. Music and ‘print’ publishing both face radical changes. What have they got to say to one another?
He’s now a political and financial functionary, and he was never a revolutionary, but Jacques Attali’s book Noise: The political economy of sound was once widely regarded for
its insight into the nature of popular music. Attali imagined that music by the likes of Jimi Hendrix was an advance warning of what would happen to Western societies. Music, and the production of music, was a window into the future of society itself. He may well have inspired the band called Pop Will Eat Itself. During the 1990s, the formats of music were changing faster than the styles of music itself, and not only because of advances in quality. Some people still swear by the quality of DATs (Digital Audio Tape) though one will search in vain for a new player. With the arrival of the CD, consumers were promised that the discs would last forever, unlike scratch-able vinyl. That turned out to be nonsense, and a vinyl manufacturer told me a few years back that the big music publishers had prevailed on their vinyl manufacturing partners to destroy the printing machines, in the event that the public eventually figured out the fundamental lie of the CD business. Regardless, the advent of the internet offered a very obvious advantage to music publishers – they could now sell digital copies of tunes without having to manufacture a physical object to carry the music. The deeper logic at work was that one day, the publishers would not even need to deliver a few megabytes of music to their listeners. They would just rent it out. Hello, Spotify!
Digging through some vinyl this week, I came across this 7″ cover with the little lion icon on the speaker identifying it as a Mau Mau production.
The tune by Micah Shemaiah is another part of the reggae revival vibe coming out of Jamaica right now – but that’s another story, although we’ll have more on this coming shortly. It’s one of several pieces Mau Mau has done for reggae artists. If you’ve got issue 10 of Irie Up, you’ll see several of Mau Mau’s pieces featured inside, including some of the work he painted on the streets in Kingston a couple of years ago.