Bashment

As Jamaican reggae/dancehall music has become very dominant in our culture, artists play a huge role in the development of our language, known as patois, as they are constantly coining words and phrases that baffle even older Jamaicans and certainly foreigners. So as people worldwide swing to our music and Jamaica is a well -known tourism destination in the Caribbean , since most Jamaicans do not automatically speak English but only when required, this dictionary is critical to travellers as well music lovers. This is 6th edition of the Original Dancehall Dictionary, a publication which since 1993, has been doing an invaluable job in helping the world understand our language and the cartoons not only assist in the translation but also they add to the hilarity of the publication.

The Routledge Companion to Sound Studies is an extensive volume presenting a comparative and historically informed understanding of the workings of sound in culture, while also mapping potential future directions for research in the field. Experts from a variety of disciplines within sound studies cover such diverse topics as politics, gender, media, race, literature and sport. Individual sections that consider the importance of sound in an increasingly mediated world; the role that sound media play in the construction of experience; and the ways in which sound has been theorized to produce a distinctive sensory contribution to knowledge. This wide-ranging and vibrant collection provides a rich resource for scholars and students of media and culture.

Large-scale migration after WWII and the prominence of Jamaican Creole in the media have promoted its use all around the globe. Deterritorialisation has entailed the contact-induced transformation of Jamaican Creole in diaspora communities and its adoption by ‘crossers’. Taking sociolinguistic globalisation yet a step further, this monograph investigates the use of Jamaican Creole in a web discussion forum by combining quantitative and qualitative methodology in a sociolinguistic ‘third wave’ approach. In the absence of standardised orthography, one of the central aims of this study is to document the sociolinguistic styling and grassroots (anti-) standardisation of spelling norms for Jamaican Creole in the web forum as a virtual community of practice. An analysis of individual repertoire portraits demonstrates that conventionalised spelling variants co-occur with basilectal Jamaican Creole morphosyntax in ‘Cyber-Jamaican’ as the digital ethnolinguistic repertoire of the discussion forum. The enregisterment of this ethnolinguistic repertoire is closely tied to staged performance, which establishes the link between ‘Cyber-Jamaican’ and the negotiation of sociolinguistic identity and authenticity via stance-taking.

In Jamaican dancehalls competition for the video camera's light is stiff, so much so that dancers sometimes bleach their skin to enhance their visibility. In the Bahamas, tuxedoed students roll into prom in tricked-out sedans, staging grand red-carpet entrances that are designed to ensure they are seen being photographed. Throughout the United States and Jamaica friends pose in front of hand-painted backgrounds of Tupac, flashy cars, or brand-name products popularized in hip-hop culture in countless makeshift roadside photography studios. And visual artists such as Kehinde Wiley remix the aesthetic of Western artists with hip-hop culture in their portraiture. In Shine, Krista Thompson examines these and other photographic practices in the Caribbean and United States, arguing that performing for the camera is more important than the final image itself. For the members of these African diasporic communities, seeking out the camera's light—whether from a cell phone, Polaroid, or video camera—provides a means with which to represent themselves in the public sphere. The resulting images, Thompson argues, become their own forms of memory, modernity, value, and social status that allow for cultural formation within and between African diasporic communities.

This is a fascinating look at the medium of the poster in the current climate of competing electronic communication. Angharad Lewis, from UK magazine Grafik, discusses the success and failure of the poster as a medium today, against rival mediums such as

Was the juice worth the squeeze? Just when Mika was starting to feel at home in their own body, they find themselves caught between Simmi who's sweet like sugar but ain't a lesbian and Token Toni who loves a bitta bashment and only dates black and brown butches. How can they catch a break when straight women are like junk food? In Mika Onyx Johnson's Edinburgh Fringe 2019 smash hit Pink Lemonade, original beats collide with poetry and movement to create an explosive autobiographical piece of storytelling. This edition is published to coincide with its transfer to the Bush Theatre, London in September 2021.

An important center of dancehall reggae performance, sound clashes are contests between rival sound systems: groups of emcees, tune selectors, and sound engineers. In World Clash 1999, held in Brooklyn, Mighty Crown, a Japanese sound system and the only non-Jamaican competitor, stunned the international dancehall community by winning the event. In 2002, the Japanese dancer Junko Kudo became the first non-Jamaican to win Jamaica’s National Dancehall Queen Contest. High-profile victories such as these affirmed and invigorated Japan’s enthusiasm for dancehall reggae. In Babylon East, the anthropologist Marvin D. Sterling traces the history of the Japanese embrace of dancehall reggae and other elements of Jamaican culture, including Rastafari, roots reggae, and dub music. Sterling provides a nuanced ethnographic analysis of the ways that many Japanese involved in reggae as musicians and dancers, and those deeply engaged with Rastafari as a spiritual practice, seek to reimagine their lives through Jamaican culture. He considers Japanese performances and representations of Jamaican culture in clubs, competitions, and festivals; on websites; and in song lyrics, music videos, reggae magazines, travel writing, and fiction. He illuminates issues of race, ethnicity, gender, sexuality, and class as he discusses topics ranging from the cultural capital that Japanese dancehall artists amass by immersing themselves in dancehall culture in Jamaica, New York, and England, to the use of Rastafari as a means of critiquing class difference, consumerism, and the colonial pasts of the West and Japan. Encompassing the reactions of Jamaica’s artists to Japanese appropriations of Jamaican culture, as well as the relative positions of Jamaica and Japan in the world economy, Babylon East is a rare ethnographic account of Afro-Asian cultural exchange and global discourses of blackness beyond the African diaspora.

Music and Youth Culture offers a groundbreaking account of how music interacts with young people's everyday lives. Drawing on interviews with and observations of youth groups together with archival research, it explores young people's enactment of music tastes and performances, and how these are articulated through narratives and literacies. An extensive review of the field reveals an unhealthy emphasis on committed, fanatical, spectacular youth music cultures such as rock or punk. On the contrary, this book argues that ideas about youth subcultures and club cultures no longer apply to today's young generation. Rather, archival findings show that the music and dance cultures of youth in 1930s and 1940s Britain share more in common with youth today than the countercultures and subcultures of the 1960s and 1970s. By focusing on the relationship between music and social interactions, the book addresses questions that are scarcely considered by studies stuck in the youth cultural worlds of subcultures, club cultures and post-subcultures: What are the main influences on young people's music tastes? How do young people use music to express identities and emotions? To what extent can today's youth and their music seem radical and progressive? And how is the 'special relationship' between music and youth culture played out in everyday leisure, education and work places?

Off The Edge is an action thriller mixed with romance and suspense. It sensitively describes the picturesque sceneries and reggae culture of Jamaica. Ivor Mansong, a descendant of the Maroons of Nanny Town, Jamaica, saw that the battle for paradise, fought by the Maroons, was far from over. After being caught up in the middle of a shootout that left him close to death, Ivor's life had taken a new direction. Being among the first of the highly charged Sea Wasps, trained in military techniques perfected by the US Navy Seals, Ivor found himself at the firing line of the fight against illegal firearms and cocaine trade in the western Caribbean. After losing the woman he loved and being close to the edge, Ivor saw the need to change direction once more.

With complete coverage of Kingston as well as all the major resorts at Montego Bay, Ocho Rios, and Negril, this "Rough Guide" is the perfect complement to both independent travel and all-inclusive package tours. Comprehensive listings reveal the best places to stay, dine, and catch the funkiest reggae. of color maps & photos.