Culture @ the Cutting Edge: Tracking Caribbean Popular Music
The anglophone Caribbean has long been celebrated and known for its vibrant and innovative music. Reggae, dancehall, calypso, soca, gospel and ringbang have flourished within the Caribbean and have exploded on the worldwide stage. Somewhat surprisingly, many facets of this contribution have not been analysed or discussed by academic writing. This work deliberately moves away from the customary exclusive focus on Trinidad and Jamaica and broadens the discourse to represent the wider region. It addresses such topics as the status of Caribbean gospel; the birth of new musical styles in the Eastern Caribbean; cultural misrepresentation in Caribbean music videos; the representation of Aids in Caribbean music; and the impact of the actual music technology utilized by Caribbean musicians since the 1980s.
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AIDS album art form audiences Bajan Barbadian Barbados bass bass guitar Blue Wave calypsonians Caribbean artists Caribbean culture Caribbean gospel Caribbean music Caribbean musicians Caribbean society Carnival challenge competition composition construction contemporary context created creative critical dancehall debate discourse dissemination domain drum machine early Eddy Grant engineers example festival Gabby genres global gospel acts gospel artists gospel music Grace Thrillers Grynner guitar hardcore styles homosexuality Ice Records ideology impact instruments Internet issues Jamaica Jesus Kaiso label late lyrical major marketing mixing console motifs multi-track music culture music industry music technology music video musical styles performance play politics popular culture popular music post-soca practice presence production radio reflected reggae rhythm ringbang Ringbang Rebel Dance rock role secular sexual significant singer slaves soca social song song's sound St Lucia studio synthesizer tended tracks traditional Trinidad tuk band twentieth century vocal VP Records Whereas