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Its a Mad Mad Story Dub Version
Situating the Self in Recent Music Scholarship
Why Jamaica? Hearing Hiphop in Foreign and Familiar Contexts
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accent African-American album American audiences bass bassline BDP's beat bling-bling Bob Marley Bounty Killer Bronx Brooklyn Buju calypso Caribbean chorus connections contemporary context creole Criminal Minded cultural politics dance dancehall dancehall DJs dancehall's Deborah Thomas despite diaspora distinctive early 90s embrace employs engagement especially example familiar foreign forms genres global guitar hardcore hear hip-hop and reggae increasingly influence interplay Jamaican music Jamaican musicians jazz Johnny Dollar Junjo's Katz Kingston KRS-One melody mento Michigan & Smiley migration Mos Def narrative performance play popular music practice produced rapper Rastafari Rastafarian re-lick recordings reggae and hip-hop reggae style reggae's reggaeton Remix resonance rhythm rhythmic riddim rocksteady roots samples Shinehead Slick Rick snare social Solid Foundation song sonic sound soundscape soundsystem Story of Jamaican Studio stylistic track transnational tune University Press Various Artists vocal vocalists voice Yellowman's York Zunguzung