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Assasin and Exile (Re: Campbell)

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  • Assasin and Exile (Re: Campbell)

    Sometimes we lose touch with the identity of those individuals who, in their small but undeniably important way, are among the real movers and shakers of Jamaica’s recent written history and the written documentation of its culture.

    A case in point is shown in several comments made in a thread below. To state, as Exile did, that Howard Campbell “DONT KNOW the history” (that is, the history of Jamaican music) is so terribly erroneous as to be really sad. This man, I submit, is one of the MOST knowledgeable persons inside or outside of Jamaica as far as our music and other areas of our culture are concerned.

    In ‘Sass’ case, his reference to the highly respected journalist and musicologist Howard Campbell is as follows: “This is not really true. I guess he (Campbell) never been to a General echo, yellowman, Welton Irie dance…” (My emphasis added.)

    ‘Sass then compounded his revealing comments with the following gem: “I won’t go anymore but the writer is trying to make a point but he needs to do a lot more research, because as a man who have been to many dancehalls and stage show from mi eye deh a mi knee.” (My emphasis.)

    Wow! What insightful references to one of Jamaica’s most knowledgeable music historians and a man who served as a senior entertainment reporter at the Daily Gleaner for a number of years before moving to the Jamaica Observer as a senior writer. We are referring here to a man who has attended live shows in Jamaica for decades and wh haas been responsible for some of the information that we know!

    Below are two snippets of the type of stuff that Howard Campbell does on a regular basis as a music journalist and as a historian:


    Clancy Eccles did it for the PNP

    UNSUNG
    Howard Campbell
    Friday, March 02, 2012

    In commemoration of Jamaica's 50th anniversary of Indepence from Britain, the Jamaica Observer's Entertainment section recognises 50 persons who made significant, yet unheralded, contributions to the country's culture. This week we feature Clancy Eccles.

    THE politicians got most of the credit for the People's National Party's (PNP) general election victories in 1972 and 1976, but someone who played a critical role in those landslide triumphs was musician Clancy Eccles.



    Clancy Eccles


    Last Wednesday marked 40 years since the PNP first won state power in independent Jamaica. Michael Manley was elected prime minister and Eccles was among the persons credited with bringing out the youth vote.

    The St Mary-born Eccles organised the musical bandwagon that accompanied Manley on his islandwide campaign leading up to the February 29 poll. It featured the top reggae acts of the day: Junior Byles, Max Romeo, Inner Circle, the Wailers and Toots and the Maytals.

    Their performances complemented Manley's fiery rhetoric, and reflected the influence reggae and Rastafari had on Jamaican youth.

    Eccles started his career as a singer in the early 1960s on the Ocho Rios hotel circuit, first recording for producer Clement 'Coxsone' Dodd's Studio One label. Later that decade, Eccles and another Studio One 'graduate', Lee 'Scratch' Perry, established a partnership that produced songs like Eric 'Monty' Morris' Say What You're Saying and Feel The Rhythm which was done by Eccles.

    Guitarist Ernie Ranglin, who played on both songs at the Treasure Isle studio, told American author David Katz (author of the book, Solid Foundation: An Oral History of Reggae) that Say What You're Saying and Feel The Rhythm are the first reggae songs.

    Eccles' standing on the entertainment scene made him the go-to man when the PNP decided to use music as part of their campaign for the 1972 election.

    Four years later, Eccles was again in the PNP picture, producing the party's campaign song, My Leader Born Yah by Neville 'Struggle' Martin. Recorded at the hot Channel One studio, the song promoted Manley's bold initiatives including free education and repeal of the Bastard Act. For all his contributions to the development of Jamaican music and politics, when Clancy Eccles died from complications of a stroke in 2005, he was largely forgotten by an industry he helped shape.





    David Coore:From Dedication To Disaffection

    Published: Sunday | November 20, 2011



    Howard Campbell, Gleaner Writer

    David Coore had, arguably, the most stressful job in Jamaica in 1978. The country was in dire economic straits and Coore, the finance minister, came under pressure to resign by the prime minister and his close friend, Michael Manley.

    "He wanted a different direction and said I could choose any other position I wanted," Coore told The Sunday Gleaner in a 2009 interview. "I wasn't interested because honestly I thought they (the government) were going too far."

    Coore, who died Tuesday at age 86 in the Dominican Republic, resigned from the government in 1978. He accepted a job with the Inter-American Development Bank (IDB) as its Caribbean representative, a move he never regretted.

    "It was obvious to me that there were tough times ahead and I wasn't particularly keen on what I saw was going to be a rocky road," Coore said.
    His departure from Manley's Cabinet came six years after the People's National Party (PNP) took power in a landslide victory over the Jamaica Labour Party (JLP). As PNP chairman, Coore had been one of the architects of the campaign that brought Manley to office.

    The two were friends since their days at Jamaica College, and spent holidays at their family homes in Drumblair, St Andrew, and Anchovy, St James, where Coore was from. Coore was inspired to get involved in politics by Manley's father - PNP leader Norman Manley - after returning to Jamaica from Oxford University where he studied law. In 1951, Coore was elected to the National Legislative Council and 10 years later, was one of the persons selected to draft the constitution of independent Jamaica.

    In the 1967 general election, Coore was elected to Parliament when he won the West Central St Andrew seat. Five years later, the PNP swept into office for the first time since Jamaica gained independence from Britain in 1962.

    The fiery Manley campaigned on a platform of social change which appealed to most black Jamaicans. For Coore, a middle-class, brown Jamaican, Manley's charisma and reputation as a no-nonsense union leader were a winning combination.

    "There was a lot of enthusiasm. The PNP drew massive crowds wherever we went because people were excited about change," he recalled.

    As he charted a new, adventurous economic path for Jamaica, Manley appointed his longtime friend minister of finance and planning. Coore said he supported most of Manley's controversial decisions, such as going the route of democratic socialism, establishing close ties with Cuba and calling a state of emergency in late 1976.

    But he said by the late 1970s, he had lost the stomach for politics.
    "After 1976 we went through a difficult period, we had to go to the IMF (International Monetary Fund) because of the jump in OPEC (Organization of the Petroleum Exporting Countries) petroleum prices," he explained. "For a oil-importing country like Jamaica that meant tough times."

    The economic challenges were not the only factors that contributed to Coore's resignation. The party he joined over 30 years before was falling apart.

    the split
    The PNP had split into two factions. Coore belonged to the moderates which also included Vivian Blake and Keeble Munn, men who were moulded by Norman Manley.

    Then there were the radicals which included mobilization minister D.K. Duncan and construction minister Anthony Spaulding. Some critics warned there were elements in the PNP who wanted Jamaica to go communist.
    "I wasn't an extremist like people like D K Duncan, and there was a lot of disagreement over policy," Coore said. "I thought they were going a bit too far in trying to introduce a new set of paradigms."

    Coore was replaced as finance minister by Eric Bell. Shortly after he left, Blake, another senior Cabinet minister, also resigned.

    When the JLP decimated the PNP in the October 1980 general elections, Coore was not surprised.

    "Things had deteriorated so badly it was anybody's game at that time," he said.

    While working for the IDB, Coore lived in the Dominican Republic, Barbados and Washington DC. He returned to Jamaica in 1986 and was appointed minister of foreign affairs when the PNP was elected to govern the country in 1989.

    Coore also served as attorney general and a consultant to the government on constitutional reform during the 1990s.

    Source: http://jamaica-gleaner.com/gleaner/20111120/news/news5.html



  • #2
    Stop right there before you jump on me anymore.. I was making a general statement of 'people' who dont know the history in response to the statement made by Sas:

    "....The fact is people like to re-write history. The fact is some of the main problems with music now is payola and free downloads. This influence what the DJ play and the free download...."

    I wasn't making a statement about the writer per se. Idon't know the guy Historian, but based on what he said certainly DID NOT reflect his historical knowledge.

    Furthermore, because one has the facts, it does not imply they will be used. Being 'qualified to write" does not make one infallible.

    Wasn't 'hip-hop' and rap INFLUENCED by our music as well?

    Comment


    • #3
      Historian how can you make a noted Journalist say this and get away with this?

      "At its dawn, the evolution of our modern reggae music was significantly influenced by other musical idioms which were current in that era, including mento, ska, jazz, rhythm and blues/soul, and rock and roll to a lesser extent. Essentially, our songs highlighted concerns and even sought redress on issues such as national, class and race discrimination, prejudice and oppression. They became clarion calls for justice, peace, universal love, and harmony. Early dancehall music maintained this progressive formula and approach.


      In the 80s, one of the international marketplaces that eventually came under the influence of reggae/dancehall's militant anti-establishment stance was the alienated urban North American youth, who were experiencing the twin evils of racial and class stigmatisation and victimisation. Their collective self-worth, especially among young urban males, was very low. Therefore, when they began to interpret and adapt the music from their cultural perspective, hip hop was born with all its negative features such as narcissism, vulgarity, crudity and misogyny.


      In the 90s, as Jamaican dancehall acts began to obtain distribution contracts with American record companies, some A&R executives used undue influence to encourage our artistes to borrow from and infuse this hip-hop beat and lifestyle into their music. Before that, we did not call our women 'ho's and bitches' nor did we call our bredrin 'dawg'. What we are left with in Jamaica today is a poor imitation of hip-hop music as the soundtrack to what we still euphemistically call dancehall music"


      How can he say our music was pure of slackness and other influence until the 90s? Historian again Yellowman, Echo, Welton Irie, Johnny Ringo, the wave of "punany" by noted producer Jammys, "Gun inna baggy" by Little Lenny, "Saudering" by Stanley and the turbine "bag wire inna underpants" "Any Pum Pum" and badman tunes has alway been around just to name a few.

      The fact is the Jamaican music schene has always had a mixed bag and maybe if you know Mr. Campbell you can asked him how he choose not to include this in his article.

      Instead of using his distinguish achievement, just read the article and think about the facts within. If Mr. Campbell truely want to make a point go back and think about the industry before 1990.
      • Don't let negative things break you, instead let it be your strength, your reason for growth. Life is for living and I won't spend my life feeling cheated and downtrodden.

      Comment


      • #4
        Agree with you on that. It is Totally false to suggest that hip-hop is what brought slackness to dancehall music.

        Dancehall music was always more slackness than not. From Echo to Yellow to Ringo, later on into 80s Admiral Bailey Papa San and Stitchie before their religious conversion. The non-slack ones like Trees and Tiger were more the exception than the rule.

        Either the writer is ignorant about the origins of dancehall or he is being dishonest to make a point.
        "‎It is easier to build strong children than to repair broken men" - Frederick Douglass

        Comment


        • #5
          Agree with you Sass a hundred %, DJs were denegrating women before rap started it ,in my view.Gangsta rap was a late 80s early 90s phenom.Yellow was early 80s ,then the inbetweens before Shabba took it to new heights in the late 80s.
          THERE IS ONLY ONE ONANDI LOWE!

          "Good things come out of the garrisons" after his daughter won the 100m Gold For Jamaica.


          "It therefore is useless and pointless, unless it is for share malice and victimisation to arrest and charge a 92-year-old man for such a simple offence. There is nothing morally wrong with this man smoking a spliff; the only thing wrong is that it is still on the law books," said Chevannes.

          Comment


          • #6
            Mr. Campbell need to wheel and come again!


            BLACK LIVES MATTER

            Comment


            • #7
              Now, is Historian big enuff to acknowledge this or to remain at his "friend's" side even in the face of overwhelming evidence to the contrary?


              BLACK LIVES MATTER

              Comment


              • #8
                prince buster was doing slackness for the 60's ... go listen to "the virgin"

                Infidelity does not consist in believing, or in disbelieving; it consists in professing to believe what he does not believe. Thomas Paine

                Comment


                • #9
                  Sass, this is one of your most well articulated post ever!!!!! I 1000% agree with you on this one. Historian, my friend, over to you. Let the "civil" debate begin.
                  Hey .. look at the bright side .... at least you're not a Liverpool fan! - Lazie 2/24/10 Paul Marin -19 is one thing, 20 is a whole other matter. It gets even worse if they win the UCL. *groan*. 05/18/2011.MU fans naah cough, but all a unuh a vomit?-Lazie 1/11/2015

                  Comment


                  • #10
                    Don't forget the Festival song of '82 (think it was) "I want a woman to Jam"!
                    Life is a system of half-truths and lies, opportunistic, convenient evasion.”
                    - Langston Hughes

                    Comment


                    • #11
                      There are too many songs that can be used as reference.
                      Hey .. look at the bright side .... at least you're not a Liverpool fan! - Lazie 2/24/10 Paul Marin -19 is one thing, 20 is a whole other matter. It gets even worse if they win the UCL. *groan*. 05/18/2011.MU fans naah cough, but all a unuh a vomit?-Lazie 1/11/2015

                      Comment


                      • #12
                        How can he say our music was pure of slackness and other influence until the 90s? Historian again Yellowman, Echo, Welton Irie, Johnny Ringo, the wave of "punany" by noted producer Jammys, "Gun inna baggy" by Little Lenny, "Saudering" by Stanley and the turbine "bag wire inna underpants" "Any Pum Pum" and badman tunes has alway been around just to name a few.

                        The fact is the Jamaican music schene has always had a mixed bag and maybe if you know Mr. Campbell you can asked him how he choose not to include this in his article.

                        Instead of using his distinguish achievement, just read the article and think about the facts within. If Mr. Campbell truely want to make a point go back and think about the industry before 1990.
                        assasin... i agree with you, totally... i had read the newspaper article and shake mi head... i can go back even further to the late 60s and early 70s with slackness inna reggae music... i dont give a eff bout him as a writer and historian... him is clearly ignorant to de music history...
                        'to get what we've never had, we MUST do what we've never done'

                        Comment


                        • #13
                          anybody remember de song 'play wid yuh pu ssy'... derrick lynch have a tune weh him a seh shub it up girl and mek mi feel alright... in fairness there was more double entendre back then but there were a lot of blatant expression too... slackness was always in the music...
                          here is a classic...
                          http://www.youtube.com/watch?v=IqVIHuzZEI0
                          'to get what we've never had, we MUST do what we've never done'

                          Comment


                          • #14
                            what about wreck a buddy... and wreck a pu ssy... some people memory short... i have a trojan x-rated reggae cd wid nuff slack reggae... some were clever with de dbl entendre still... but slackness same way...
                            george anthony - cock stiff and hard... that is a blatant song... your pumpum is big and deep... your pumpum is like a reservoir... my boy is long is long and stout... girl open up annd mek mi push it een... my boy is stiff and shiny... lol... dat cudden play pon radio today...
                            'to get what we've never had, we MUST do what we've never done'

                            Comment


                            • #15
                              max romeo... this was banned in england...

                              http://www.youtube.com/watch?v=C79spWeuakU
                              'to get what we've never had, we MUST do what we've never done'

                              Comment

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