DJ Absurd - Ear 2 The Streets Radio Episode 60 (1/21/13)

DJ Absurd - Ear 2 The Streets Radio Episode 60 (1/21/13)

HaitiRozo: Billions to Haiti, Little to Haitians

The epicentre of this magnitude 7.0 Mw earthquake was near Léogâne, approximately 25 km (16 miles) west of Port-au-Prince. at a depth of 13 km (8.1 miles). The United States Geological Survey recorded a series of at least 33 aftershocks, 14 of which were between magnitudes 5.0 and 5.9. The International Red Crossestimated that about three million people were affected by the quake; the Haitian Government reports that over 316,000 people had been identified as dead, an estimated 300,000 injured, and an estimated 1,000,000 homeless.

HaitiRozo: Billions to Haiti, Little to Haitians: In this photo, lawyer Bill Quigley talks to thousands of SOA Watch supporters in Fort Benning, Ga in Nov. 2012. Eh urged the matchers ...



Even before the devastating 2010 earthquake, Haiti was known as a benighted place of poverty and corruption, blamed by many for its own wretchedness. But as acclaimed historian Laurent Dubois demonstrates, Haiti’s troubled present can only be understood by examining its complex past. The country’s difficulties are inextricably rooted in its founding revolution--- the only successful slave revolt in the history of the world; the hostility that this rebellion generated among the surrounding colonial powers; and the intense struggle within Haiti itself to define its newfound freedom and realize its promise. Revealing what lies behind the familiar moniker "the poorest nation in the Western Hemisphere," this indispensable book illuminates the foundations on which a new Haiti might yet emerge.



Why has Haiti been plagued by so many woes? Why have multiple U.S. efforts to create a stable democracy in Haiti failed so spectacularly? Philippe Girard answers these and other questions, examining how colonialism and slavery have left a legacy of racial tension, both within Haiti and internationally; Haitians remain deeply suspicious of white foriegners' motives, many of whom doubt Hatians' ability to govern themselves. He also examines how Haiti's current political instability is merely a continuation of political strife that began during the War of Independence (1791-1804). Finally, Girard explores poverty's devastating impact on contemporary Haiti and argues that Haitians--particularly home-grown dictators--bear a big share of the responsibility for their nation's troubles.

John Johnson Ebony Magazine Interview

John Harold Johnson (January 19, 1918 – August 8, 2005) was an American businessman and publisher. He was the founder of the Johnson Publishing Company. In 1982, he became the first African-American to appear on the Forbes 400.

Johnson was born in rural Arkansas City, Arkansas, the grandson of slaves. When he was eight years old, his father died in a sawmill accident and Johnson was raised by his mother and stepfather. He attended an overcrowded and segregated elementary school. Such was his love of learning, he repeated the eighth grade rather than discontinue his education, as there was no public high school for African Americans in his community.

After a visit with his mother to the Chicago World's Fair, they decided that opportunities in the North were more plentiful than in the South. Facing poverty on every side in Arkansas during the Great Depression, the family moved to Chicago, Illinois in 1933 to try to find work and for Johnson to continue his education. Johnson entered all-black DuSable High School while his mother and stepfather scoured the city for jobs during the day. He looked for work after school and during the summer as well, but without success. His mother was not even able to find any domestic work, which was generally available when all else failed. To support themselves, the family applied for welfare, which they received for two years until Johnson's stepfather was finally able to obtain a position with the Works Progress Administration (WPA) and Johnson himself secured a job with the National Youth Administration (NYA).

Johnson endured much teasing and taunting at his high school for his ragged clothes and country ways, as he encountered something he never knew existed: middle-class blacks. At DuSable High School some of his classmates included Nat King Cole, Redd Foxx and future entrepreneur William Abernathy. This only fueled his already formidable determination to "make something of himself". Johnson's high school career was distinguished by the leadership qualities he demonstrated as student council president and as editor of the school newspaper and class yearbook. He attended high school during the day and studied self-improvement books at night. After he graduated in 1936, he was offered a tuition scholarship to the University of Chicago, but he thought he would have to decline it, because he could not figure out a way to pay for expenses other than tuition. Because of his achievements in high school, Johnson was invited to speak at a dinner held by the Urban League. When Harry Pace, the president of the Supreme Life Insurance Company, heard Johnson's speech, he was so impressed with the young man that he offered Johnson a job so that he would be able to use the scholarship.Read more

One of America’s wealthiest entrepreneurs, John H. Johnson rose from the welfare rolls of the Depression to become the most successful Black businessman in American history; the founder of Ebony, Jet, and EM magazines; and a member of the Forbes 400. Like the man himself, this autobiography is brash, inspirational, and truly unforgettable.

Dancehall live from jamrock 80's

The Volcano set up was the brainchild of a music entrepreneur from West Kingston called Junjo Lawes (b. Henry Lawes). His path to sound system fame differed from the usual in that he started out producing records in the late seventies working alongside singer and producer Linval Thompson. In fact he could lay claim to one of the first dancehall albums ever released when in 1979 he produced, in partnership with Jah Life (b. Hyman Wright), Barrington Levy’s classic “Bounty Hunter” album.

This catapulted the youthful singer to stardom and made Junjo Lawes one of the most sort after producers right at the start of the dancehall era. His productions became all the rage, employing the new on the scene Roots Radics Band who specialised in slower, heavier riddims all mixed down by Scientist or Soljie at Channel One. The hits started to flow in the early eighties with many singles coming out on the Volcano label and its affiliated imprints Arrival and Jah Guidance. With the help of Junjo’s sound, artists like Yellowman, Eek A Mouse, Ranking Toyan, Josey Wales and many others, burst onto the dancehall scene, recording singles and albums which earned them fame both locally and in “foreign”.

In 1981 and 1982 Lawes had almost non stop success working with a broad spectrum of reggae artists. From more traditional groups and singers like Wailing Souls Johnny Osbourne and John Holt to grass roots artists like Little John, Lui Lepki, Little Harry(b. Claude Campbell) amongst many others. Around 1982/83 Junjo started to contemplate his next move in the business, the Volcano sound system. He had an unlimited supply of music with which he could cut to dubplate and he started to assemble the equipment needed to compete against Kingston’s finest. The sound had their headquarters in Myrie Avenue in Kingston 11 and soon he was surrounded with all the talent he needed to take the sound to the top.

Perhaps one of the key elements to having a great sound system is recruiting the best selector. In choosing Danny Dread (b. E. Ffrench) as his main man, Junjo couldn’t have chosen any better. Without doubt Danny Dread was, and still is, one of the finest soundmen of all time. If you want a set to have success Danny Dread is the man to guide a sound. Junjo also employed Steve and Bello to look after the day to day running of the sound. During the short period that Volcano flourished (1983-85) Steve and Junjo's brother Papa Mellon also selected the tunes for the sound. Buro remembers the very first night that Volcano strung up their sound. It was held in front of the Kingston Industrial Works on Spanish Town Road and the venue was so packed that nobody could move, and there was “gunshot everywhere, salutes, fences started to beat”. Buro made quite an impact that night and Junjo hired him the very next day saying “yuh haffi deejay the sound”

On the deejay front Buro (b. Donovan Spalding) was perhaps Volcano’s number one mic man, stepping over from the Killamanjaro sound around mid 1983. Always cultural in style the “Original Banton” could ride rhythms all night long, stringing lyrics together without hesitation. Another fine deejay who often turned up when Volcano played out was Josey Wales (b. Joseph Stirling). He was recording for Junjo at this time so it was only right that he should lend his considerable skills to the Volcano set. Another seasoned performer was Ranking Toyan (b. Byron Letts). His deejaying was unmistakeable, delivering his lyrics with an almost asthmatic kind of style. No matter the age of the performer, if they were good enough they played a part. So youthful deejays Little Harry (b. Claude Campbell), who had first appeared a couple of years earlier on Port Morant’s Aces International aged just 10, and Billy Boyo (b. William Rowe), himself first taking the mic aged 9 on Prince Jammy’s, regularly rocked the crowds. Other Volcano regulars were Elfigo Barker (b. Glenroy McPharker), who learned his trade from Stanley Braveman on Prince Jammy’s set at the turn of the 1980’s. Shadowman (b. Junior ...) was spotted by Junjo performing on Little John’s Romantic set and was brought on board right from the start. Buro’s apprentice deejay was Matta Pang aka Prento, and his training continued the tradition of schooling youngsters in the art of deejaying. Like most sets they always had special guests like Yellowman, Eek A Mouse, Lui Lepki, LeeVan Cliff, Dillinger and others passing through on any given night.Read more

Jamaican dancehall has long been one of the most vital and influential cultural and artistic forces within contemporary global music. Wake the Town and Tell the People presents, for the first time, a lively, nuanced, and comprehensive view of this musical and cultural phenomenon: its growth and historical role within Jamaican society, its economy of star making, its technology of production, its performative practices, and its capacity to channel political beliefs through popular culture in ways that are urgent, tangible, and lasting.
Norman C. Stolzoff brings a fan’s enthusiasm to his broad perspective on dancehall, providing extensive interviews, original photographs, and anthropological analysis from eighteen months of fieldwork in Kingston. Stolzoff argues that this enormously popular musical genre expresses deep conflicts within Jamaican society, not only along lines of class, race, gender, sexuality, and religion but also between different factions struggling to gain control of the island nation’s political culture. Dancehall culture thus remains a key arena where the future of this volatile nation is shaped. As his argument unfolds, Stolzoff traces the history of Jamaican music from its roots in the late eighteenth century to 1945, from the addition of sound systems and technology during the mid-forties to early sixties, and finally through the post-independence years from the early sixties to the present.
Wake the Town and Tell the People offers a general introduction for those interested in dancehall music and culture. For the fan or musicologist, it will serve as a comprehensive reference book.

Super Cat : Interview TALKING BOUT MUSIC BUSINESS & ASSASSINATIONS ON HI...

Super Cat (born William Maragh in Kingston, Jamaica, 25 June 1963) is a deejay most popular during the late 1980s and early 1990s dancehall movement. His nickname, the "Wild Apache" was given to him by his mentor Early B. He is the elder brother of reggae star Junior Cat.

Born to an Afro-Jamaican mother and a Indo-Jamaican father, Super Cat was raised in Kingston's tough Seivright Gardens neighborhood, then known as Cockburn Pen, home to ground-breaking deejays like Prince Jazzbo and U-Roy. By the time he was seven years old, he was hanging out at a local club called Bamboo Lawn, assisting the crew of the Soul Imperial sound system. He auditioned for Joe Gibbs as a singer but was unsuccessful.

He began appearing as a deejay under the name Cat-A-Rock, but soon switched to the name Super Cat. He also appeared as 'Wild Apache'. His first single, the Winston Riley-produced "Mr. Walker", was released in 1981, giving him some success, and he went on to record for Jah Thomas ("Walkathon", on which he was billed as 'Super Cat the Indian'), but his career was interrupted by a spell in prison. After his release he began working with Early B on the Killamanjaro sound system in 1984, and his debut album, Si Boops Deh!, was released in the mid-1980s, and included the hit singles "Boops" (which was based on Steely & Clevie's updated "Feel Like Jumping" rhythm and sparked a craze for songs about sugar daddies), and "Cry Fi De Youth", establishing his style of dancehall with conscious lyrics.

He started his own Wild Apache Productions label and began producing his own recordings, including the 1988 album Sweets For My Sweet. He featured on the album Cabin Stabbin in 1991 along with Nicodemus and Junior Demus. He had been scheduled to perform at the One Love concert in the UK in 1991, but his appearance was cancelled after the shooting death of Nitty Gritty, for which Super Cat was initially suspected but cleared in 1992. Continuing success saw him move to the United States and sign a contract with Columbia Records, releasing one of the first dancehall albums on a major label, Don Dada (1992). The following year, Sony Music issued The Good, the Bad, the Ugly, and the Crazy, teaming Super Cat with Nicodemus, Junior Demus and Junior Cat. Super Cat had a number of hit singles in the early 1990s, including "Don Dada", "Ghetto Red Hot" and "Dem No Worry We" with Heavy D. In 1992, he was featured on the remix of "Jump" with Kris Kross, and he also collaborated with them in 1993 for their song "It's Alright". These hits made him The Source magazine dance hall artist of the year in 1993. He was also an early collaborator with The Notorious B.I.G., featuring the then unknown artist (along with Mary J. Blige, 3rd Eye and Puff Daddy) on the B-side remix of "Dolly My Baby" in 1993. The title song, "Don Dada" was a reply to many jabs made by Ninjaman. His version of Fats Domino's "My Girl Josephine", performed with Jack Radics, was included in the soundtrack to the film Prêt-à-Porter in 1994. In 1997 he was featured on the number one hit "Fly" by Sugar Ray from their platinum album Floored. He collaborated with India.Arie on her hit song "Video" in 2001, and with Jadakiss and The Neptunes on "The Don Of Dons" in 2003. Also in 2003, he collaborated with 112 for their song "Na Na Na Na". Following the death of his long time road manager Fred 'The Thunder' Donner in 2004, Super Cat released a multi-cd tribute album entitled Reggaematic Diamond All-Stars that featured contributions from Yami Bolo, Michael Prophet, Linval Thompson, Nadine Sutherland and Sizzla among others. Super Cat reappeared on the national reggae scene in 2008 for a show at Madison Square Garden with Buju Banton and Barrington Levy. He also headlined the 'Best of the Best' concert in Miami in 2008, with Assassin, Etana, Barrington Levy, Buju Banton, Junior Reid, Tony Matterhorn, Sizzla and Beenie Man. In 2012, his song "Dance Inna New York" was sampled for Nas' single "The Don", from the rapper's album Life Is Good, with Cat adding vocals to the hook. This definitive study of the 1980s Jamaican Dancehall scene features hundreds of exclusive photographs and an accompanying text that capture a vibrant, globally influential and yet rarely documented culture that has been mixing music, fashion and lifestyle with aplomb since its inception. With unprecedented access to the incredibly exciting music scene during this period, Beth Lesser's photographs and text are a unique way into a previously hidden culture.
Dancehall is at the center of Jamaican musical and cultural life. From its roots in Kingston in the 1950s to its heyday in the 1980s, Dancehall has conquered the globe, spreading to the USA, UK, Canada, Japan, Europe and beyond.
Dancehall is a culture that encompasses music, fashion, drugs, guns, art, community, technology and more. Many of today's global music and fashion styles can be traced back to Dancehall culture and indeed continue to be influenced by it today.
Born in the 1950s out of the neighborhood jams of Kingston, Dancehall grew to its height in the 1980s before a massive influx of drugs and guns made the scene too dangerous for many.
This jam-packed visual history and text tells the story from its roots to its heights from that rarest vantage of the true, respected insider. In the early 1980s, as Jamaica was in the throes of political and gang violence, Beth Lesser ventured where few others dared, and this book is a never-before-seen record of the exciting, dangerous and vibrant world of Dancehall.
Writer and photographer Beth Lesser lived in Jamaica in the late 1970s and early 1980s. Her previous book, King Jammy's (2002), a profile of the innovative Dancehall producer King Jammy, was described by Peter Dalton, co-author of The Rough Guide to Reggae, as "the one essential book on reggae." She currently lives in Toronto.