Fans of the late Tupac Shakur may have a blessing in the works according with news that that the prolific lyricist’s full catalogue of unreleased tunes could be released to the public in the foreseeable future. This exciting news follows the announcement that the Estate of Tupac Shakur is being placed in the hands of Jampol Artist Management. Billboard’s The Juice, reports that the late Death Row rapper’s mother, Afeni Shakur, is assuring that all her son’s music will see the light of day. “I believe it is our responsibility to make sure that Tupac’s entire body of work is made available for his fans,” she said in a statement. “My son left many incomplete pieces and even more unfinished ideas. Using the blueprints he gave us, I am committed to fulfilling this duty.” Jampol Artist Management will work with Tom Whalley, the label exec who signed Shakur to his first record deal, and will oversee the licensing, apparel and other ventures that relate to Shakur. This includes music, film, name and likeness in all media, worldwide. JAM has a proven track record with handling artists’ estates posthumously, with a roster that already includes the Doors, Janis Joplin, Otis Redding, Peter Tosh and Henry Mancini. With founder and president Jeffrey Jampol at the helm, the company also consults the estate of Michael Jackson. “It’s our responsibility — and our privilege — to ensure that new generations of fans experience the power of Tupac’s music, his ideas  and his storytelling,” Jampol said in a statement. Afeni Shakur reaffirmed his statements, saying Jampol “will find innovative ways to continue to keep his music, his message, and his legacy alive.”

via:hiphopwired.com

Before that though, Kate and I stopped off at a little place called Pizza Pizzetta for a quick bite to eat and a glass of red at 1.60€ a pop. Was a really cool, friendly little place with a lovely vibe. And the pizza was in good nick an’ all. It’s safe to say we’ll be heading back.

What really “topped” (sorry) it off though was the music – it was bloomin’ brilliant. Alongside the pizza, they were serving up choice cuts of reggae and dub. There was even a Clinton Fearon poster on the wall signed by the ex-Gladiator himself, and he’d boldly written that their pizzas were the “best in the world” – high praise indeed! Some of you might remember me mentioning Mr. Fearon in a previous post, which oddly enough happened after we’d last been to the cinema and discovered Kate’s lookalike, Romina Paula. Coincidences, eh?

While we there, our ears were treated to tracks by Augustus Pablo (who I’ll be featuring in a future post) and Peter Tosh, who’s already featured on this blog a little while back.

But drawing inspiration from both the music and the image of Clinton Fearon, I’ve gone for a track that they could – and probably do – play regularly: it’s the Natural Ites & the Realistics’ delicious “Picture on the Wall”:

A truly beautiful piece of roots reggae that.

The other track that really caught my ear yesterday was Peter Tosh’s fantastic, afro-beat inspired track “Mama Africa“, which is sadly on album I don’t own. Give it a listen, you won’t regret it…

Peel’s Radio 1 shows were notable for the regular “Peel Sessions”, which usually consisted of four songs recorded by an artist live in the BBC’s studios, and which often provided the first major national coverage to bands that later would achieve great fame.

By all accounts, The Wailers made 2 visits to Peel’s show:  1 May 1973 and 26 November 1973.  They played live in studio both times and were interviewed as well.

Aside from having one of the largest record collections in the world, Peel also owned thousands of studio interviews and performances spanning his 40 years in the business.

Click here to read about The Wailers’ appearances on Peel’s radio show.

You can find many of his radio shows HERE.

CLICK ON IMAGE TO REVIEW PEEL DOCUMENTS IN THE DIGITAL LIBRARY

Related articles

• Bob Marley and the Wailers: Stevie Wonder Dream 1975 (midnightraverblog.com)
• Bob Marley and the Wailers: Paul’s Mall, Boston, 1973 (midnightraverblog.com)
• The Wailers Live at Leeds Polytechnic 1973 (midnightraverblog.com)
• The Shooting Of Bob Marley (midnightraverblog.com)

And remember that we can all make choices that are both challenging and healing.  Change starts inside.

May we all be safe, happy, healthy and peaceful.

Love,

Susan

May I (you, we, etc.) be safe and well
May I be happy and content
May I be healthy and strong
May I be peaceful and at ease
~ Metta Meditation ~

Take courage, friends.
The way is often hard, the path is never clear,
and the stakes are very high.
Take courage,
For deep down, there is another truth:
You are not alone.
~ Wayne Arnason

May I be a guard for all those who are unprotected,
A guide for those who journey on the road,
For those who wish to go across the water,
May I be a boat, a raft, a bridge.

For all those ailing in the world,
Until their every sickness has been healed,
May I myself become for them
The doctor, nurse, the medicine itself.
~ Shantideva

One Billion Rising

One Billion Rising - 5:19 - Catherine Feeny

Brand New Me - 3:54 - Alicia Keys

Survivor - 3:49 - Destiny’s Child

Free Your Mind - 4:52 - En Vogue

Stronger (What Doesn’t Kill You) - 3:42 - Kelly Clarkson

Break The Chain - 4:32 - Tena Clark

One Billion Hands - 4:05 - Lourds Lane

Dog Days Are Over - 3:41 - Florence And The Machine

I Know - 3:49 - Dionne Farris

Strength, Courage & Wisdom - 4:58 - India.Arie

Shaking the Tree - 6:26 - Peter Gabriel / Youssou N’Dour

I Am That I Am - 4:28 - Peter Tosh

Phenomenal Woman - 4:24 - Ruthie Foster

Beautiful - 4:06 - India.Arie

1979 FEBRUARY 1 UCD COFFEEHOUSE, UNIV. OF CALIFORNIA, DAVIS, USA
1978 NOVEMBER 27 PARADISO AMSTERDAM NETHERLANDS (DATE CHANGE)
1982-xx-xx (1982-08-01?) ALOHA STADIUM, HONOLULU, HI, USA (with Oingo Boingo)
1981 JUNE 18 2ND VIENNA FOLK FESTIVAL, DONAUINSEL, WIEN, VIENNA, AUSTRIA
1983 AUGUST 21 SANTA BARBARA COUNTY BOWL, SANTA BARBARA, CALIFORNIA, USA
1979 JUNE 12 WIENER STADTHALLE, WIEN (VIENNA), AUSTRIA
1983 AUGUST 29 PARAMOUNT THEATER, PORTLAND, OREGON, USA (WITH BILLY RANCHER)
1982 OCTOBER 7 THE ROXY, HOLLYWOOD, L.A., CA, USA (WILLIN PROPHETS AS OPENER)
1981 OCTOBER 8 CENTER STAGE, EAST PROVIDENCE, RI, USA
1981 JULY 28 THE RITZ, NYC, NY, USA
1981 JULY 29 THE RITZ, NYC, NY, USA
1981 SEPTEMBER 27 THE RITZ, NYC, NY, USA
1981 SEPTEMBER 27 THE RITZ, NYC, NY, USA
1979 MARCH 1 PAINESVILLE AGORA, PAINESVILLE, OH, USA
1982 OCTOBER 27 AGORA BALLROOM, ATLANTA, GA, USA
1982-XX-XX FINE ARTS CENTER, UNIVERSITY OF MASSACHUSETTS, AMHERST, MA, USA
1978 JULY 9 THE CABOZEE, MINNEAPOLIS, MN, USA
1982 OCTOBER 23 REGGAE FESTIVAL, WINTERGARDEN, DALLAS, TEXAS, USA (WITH JIMMY CLIFF) –
1981-SEPTEMBER 4 CENTENNIAL CONCERT HALL, WINNIPEG, CANADA
1979 JUNE 16 NEUE WELT, BERLIN, GERMANY
1982 OCTOBER 30 SUNRISE MUSICAL THEATER, SUNRISE, FLORIDA, USA (WITH UP FRONT)
1982 OCTOBER 28 JAI ALAI FRONTON HALL, TAMPA, FL, USA (WITH NEW BREED BAND)
1976 OCTOBER 22 IRVINE AUDITORIUM, UNIV. OF PENNSYLVANIA,
1976 OCTOBER MIAMI, FL USA” IS “UNIVERSITY OF MIAMI”
BECK AND HAMMER, OUTDOORS IN STRATFORD CONN, 76
1976-XX-XX – PLAYER’S TAVERN, WESTPORT, CT, USA
1979 FEBRUARY 27 PALMS, MILWAUKEE, WI, USA
1979 FEBRUARY 26 THUMPERS, MINNEAPOLIS, MN, USA

University of Miami, 1976.  Photo courtesy of Lee Jaffe (www.leejaffe.com)

Also obtained a ticket, program, and what looks to be a video still from Tosh’s performance at the Monterey Tribal Stomp on September 8, 1979.

The following interview article titled ‘Reggae, like the heartbeat,” gives a positive message’ was written by Kay Bourne and appeared in the Bay State Banner on June 9, 1977.

“It’s wool against wool,” says Peter Tosh about the seaman’s cap‑like tam he was wearing pulled down over his dread‑locks, which still permitted room enough for the dread‑locks to hang about his face and protrude slightly through a hole in the top of the tam.

The colors of the tam have a significance, as does much of what Jamaican reggae singer Tosh gets next to.

The tam is basically blue with narrow stripes of red, gold, and green. It’s the stripes that have the message.

“What colors do you see when you come to a stop light?” asks the pedagogically‑minded Tosh. “The stop lights were invented by a black man. The colors are a rainbow. Red for blood. Gold for the resources of the earth. Green for the fertile field.” As to the “wool” that is the dread‑locks, Tosh says that he washes his hair with herbal shampoo about three times a weeks, but he doesn’t put anything like a rinse or cream into his hair to wind the curls up or to make them stick out as they do. He says that his hair is the way it is because he has “high potential magnetic fields.”

It comes as no surprise to the person who’s talked with Tosh socially to discover his music is teaching too.

The lyrics of reggae music are political, not nonsensical like, “she done him wrong” or “he done me wrong.”

A listener can dance to reggae music; but while they dance they get a positive message.

The beat is not contradictory to the purpose of the lyrics. It’s a ritual beat that takes those who hear it all the way back to what LeRoy Jones calls “ingram” ‑‑ stored knowledge from the ancestors. The reggae beat is suggestive of the kind of movements that that bring a person up from under devastating hardships.

In America reggae has a popularity too because for most Americans it is a new sound which comes along at a time when rock seems to have depleted its inventiveness. Americans take to what seems different.

Tosh, however, instructs that “reggae is like the heartbeat.”

“If the person has not heard it before that is because it was plucked from the mentality like everything made to enlighten people was held back and made illegal and unlawful.”

Guitarist‑vocalist Peter Tosh writes his own reggae songs. When he was with the Wailers, for instance, they did his “One Foundation” and a song he wrote with Bob Marley, “Get up, Stand up” on their “Burnin’” album.

Tosh’s own album ‑ “Equal Rights” (Columbia) all eight songs are his.

“I write from inspiration,” says Tosh.

He describes the experience as, “the inspiration doesn’t stray; it doesn’t tary. It passes through the creator. It’s you to know how to reproduce it to satisfy.”

Tosh writes about people who call themselves Africans who are born elsewhere. “African is born everywhere else, if you are black,” he says.

He writes about his country, about which he is patriotic as are so many Jamaicans.

Like many other Third World countries Jamaica has a lot of umemployment and a lot poverty.

Tosh says that he has written, “some very, very heavy songs about Jamaica because I want everyone to know what Jamaica is, not as it is propagandized. It is the best West Indian place.”

Tosh adds, “I’m watching the new administration and haven’t released these songs.”

Many listeners enjoy the way Tosh puts things in his songs. Jamaicans speak English, but they often use words differently than do. Americans. The Jamaican flavor added to the writer’s knack for conveying his own voice makes Tosh’s political sentiments bristle in a unique way for the listener.

“Downpressor Man,” for example, is a version of the American folk song and spiritual “Oh, Sinner Man.” If an American had written the lyric it would likely to have come out “Oppresser Man.”

Street people should appreciate Tosh’s “Stepping Razor.” And although they probably wouldn’t have put it the way Tosh does, they will understand such lyrics as, “I’m like a stepping razor. Don’t you watch my size. I’m dangerous…..if you want to live, treat me good.”

Tosh’s song titles do not mislead. “Equal Rights,” “African,” “Apartheid” are about what they say they are about.

Reggae music has not taken all of America by storm; but it has established a base of popularity in the urban communities where there is a large contigent of Jamaicans. The most prominent cities are New York, San Francisco, L.A., Miami, Philadelphia, Boston, Indianpolis, Chicago, Toronto, Montreal, and Atlanta.

College campuses are supportive of reggae music too. Those fans were birthed by the popularity of the film “The Harder They Come,” which is said to have opened minds and eyes to Jamaican culture.

Tosh comments, “well, (the growth of reggae music’s popularity) moving slowly, but surely. The people are beginning to respond very much, especially black Americans.”

By: Tyson Johnson ( November 16^th 2010)

Some Greek thinkers and past civilizations in general have held that good music disposes man to virtue whereas bad music disposes man to vice. Which suggests that music can impact on the moral behavior of individual in a society. But what  is music? Music  is sounds, expressed in various types of melody, harmony, rhythm, timbre and tonal texture which may be performed instrumentally and or vocally.  The next question is what is moral behaviour? Moral behaviour is concerned with the principle of right and wrong, good and bad.

Philosophers and sages throughout the ages have asserted the decisive influence music can have on the character and moral formation of the young and on the formation of a civilization. In the 6th Century, the Christian philosopher Anicius Boethius, wrote: “Music can both establish and destroy morality. For no path is more open to the soul for the formation thereof than through the ears. Therefore when the rhythms and modes have penetrated even to the soul through these organs, it cannot be doubted that they affect the soul with their own character and conform it to themselves.” Boethius attested to the awareness that ancient peoples had about the influence of music. So great was the regard for music among them, that they looked on it as having a definite power over the soul.

Is this power and influence that Boethius attested about music which could affect character and moral behaviour of individuals, centuries ago, still prevalent today in our Caribbean territories?

This discussion will seek to examine the way in which music may be impacting on the moral behaviour of Jamaican Society, by discussing the following: the positive contribution of Music to Jamaican society and the negative influence of music on Jamaica society.

In the introduction Music was defined in technical terms but in simpler terms, it is the art of combining sound of voice or instrument in a pleasing way. It is a vital part of Jamaican society. What would Jamaica be without music? It is unimaginable. Although music is an important aspect of the Jamaican society it has proven to bring about both positive and negative effects on Jamaica. Dated as far back as 1940’s music played a significant role in lifting the spirits of young men and women in the community, who felt hopeless in their state of poverty by the providing mean of socializing and expressing themselves. In more recent times music played an integral role in lifting young men and women out of the  slums, ghetto and extreme  poverty  stricken  areas  such as  “downtown Kingstown”, Jamaica( was also called trenchtown), into stardom. Persons like the great legend Bob Marley, Peter Tosh, Gregory Issacs, Jimmy cliff, Barrington Levy, Beres Hammond are some of those individual that music took out from what was referred to as the gutter of society and catapulted in to stardom. Many of these individuals have become national, regional and international stars.

Apart from person rising to stardom, music provides excellent job opportunity and in many cases was and still is the only form of income for a lot of individuals and their families.  Persons worked as DJ, composers, arranger, entertainer, record producers, mixing technicians, Rodie, music retailers ,  to name a few. This meant a better standard living economically for many families as it relates to food, shelter, clothing and education. Music was and is still used as marketing tool by many businesses to attract customers to their businesses by playing loud music at stores etc.

About mid 70’s to Early 80’s, when Jamaica was experiencing one of its worst political division, during the time of Edward Seagar and Michael Manley ,which was marked by horrific killings and shootings by political Gangs it was music that was used to unify the country in  what was called a peace and unity concert held by Bob Marley. There was tremendous improvement in the political climate after this concert.

Apart from politics, music contributes to the Gross National Income of
Jamaica. Tourists are drawn to Jamaica because of the country’s music which is internationally recognized. Jamaican Music, such as Dance Hall, Ska, Reggae, have gained internationally appeal especially in urban United Kingdom, United state, many countries in Europe and have been on some Radio Station Top 20 hits, numerous  times.  When these tourists visit Jamaica they bring in foreign exchange that helps in the growth of the Jamaican economy. Many of the artists contribute to the economy in the form of taxes. Several musicians/ artistes have charity programs and help in the building of community centers. This is referred to as Social Responsibility.

Additionally music is integral part of all of Jamaicans religious worships and rituals, most notably the Rastafarian community who uses music in the form of dances and chants with the use of Marijuana to spread their Rastafarian ideologies.

Whether you are a fan of this country’s music or not you will still come in
contact with it.  Music is everywhere in Jamaica. You may hear it while travelling in buses or taxis, while walking down the street and just about anywhere. For a genre that is so popular in society the question is, why has it been having so many negative impacts on society as well?

Some Jamaican musicians for example dancehall artistes promote  topics which are usually about explicit sexual acts ,encouraging Gun use, and other forms of violence,  in what is known as  boasting, (also referred as toasting/bigging-up.) This genre has become one of the most popular style of music in this country.In most recent times this has lead to an increase in criminal activities on the Island. Some of these lyrics make it seem acceptable to just hurt or kill someone without showing any remorse. It has also been alleged that some artists have been involved in some of these criminal activities themselves.

Many individuals, Men, women, boys and girls, look up to these artist as role models and are strongly influenced by their music.

Adolescents’ psycho-social response to some of these music for example dancehall genre has become a national and public health concern, and has raised policy debate in terms of adolescent’s sexual and violent behaviour (with respect to pregnancy, sexually transmitted infections (STI) and human immunodeficiency virus (HIV)).

Issues relating to sex and violence among adolescents have, in recent times, raised much public health and policy concerns, especially in an era where first sexual debut is at the mean age of 11.4 years for boys and 12.8 years for girls in Jamaica.

Studies have shown that graphical lyrical contents in some music can impact adolescent sexual and violent behaviour and this is one of the main characteristics of Dance Hall Music. The minister of health of Jamaica in a recent interview on Caribbean Broadcasting Cooperation dated September 24^th 2010 said, “A recent study conducted by the Ministry of Health In Jamaica in Collaboration with the University of the West Indies has shown that there is a direct correlation between musical genres depicting explicit sexual acts and violence and adolescents sexual and violent behavior”. “This study has posited the various policy and health implications governing adolescent behaviour and the types of music played on public buses and taxis.”

Research has also shown that there is a direct correlation between the loud ‘hard-core’ music played on public transportation and the proliferation of sexual activities on these said transportations.

This discussion has examined the way in which music is impacting on moral behaviour of Jamaican society by looking at some positive and negative of effect of music and it is clear that both exist in Jamaican society presently.

Bibliograpgy:

1. Ancius Boethius, On Music, bk I, ch. 1, quoted from “The Portals of the Ears: Music and Morals” an article in Newletter of Maronite Monks of Adoration, Holy Nativity Monastery, Bethlehem, SD, Easter 1995.
2.  David Tame, The Secret Power of Music, Destiny Books, Rochester Vermont, 1984, p. 29.
3. Cyril Scott, Music, Its Secret Influence Throughout the Ages, Aquarian Press, 1958.
4. Hamm Charles, Putting Music in Its Place Cup,1995.
5. Walcott Stetan, Caribbean Musician Handbook,2009.

One of the popular dancehall voices today is Busy signal. Born Goshia Gordon Glendale 33 years ago, the dancehall reggae artists is currently enjoying his best moments. Since 2003, the tides have turned into his favor after a successful reggae career launch. One of his latest hit songs titles ‘Baby Come Over’ is making tremendous airplay in almost all countries in the world with the artist enjoying much popularity in USA and the Caribbean.

Last year saw the dancehall artist launch his own clothing line. That said, things are not going well for the dancehall icon. He was arrested about exactly one month ago in a Jamaican airport following an extradition warrant of arrest from USA. As at now, the singer is currently fighting the USA authorities. The musician is being charged for offences that he committed about 10 years ago long before he even discovered his musical talent. Even though he is one of the shining lights in dancehall, a lot of controversy has rocked Busy Signal’s musical career. The artist faced similar predicaments when he was in his Europe tour last year.

Only once in your life, I truly believe, you find someone who can completely turn your world around.

You tell them things that you’ve never shared with another soul and they absorb everything you say and actually want to hear more. You share hopes for the future, dreams that will never come true, goals that were never achieved and the many disappointments life has thrown at you.

When something wonderful happens, you can’t wait to tell them about it, knowing they will share in your excitement. They are not embarrassed to cry with you when you are hurting or laugh with you when you make a fool of yourself. Never do they hurt your feelings or make you feel like you are not good enough, but rather they build you up and show you the things about yourself that make you special and even beautiful.

There is never any pressure, jealousy or competition but only a quiet calmness when they are around. You can be yourself and not worry about what they will think of you because they love you for who you are.

The things that seem insignificant to most people such as a note, song or walk become invaluable treasures kept safe in your heart to cherish forever. Memories of your childhood come back and are so clear and vivid; it’s like being young again. Colours seem brighter and more brilliant. Laughter seems part of daily life where before it was infrequent or didn’t exist at all.

A phone call or two during the day helps to get you through a long day’s work and always brings a smile to your face. In their presence, there’s no need for continuous conversation, but you find you’re quite content in just having them nearby. Things that never interested you before become fascinating because you know they are important to this person who is so special to you.

You think of this person on every occasion and in everything you do. Simple things bring them to mind like a pale blue sky, gentle wind or even a storm cloud on the horizon. You open your heart knowing that there’s a chance it may be broken one day, and in opening your heart, you experience a love and joy that you never dreamed possible.

You find that being vulnerable is the only way to allow your heart to feel true pleasure that’s so real it scares you. You find strength in knowing you have a true friend and possibly a soul mate that will remain loyal to the end.

Life seems completely different, exciting and worthwhile. Your only hope and security is in knowing that they are a part of your life.

A quote by Bob Marley.

*sourced from Goodreads.com

*pic from Tumblr.

Dane’s poetry can be found on CD, 12” Vinyl, MP3, in anthologies and in poetry reviews. This is his first full-length collection of poetry in print: Bending The Continuum.

BCP: Why poetry?

DS: Why not poetry? I consider myself a writer rather than a poet to be honest. From my perspective I find that poetry is the most demanding genre. The author has numerous limitations in poetry, as well as numerous freedoms other genres don’t accept. Finding the perfect balance is always an addictive challenge.

BCP: What is your writing process?

DS: Usually I’ll think about a subject, or inspiration for a few days. If needed, I’ll write a note on my cell phone, or on paper. By the time I sit down with something it’s usually just a matter of putting the poem to page, or computer, and editing. 

BCP: What writers have been the biggest influence on you?

DS: Honestly, my greatest influence is myself. As a writer it’s part of the job to read others, but I’m always amazed when I write something that impresses me. I become afraid that I’ll never write a poem up to that standard, and try to write another poem that puts pressure on me to improve more. As far as poets I recommend to others, I find that I recommend particular books, not poets– the modern poet is pretty inconsistent. I guess Wanda Coleman, Franz Wright, from Canada Len Gasparini. I’m not her biggest fan, but Dionne Brand‘s Land to Light On, may be the only perfect book of modern Canadian literature I’ve read. It’s brilliant. If you go into that book with no preconceived notions, and question how amazing that book is, you’re not a writer. 

Non poets is a lot easier: Austin Clarke, Hubert Selby, a long list of genre authors like Tolkien and PK Dick. Rappers like Tupac, and Rakim. Not to forget Bob Marley, Peter Tosh, and a long list of reggae artists as well.

BCP: In your interview on One Voice Radio you talked about the hard life that a poet lives.  What keeps you going?

DS: I honestly couldn’t tell you. I guess a firm belief that God gave me one talent, and it wasn’t to find stable relationships that create responsibilities. I can’t even honestly say that I enjoy writing. I’ve tried to quit numerous times, but when things around me fall apart the one thing I can grasp on to is the talent to write work that other people can relate to, and enjoy.

BCP: Is there a preferred style of poetry you like to write?

DS: Genre doesn’t exist. There are different ways you have to manipulate your work so that it fits a medium. Medium exists. For me writing is writing, I just shape my work for the audience I want to reach. 

BCP: You’ve talked about Canada not being very supportive of artists of colour.  Can you elaborate?

DS: Gladly. I’ve lived in Canada 18 years (off and on). In the late 90′s early 2000′s I hosted one of Canada’s first All Canadian Hip Hop Campus Radio shows, Lunchbreak, on CKCU FM in Ottawa. While hosting that show– and the handful years after I moved to Toronto– I witnessed the majority of “non-white” rappers who I built relationships with move to the US. Not to become superstars, but merely to have a fair chance at doing what they loved. While the worst, least talented bands in genres that were considered “white” easily were given grants, record deals they didn’t deserve, distribution deals, etc., bankable talents in urban genres were forced to ply their trade in the US. A few years ago, I was chatting with a Juno nominated artist who complained to me that this nonsense is still going on.

Sadly, the brief time that I’ve spent as a part of Canada’s literary community I’m seeing the same thing. If you don’t have a name, and you’re “black”, good luck getting that second book published. My best guess is that half of the black poets who came up from Toronto around the time I joined the community currently reside in the US, or are no longer a part of the community. I’m talking brilliant writers who ply their trade elsewhere because they feel ostracized by the funding system, the publishers, the academia. Organizations like “the League” perpetuate it with Draconian definitions of poetry, yet control of government dollars. Certain publishers “support” one poet of color a year to fit into multi-cultural boxes for funding. It’s sad. I have a hope that one day we will be able to read true Can-lit. Not just poems about the open plains, but poetry that effortlessly, and authentically speaks of the various cultures that Canada is built on. Unless things significantly change, the poets who could write those works, whether they are Black, white, Aboriginal, Asian, Hispanic, etc., will be so alienated by the environment that they will adopt another home, and be championed there rather than here.

BCP: Amongst many poets there seems to be a divide between those who identify as “book poets” and those who identify as “spoken word poets”.  You have a book and you used to run a spoken word night.  What are your thoughts on the riff between writers of both styles?  Were you ever conflicted at some point?  Do you have a preference?

DS: It’s all nonsense. We all have our particular tastes; but do I get angry because you like “chocolate-chocolate chip” ice cream, and I like “cookies n cream”? The conflict isn’t between fictional genres. The conflict is created because of the limited government funding that certain organizations are dependent on. Personally, if I ran a poetry organization, and I was losing money to “Slam” poetry organizations because the government saw “Slam” as a more inclusive, young, exciting genre, and politically wanted to be seen as supporting youth, you know what I’d do? I would invite “Slam” poets into my organization. That’s how the real world works. Segments of the literary community have no sense of how the real world works. Instead, they would rather alienate potential members of their scene, blacklist people, and write uneducated diatribes without caring for debate. Why? Because they deem that the easiest way to maintain access to what little money (private and government) is available for poets.

BCP: I’ve noticed that most poetry readings have very few people come out to support and listen.  “Fifteen people is a good audience” is a phrase and belief in the traditional, book poetry scene.  I attended one of your spoken word events and it was packed!  What do you think is the difference?

DS: Marketing helps. Having features who connect with the audience helps (spoken word may have an advantage at that). It’s tough. Once you lose momentum with a series you become forced to actually spend money on big name features. That said, paying features a fair share helps. I know I’ve been asked to read at events where there’s a cover but none of the poets are paid. Do you think I would invite anyone to an event like that? The best promoters often are the poets themselves. If the poets aren’t pushing the event, and are just showing up the event will fail no matter the genre.

BCP: How long did it take you to write your fist collection Bending the Continuum?

DS: 3 months to write, a year to edit. Bending The Continuum was published a year earlier than I planned. I had written the first third, and was looking for a chapbook publisher for it. I also had a handful of poems published in a chapbook called Narcotics//Flora by Burning Effigy Press. I thought I was one, maybe two more chapbooks away from having enough material for the manuscript. 

I did a feature at the Artbar Reading Series, impressed Elana (my editor), and received a phone call the next week. I then had to write a manuscript in a month so that I could get my contract (What an intense month). To me, the editing process was more important. I’m an ornery person sometimes, but the difference between a writer, and a hobbyist is the ability to take criticism. It was tough, but I learned a lot. Probably too much. My next editor and I are destined to debate things.

BCP: What does Bending the Continuum mean to you as a poet?

DS: When Adebe interviewed me (for Sway Magazine’s website) just before the book launched I explained this, but if it’s okay I would love to go more in depth. When I was writing “Bending” a poet essentially proclaimed war on spoken-word poetry locally. The poets in my home “genre” who tried to defend our “genre” were too emotional, too passionate (as should be expected of spoken-word artists). I wanted to defend our good name. “Bending” is a shot across the bow. It’s me stating, “Yes we may be over-passionate-performance poets, but we are still poets of merit.” I also felt at the time that black poets in the literary community were being type caste. I wanted to write something that would challenge the people creating that poisonous environment. I wanted to write an important book. Not in the, “get shortlisted” way, but in a way that opened doors for future poets who try to get published. 

The thing that amazed me is how quickly Elana got what I was trying to do. At our first meeting she basically stated what my intent for the manuscript was. I was blown away. That’s why the name is Bending the Continuum, the original name for the manuscript was, “More than the Eclipse,” but Elana suggested “Bending,” it fit what I was trying say.

BCP: You don’t hide from ‘touchy subjects’ such as race and class like many poets tend to do.  What has been the overall response to that?

DS: I’m a black person living in Canada. Racism exists. The one person I ever asked to marry me had a racist mother. If racism didn’t exist I would be a married lawyer with a billion kids living in Belleville, Ontario. One of her (the ex-fiance) friends was a woman who had never had a black friend. She asked me one day if it was okay if she asked random questions about black people that may appear racist, but were actually a product of just not knowing any black people. I said, “Yes, ask away.” I quickly realized that the real way to combat racism isn’t to be polite, or fear hurting peoples’ feelings, it’s to have non-judgmental open dialogue. I can’t say that I have experienced negative responses because that is part of my poetry. If anything, it’s led to more open dialogue– and that’s what I want.

Class? Yes I’m poor, but I have a cousin who was knighted by the Queen of England — he’s silly rich. I remember when my parents struggled to get by, and had three kids in a one bedroom apartment back in Bermuda; but I also remember when my mom got paid over $100,000.00 a year for a handful of years. Class is fluid. Being rich, or poor has nothing to do with the quality of person, or friend you can be. Yet for some reason people like to place shame on being poor, or wealth. Who cares. Are you happy? Is the reason you’re not happy connected to the fact that all the people you know are of the same class, and have small minds? Then get out there, and meet new people. That’s pretty much my opinion on class.

BCP: Here is an excerpt from a racist comment I did not publish on my site:

“…you’re a racial minority poet who can’t shut up about the fact that you’re a racial minority and how society “makes you feel”. Which basically means that your so-called poetry is completely indistinguishable from every other black/latino/brown/whatever poet in this country who talks about nothing except their “identity”.”

Is this something you have faced because of the poems you write that touch on race?

DS: In everyday life: sure.  As a poet? No. I’m all about open dialogue. Not a big fan of “white” guilt so I try my best not to insinuate it in my work. That said, being “black” has a very distinct definition. By definition we are a race that does not exist. We are not Africans– that part of our lineage was stolen. We are not European– the rapes, and mutually accepted mixed race relationships of our ancestors never existed– yet the culture we created to survive in an environment where we are outcasts is widely considered the culture of the society we exist in. What is the West without our music, dance, art? How much of our culture is passed off as “white” because we are ignorant of our own past? Don’t get it twisted, there are “white-black” people to. The best part of being “black” is being part of a race with an open door policy. If you are willing to take the hardships, you are welcome to the glory (Just avoid that N word).

As far as “identity” defined by the author of that letter, I would politely point out that a large amount of “white” poets in this country often imitate other “white” poets. Should I get upset when I go to a reading and another “white” poet who lives in an urban area proclaims the beauty of a lake he’s never been to while he sips a latte? A lot of poets are published because of said imitation. I don’t think repetition of subject is a uniquely “minority” poet issue. Yes, there are more ways to skin a cat, but I’ve been egged, physically attacked, had death threats via phone for being black– a little email wouldn’t bother me. I think the email brings up two things: 

1) The ignorance of the author in the repetition of themes by his “race’s” literature. 

2) If I received said email I would also step back, and make sure my work was nuanced. I would also ask if that was the response I wanted. It’s a good sign if people passionately hate your work, but are you satisfied with the rationale?

BCP: What are you working on now?

DS: I have a manuscript of poetry inspired by Charles Mingus in Guernica‘s hands, a Novella exploring the hours surrounding a fictional bizarre assault floating around to various publishers, and I’m starting to put together the framework for a novel as well. Always making music for fun with my buddy Dan D’Onorio, and a workshop on writing and social justice that myself and Patrick Connors are struggling to get completed. Almost forgot, I have work being published/released by my good friends in France the Paris Collecitive, another poem is getting published with the super-cool zine Chrysalis and one of my favorite post-modern poems is getting published by awesome art/multimedia supporters Papirmasse. Mona “Faith” Moussa, and I are also trying to put together a project but she’s a busy touring poet– who knows what will happen with that. Easiest way to keep track is join my Fanpage on Facebook, follow me @danejahras or visit my blog DaneSwan-writer.blogspot.com every once in a while, and check the columns for updates.

BCP: What advice do you have for young poets out there?

DS: Don’t become a poet. If by mistake you become a poet: 

1. I am sorry. 

2. Read. 

3. Meet people who are different than you, and make an honest effort to get to know them. 

4. Read. 

5. Find your own voice. 

6. Accept rejection– writing is rejection. 

7. You haven’t read enough. 

8. Accept more rejection. 

9. Write, you are a writer. 

10. Accept criticism as much as rejection, use that criticism to learn how to edit your work. 

11. Read more, and if you STILL want to be a poet my sincere apology.

BCP: Thanks for writing a great collection of poems!

DS: You’re welcome. It’s a pleasure writing work that people enjoy.

Tune into Black Coffee Poet Friday February 8, 2013 for a video of Dane Swan reading from Bending The Continuum.

its definitely a morning for a mixtape..  the rain is falling hard outside my window and if i can’t have sunshine outside, I’ll get some into the headphones instead.. tricky mixed into j.s.bach anyone?.. from there mr.brown takes us on a journey through trip hop, hip hop, classic reggae from pete tosh and the something nice, shiny and new from hollie cook.. with our usual adventure through remix land scattered across the asphalt like the puddles splashing outside, its another great mixtape to get your week going..

have a good one.. mix..

download here.. mixtape no.5 – low down and dirty brother brown

1.. j.s.bach cello suite 1 – yo yo ma

2.. diss never – tricky

3.. how bout us – ktalyst

4.. the hop – radio citizen

5.. riders on the storm – snoop dogg

6.. get up, stand up – peter tosh

7.. milk and honey – hollie cook

8.. walk on the wild side – ben liebrand

9.. man of constant sorrow – skeewiff

10.. planet of the sick – supermayer

11.. group autogenics II – the books

12.. pretty lights v radiohead v nine inch nails

13.. fake empire – the national

Peter Tosh 1976

“Regardless of the size of the stage, you got to move.  Use it up, he, he, he.”

This interview is definitely not one to be missed.

In addition, there are tons of other gems as well!  A piece about a young, struggling band called Third World; a young Peter Tosh on stage with guitar; a review of the Super Soul ’75 concert; a story on an angel-voiced trio named The Tamlins; Clancy Eccles, Augustus Pablo, Burning Spear, Dennis Brown, Ken Boothe, Jack Ruby, and much more.

I would suggest reading this treasure from cover to cover…

CLICK TO READ IN OUR DIGITAL DOCUMENT LIBRARY…

A finer collective of musicians you will never find:

Producer : Bunny Wailer

Mixing Engineer : Karl Pitterson & Chris Blackwell
Engineer : Karl Pitterson & Errol Ross

Vocals : Bunny Wailer
Backing Vocals : Bunny Wailer & Bob Marley & Peter Tosh
Drums : Carlton Barrett
Bass : Robbie Shakespeare & Aston Barrett & Bunny Wailer & Karl Pitterson
Lead Guitar : Peter Tosh & Chinna & Eric Frater
Rhythm Guitar : Peter Tosh & Aston Barrett & Michael Murray
Keyboards : Aston Barrett & Tyrone Downie & Harold Butler & Touter Harvey
Horns : Bobby Ellis & Herman Marquis & Mark West & Tommy McCook & Dirty Harry
Flute : Tommy McCook
Acoustic Guitar : Bunny Wailer
Funde : Carlton Barrett & Bunny Wailer
Bongo : Bunny Wailer
Harp : Bunny Wailer
Percussions : N. Garrick & Bunny Wailer
Congos : Larry McDonald
Melodica : Peter Tosh
Timbales : Bunny Wailer

Studios :
Recording : Aquarius (Kingston, JA)

The gay marriage issue is a big thing in France at the moment as the “mariage pour tous” debate will be discussed in parliament from tomorrow. I’ve no doubt it will eventually be passed – just as it will be in the U.K. and U.S. – but it is dredging up some pretty homophobic arguments, especially from religious groups.

However, I saw this excellent placard on the news that no doubt riled a few evangelical activists: it translates as “Jesus had two fathers and a surrogate mother”. OUCH! That’s bound to have irked the purists as Half Man Half Biscuit would say…

Anyway, as tonight’s demo is all about equal rights, I’ve plumped for ex-Wailer (see yesterday’s post for one of their tracks) Peter Tosh’s caustic – and probably Frantz Fanon-inspired – “Equal RIghts”.

The song is a call to arms: equality must literally be fought for; peace changes nothing. Such a message caused quite a stir in Jamaica back in 1977 because it followed large-scale violence the year before which left over 100 Jamaicans dead – largely because the CIA secretly armed the opposition.

Despite its tough lyrics, it’s a beautiful song and it’s overriding aim rings as true today as ever, though hopefully there’ll be no bother tonight!

home made tribute

Audio available on the “Equal Rights” LP/CD

Composite of footage available on Stepping Razor – Red X Vid/DVD from 1992
_____________
Buy “Steppin’ Razor” on

Google Play
AmazonMP3

Related articles

• Peter Tosh Live at the Forum, Ontario, CA 23 July 1980 (midnightraverblog.com)
• Tosh Tosh Tosh (yzamon.wordpress.com)
• Pick of the Week: Peter Tosh Live and Dangerous (Boston, 1976) (midnightraverblog.com)
• Win It! Venus Razor Plus A Year’s Supply of Cartridges! (mygloss.com)
• Peter Tosh Live Grenoble, France, June 26, 1981 (midnightraverblog.com)
• Video: VW Super Bowl teaser with Jimmy Cliff is like a less-mean Tosh.0 Web Redemption (autoblog.com)
• NoTosh is 3! The story of a toddler startup and the long journey down under (edu.blogs.com)
• General Tosh / Nekomimi (Neki Stranac Edit) (exposeexpress.com)
• Watch the moment Rylan and Razor go skinny dipping in excitement for Celebrity Big Brother final (mirror.co.uk)
• Daniel Tosh’s Twenty Twelve Tour Schedule (vividseats.com)

- Sometimes, when on the street, I am approached by someone in a blue vest holding a clipboard that barks, “DO YOU HAVE A MINUTE FOR GAY RIGHTS TODAY?????” Most people, myself included, pass these people by as if they were homeless begging for money. That being said, I often wonder whether the question is asked to a very eccentricly gay person that loudly responds, “I GOT MY WHOLE LIFETIME FOR GAY RIGHTS, DELICIOUS!”

“Where do I sign? And where do I get one of those vests they are cuhhh-youte!”

- I downloaded a new tool for email called “Yesware” that allows you to see when people open the messages you sent them. Initially I was all about it, but now, as opposed to being in the dark, I am well informed as to exactly who ignores me and for how long.

- MLK Day, when read quickly, makes me think it is actually MILK Day.

see what I did there?

- I watched 10 minutes of 1600 Penn and wanted to kill myself. #mikescritiques

- Restrooms: The one place where sexual discrimination is not only permissible, it’s encouraged.

“You’re not welcome here women! GET OUT! Ya’ll are women!!! You don’t belong here.”

- I had a dream last night that was entirely in Spanish. This is something I thought was only reserved for people that gained fluency. Either I am now magically fluent in Spanish, or that episode of Locked Up Abroad set in Colombia really hit home.

- A documentary about the show “How It’s Made” would be called “How, ‘How It’s Made’ is Made.”

- Brooklyn in the winter time looks like a Life Aquatic with Steve Zissou costume party. It honestly, really does.

“sun, just set already. no more happiness. god.”

- Would you rather have a pretty pen or a stylish stylus?

- Johnny Cash was famous for performing in prisons back in the 1960′s. Why don’t artists today follow his unique example?

Oh, because these guys would love to rape Skrillex.

Here’s part 2 of 3 – 30 albums essential to Meat’s being, that should be essential to yours, too!  So, without anymore preamble, I’ll leave you with Uncle Meat, as he discusses 10 more albums, in alphabetical order by title, that you need to visit (or re-visit).

HIGH TENSION WIRES  -  STEVE MORSE (1989)

Simply put, Steve Morse is my favorite musician of all time.  I have had the pleasure of seeing Mr. Morse a total of 6 times when you combine The Dixie Dregs, Deep Purple and The Steve Morse Band.  Unlike the releases of some of his contemporaries, High Tension Wires is not your typical shredder album.  Oh it shreds alright, but Steve Morse is much more than a trickster.  There are beautiful compositions, unforgettable solos and some just plain ol’ rocking too.  Included is the link to a live version of a track perfectly named “Tumeni Notes”.  For more examples of the greatness of Steve Morse, introduce some Dixie Dregs into your collection.  You can thank me later.

HOT HOUSE  -  BRUCE HORNSBY (1995)

When Bruce Hornsby said goodbye to The Range, he immediately said hello with Harbor Lights, a heavily jazz-infused turn that completely changed the music world’s perception of him.  Hot House sees Hornsby taking that one step further.  The album’s cover speaks a thousand words.  It is a painting of an imagined band session between Bluegrass legend Bill Munroe and Jazz legend Charlie Parker. Nuff’ said there.  This recording contains many musical giants including Pat Metheny, Jerry Garcia, Bela Fleck and Chaka Khan.   Hot House is very addictive.  I know most of the words off by heart on this record.  Hopefully someday you will too.

JEFF BECK GROUP  -  JEFF BECK GROUP (1972)

This album definitely falls under the underappreciated category.  Sometimes known as  The Orange Album, Beck’s playing has never been better on this collection of original compositions and covers.  I would call this more of a Soul album than anything.  The incredible vocals of Bobby Tench seem to highlight this record at times, as you will see on the live performance of “Tonight, I’ll Be Staying Here With You” I have included for this entry.   Also worth noting, this album is one of the first recordings of the late Cozy Powell’s career.  The guitar work alone on “Definitely, Maybe” is enough reason itself to seek this record out.  Perhaps a rock n’ roll legend’s best work.

JOHN PRINE  -  JOHN PRINE (1971)

I actually discovered the music of John Prine while working at the same record store chain that Mr. Ladano speaks of in this blog.  There is no one quite like John Prine.  Some artists write great songs.  Some artists write great lyrics.  Only a select few truly do both this well.  There is no doubt that John Prine’s self-titled album contains some of the best lyrics ever written.  “There’s a hole in daddy’s arm where all the money goes.  Jesus Christ died for nothin’ I suppose?”  That is just brilliant shit.  “You may see me tonight with an Illegal Smile.  It don’t cost very much, but it lasts a long while”.  I have said this many times and I am still saying it now.  John Prine is THE best lyric writer …. Ever.  Fuck Bob Dylan.  Yeah, I said it.

KRIS KRISTOFFERSON  -  KRIS KRISTOFFERSON (1970)

For the sake of alphabetical order by album, this Kristofferson follows the John Prine album on this list.  Really it should be the other way around.  While I stand by my earlier praise of Prine lyrics, I would certainly listen to the argument that there wouldn’t be a John Prine without Kris Kristofferson.  The songs on this album show a huge diversity and a sense of patience that just makes him so cool.  “Best Of All Possible Worlds” is just insanely-good storytelling and “Me and Bobby McGee” became a mega-smash for Janis Joplin.  Of all the great concerts I have seen, watching Kris Kristofferson and a guitar for two hours in 2006 will always be one of the best concerts I will ever see.  The true greats just need to show up.

LEGALIZE IT  -  PETER TOSH (1976)

After being a key member of Bob Marley & The Wailers for years, Peter Tosh embarked on a solo career.   On his first solo release, Legalize It, I personally believe Tosh recorded the greatest Reggae album of all time.  Fuck Bob Marley.  Yeah, I said it. (Wait why am I so hostile? Ha.)  Remember that one of Marley’s biggest hits “Get Up Stand Up” was co-written with Peter Tosh.  I love this album from beginning to end, and the album’s cover remains a visual anthem for Marijuana activists everywhere.  Sadly, Peter Tosh was taken from us when he was shot in the head during a home robbery.  Rastafarian music at its finest.

LITTLE EARTHQUAKES  -  TORI AMOS (1992)

There is only one way to put it.  During the spring of 1994 I became a literal disciple of Tori Amos.  By the end of 1996 I had seen her live 7 times.  Several of them in 2^nd or 3^rd row center seats, since this was back when you could actually wait all night for tickets and be rewarded for it.  This album spoke to me in a way no other album has, or really could.  Frustration with women, with Christianity and with life, I didn’t want to hear about hope in the horizon.  I obviously needed to experience the frustration of someone who understood.  I still have a red-head obsession because of Tori.  This is in my ten favorite albums of all time and always will be.  Little Earthquakes is full of intense and pretty compositions. The humor of “Happy Phantom” contrasts the pain of “Me and a Gun”.  And the included track here is “Precious Things”, which sees Tori Amos exposing herself as the angry and sexual piano player she truly is. Myra Ellen Amos is quite simply a beast.

MELISSA  -  MERCYFUL FATE (1983)

Mercyful Fate’s first two albums are among the best Metal albums of all time.  When you realize that this album came out a full year before Kill ‘Em All did you can start to see just how important this band truly were.  Mercyful Fate are the High Priestesses of underappreciation.  Yes King Diamond looks kinda ridiculous. And yes their lyrics are nothing short of evil incarnate.  Lines such as “Drinking the blood of a new born child” and “I’ll be the first to watch your funeral, and I’ll be the last to leave” sometimes are  so over the top that I guess it is understandable how an album this good could be ignored.  If Thin Lizzy and Iron Maiden had a baby, and that baby grew up listening to nothing but Black Sabbath, the end result would have to look and sound something like Mercyful Fate.  It’s no coincidence that the best thing Metallica has recorded since …And Justice For All is their medley-cover simply-titled “Mercyful Fate”.  One of the greatest Metal albums of all time hands down.  Click on the YouTube link and hear the start of “Curse of the Pharaohs”.  If you don’t immediately recognize “2 Minutes to Midnight” you are lying to yourself.

NEVER, NEVERLAND  -  ANNIHILATOR (1990)

After Annihilator’s first album, Alice in Hell, it was time for a new lead singer.  Out was the awful singing of the ridiculously-named Randy Rampage, and in was ex-Omen singer Coburn Pharr.  The second album of this Ottawa, Ontario band was a vast improvement  over the first album in every way.   Without question the guitar playing of Jeff Waters alone makes this an absolute must-have recording for fans of thrash guitar or just guitar in general.  If you can think of a better Metal album to  come out of Canada then I would love to hear it.  If you have never heard this album, and you consider yourself a “Metal guy” then you are missing out huge.  I am having a hard time trying to pick a song to post here for listening purposes.  That is how truly great this record is from beginning to end.

OPUS EPONYMOUS  -  GHOST (2011)

I know, I cannot believe it either.   Only the second of twenty (so far) albums to be released after 1999 that appear on this list.  This album by Swedish band Ghost is nothing but special.  Before I heard this album I was told that it sounded like a cross between thrash metal and Blue Oyster Cult.  As it turned out that description really was right on the money.  Melodic background vocals nestled in between heavy riffing.  I have to say that this album is my favorite Metal album in probably the last twenty years.  The PERFECT blend of melody and heaviness.  This is the only album that since I have got my iPod, every time I switch the music on it I leave this whole album on there.  Every minute of this album is pure genius and I am super-stoked for their upcoming 2^nd album titled Infestissumam that will be released this spring.  Hail Satan!!!!

That’s it for now, stay tuned for part 3, coming soon…