Andrew R. Martin
- Published in print:
- 2017
- Published Online:
- May 2019
- ISBN:
- 9781496812407
- eISBN:
- 9781496812445
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496812407.001.0001
- Subject:
- Music, Ethnomusicology, World Music
“Maybe you won't like steel band. It's possible. But it's been said that the Pied Piper had a steel band helping him on his famous visit to Hamelin.” When the US Navy distributed this press release, ...
More
“Maybe you won't like steel band. It's possible. But it's been said that the Pied Piper had a steel band helping him on his famous visit to Hamelin.” When the US Navy distributed this press release, anxieties and tensions of the impending Cold War felt palpable. As President Eisenhower cast his gaze toward Russia, the American people cast their ears to the Atlantic South, infatuated with the international currents of Caribbean music. Today, steel bands have become a global phenomenon; yet, in 1957 the exotic sound and the unique image of the US Navy Steel Band was one-of-a-kind. From 1957 until their disbandment in 1999, the US Navy Steel Band performed over 20,000 concerts worldwide. In 1973, the band officially moved headquarters from Puerto Rico to New Orleans and found the city and annual Mardi Gras tradition an apt musical and cultural fit. The band brought a significant piece of Caribbean artistic capital—calypso and steelband music—to the American mainstream. Its impact on the growth and development of steelpan music in America is enormous. This book uncovers the lost history of the US Navy Steel Band and provides an in-depth study of its role in the development of the US military's public relations, its promotion of goodwill, its recruitment efforts after the Korean and Vietnam wars, its musical and technological innovations, and its percussive propulsion of the American fascination with Latin and Caribbean music over the past century.Less
“Maybe you won't like steel band. It's possible. But it's been said that the Pied Piper had a steel band helping him on his famous visit to Hamelin.” When the US Navy distributed this press release, anxieties and tensions of the impending Cold War felt palpable. As President Eisenhower cast his gaze toward Russia, the American people cast their ears to the Atlantic South, infatuated with the international currents of Caribbean music. Today, steel bands have become a global phenomenon; yet, in 1957 the exotic sound and the unique image of the US Navy Steel Band was one-of-a-kind. From 1957 until their disbandment in 1999, the US Navy Steel Band performed over 20,000 concerts worldwide. In 1973, the band officially moved headquarters from Puerto Rico to New Orleans and found the city and annual Mardi Gras tradition an apt musical and cultural fit. The band brought a significant piece of Caribbean artistic capital—calypso and steelband music—to the American mainstream. Its impact on the growth and development of steelpan music in America is enormous. This book uncovers the lost history of the US Navy Steel Band and provides an in-depth study of its role in the development of the US military's public relations, its promotion of goodwill, its recruitment efforts after the Korean and Vietnam wars, its musical and technological innovations, and its percussive propulsion of the American fascination with Latin and Caribbean music over the past century.
Benjamin Sammons
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780195375688
- eISBN:
- 9780199871599
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195375688.003.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This chapter examines the two places where Homeric speakers string together several paradigmatic tales or exempla in the format of a catalogue (Iliad 5.382–405, Odyssey 5.118–36). It is argued that ...
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This chapter examines the two places where Homeric speakers string together several paradigmatic tales or exempla in the format of a catalogue (Iliad 5.382–405, Odyssey 5.118–36). It is argued that the striking similarities between the two examples are not coincidental, e.g. that a goddess (Dione or Calypso) speaks to another god about a situation pertaining to a major hero (Diomedes or Odysseus). The choice of divine speakers reinforces the authoritative tone of the catalogue form and suggests its ability to communicate a privileged perspective on history and historical patterns. Yet in each case the speaker’s rhetorical aims, and the catenulate or fragmented structure of the catalogue form itself, distort the overall picture. While speakers may attempt, through paradigmatic catalogues, to impose a pattern or interpretation on the events of the narrative, Homer in each case preserves crucial differences between the catalogue and his own story.Less
This chapter examines the two places where Homeric speakers string together several paradigmatic tales or exempla in the format of a catalogue (Iliad 5.382–405, Odyssey 5.118–36). It is argued that the striking similarities between the two examples are not coincidental, e.g. that a goddess (Dione or Calypso) speaks to another god about a situation pertaining to a major hero (Diomedes or Odysseus). The choice of divine speakers reinforces the authoritative tone of the catalogue form and suggests its ability to communicate a privileged perspective on history and historical patterns. Yet in each case the speaker’s rhetorical aims, and the catenulate or fragmented structure of the catalogue form itself, distort the overall picture. While speakers may attempt, through paradigmatic catalogues, to impose a pattern or interpretation on the events of the narrative, Homer in each case preserves crucial differences between the catalogue and his own story.
Corinne Ondine Pache
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780195339369
- eISBN:
- 9780199867134
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195339369.003.0004
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval, Ancient Religions
It is a commonplace to say that the heroes of Homeric epic have close bonds with gods and goddesses. Yet the degree to which goddesses are preoccupied with heroes is striking, and this concern is ...
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It is a commonplace to say that the heroes of Homeric epic have close bonds with gods and goddesses. Yet the degree to which goddesses are preoccupied with heroes is striking, and this concern is consistently expressed in terms of erotic love. Chapter 4 focuses on the motif of the goddess in love in the Odyssey, a poem structured around a series of encounters between Odysseus and several goddesses. The poem offers three Odyssean versions of the goddess-in-love motif. Odysseus’s rejection of Calypso’s love and offer of immortality is unique: Odysseus is the only Greek hero who rejects a goddess’s advances and survives the experience, a choice and outcome that are central to his status of epic hero. The hero’s relationship with Athene includes nympholeptic aspects and comes close to the ideal marriage described by Odysseus to Nausicaa in Odyssey 6. Finally, the Ithacan sanctuary of the nymphs inspires reminiscences of the cultic and folklore versions of nympholepsy. Each Odyssean version thus highlights different features of the nympholeptic pattern, which in turn help define Odysseus’s distinct form of heroism.Less
It is a commonplace to say that the heroes of Homeric epic have close bonds with gods and goddesses. Yet the degree to which goddesses are preoccupied with heroes is striking, and this concern is consistently expressed in terms of erotic love. Chapter 4 focuses on the motif of the goddess in love in the Odyssey, a poem structured around a series of encounters between Odysseus and several goddesses. The poem offers three Odyssean versions of the goddess-in-love motif. Odysseus’s rejection of Calypso’s love and offer of immortality is unique: Odysseus is the only Greek hero who rejects a goddess’s advances and survives the experience, a choice and outcome that are central to his status of epic hero. The hero’s relationship with Athene includes nympholeptic aspects and comes close to the ideal marriage described by Odysseus to Nausicaa in Odyssey 6. Finally, the Ithacan sanctuary of the nymphs inspires reminiscences of the cultic and folklore versions of nympholepsy. Each Odyssean version thus highlights different features of the nympholeptic pattern, which in turn help define Odysseus’s distinct form of heroism.
Hope Munro
- Published in print:
- 2016
- Published Online:
- May 2018
- ISBN:
- 9781496807533
- eISBN:
- 9781496807571
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496807533.001.0001
- Subject:
- Music, Ethnomusicology, World Music
In the 1990s, expressive culture in the Caribbean was becoming noticeably more feminine. At the annual Carnival of Trinidad and Tobago, thousands of female masqueraders dominated the street festival ...
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In the 1990s, expressive culture in the Caribbean was becoming noticeably more feminine. At the annual Carnival of Trinidad and Tobago, thousands of female masqueraders dominated the street festival on Carnival Monday and Tuesday. Women had become significant contributors to the performance of calypso and soca, as well as the musical development of the steel pan art form. Drawing upon ethnographic fieldwork conducted by the author in Trinidad and Tobago, this book demonstrates how the increased access and agency of women through folk and popular musical expressions has improved inter-gender relations and representation of gender in this nation. This is the first study to integrate all of the popular music expressions associated with Carnival—calypso, soca, and steelband music—within a single volume. The popular music of the Caribbean contains elaborate forms of social commentary that allows singers to address various sociopolitical problems, including those that directly affect the lives of women. In general, the cultural environment of Trinidad and Tobago has made women more visible and audible than any previous time in its history. This book examines how these circumstances came to be and what it means for the future development of music in the region.Less
In the 1990s, expressive culture in the Caribbean was becoming noticeably more feminine. At the annual Carnival of Trinidad and Tobago, thousands of female masqueraders dominated the street festival on Carnival Monday and Tuesday. Women had become significant contributors to the performance of calypso and soca, as well as the musical development of the steel pan art form. Drawing upon ethnographic fieldwork conducted by the author in Trinidad and Tobago, this book demonstrates how the increased access and agency of women through folk and popular musical expressions has improved inter-gender relations and representation of gender in this nation. This is the first study to integrate all of the popular music expressions associated with Carnival—calypso, soca, and steelband music—within a single volume. The popular music of the Caribbean contains elaborate forms of social commentary that allows singers to address various sociopolitical problems, including those that directly affect the lives of women. In general, the cultural environment of Trinidad and Tobago has made women more visible and audible than any previous time in its history. This book examines how these circumstances came to be and what it means for the future development of music in the region.
Shane Vogel and Shane Vogel
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780226568300
- eISBN:
- 9780226568584
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226568584.001.0001
- Subject:
- History, African-American History
In 1956 Harry Belafonte’s Calypso became the first LP to sell more than a million copies. For a few fleeting months, calypso music was the top-selling genre in the US—it even threatened to supplant ...
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In 1956 Harry Belafonte’s Calypso became the first LP to sell more than a million copies. For a few fleeting months, calypso music was the top-selling genre in the US—it even threatened to supplant rock and roll. Stolen Time provides a vivid cultural history of this moment and outlines a new framework—black fad performance—for understanding race, performance, and mass culture in the twentieth century United States. Vogel situates the calypso craze within a cycle of cultural appropriation, including the ragtime craze of 1890s and the Negro vogue of the 1920s, that encapsulates the culture of the Jim Crow era. He follows the fad as it moves defiantly away from any attempt at authenticity and shamelessly embraces calypso kitsch. Although white calypso performers were indeed complicit in a kind of imperialist theft of Trinidadian music and dance, Vogel argues, black calypso craze performers enacted a different, and subtly subversive, kind of theft. They appropriated not Caribbean culture itself, but the US version of it—and in so doing, they mocked American notions of racial authenticity. From musical recordings, nightclub acts, and television broadcasts to Broadway musicals, film, and modern dance, he shows how performers seized the ephemeral opportunities of the fad to comment on black cultural history and even question the meaning of race itself.Less
In 1956 Harry Belafonte’s Calypso became the first LP to sell more than a million copies. For a few fleeting months, calypso music was the top-selling genre in the US—it even threatened to supplant rock and roll. Stolen Time provides a vivid cultural history of this moment and outlines a new framework—black fad performance—for understanding race, performance, and mass culture in the twentieth century United States. Vogel situates the calypso craze within a cycle of cultural appropriation, including the ragtime craze of 1890s and the Negro vogue of the 1920s, that encapsulates the culture of the Jim Crow era. He follows the fad as it moves defiantly away from any attempt at authenticity and shamelessly embraces calypso kitsch. Although white calypso performers were indeed complicit in a kind of imperialist theft of Trinidadian music and dance, Vogel argues, black calypso craze performers enacted a different, and subtly subversive, kind of theft. They appropriated not Caribbean culture itself, but the US version of it—and in so doing, they mocked American notions of racial authenticity. From musical recordings, nightclub acts, and television broadcasts to Broadway musicals, film, and modern dance, he shows how performers seized the ephemeral opportunities of the fad to comment on black cultural history and even question the meaning of race itself.
Jan Brokken
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9781628461855
- eISBN:
- 9781626740914
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781628461855.003.0028
- Subject:
- Music, Ethnomusicology, World Music
A chapter that discusses the similarities between Trinidad and Curacao and an Interview with calypsonian Mighty Bomber. It compares the music and social history.
A chapter that discusses the similarities between Trinidad and Curacao and an Interview with calypsonian Mighty Bomber. It compares the music and social history.
Hope Munro
- Published in print:
- 2016
- Published Online:
- May 2018
- ISBN:
- 9781496807533
- eISBN:
- 9781496807571
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496807533.003.0004
- Subject:
- Music, Ethnomusicology, World Music
This chapter focuses on the careers and performance strategies of the three most successful female calypsonians in contemporary Trinidad: Calypso Rose, Singing Sandra, and Denyse Plummer. Each woman ...
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This chapter focuses on the careers and performance strategies of the three most successful female calypsonians in contemporary Trinidad: Calypso Rose, Singing Sandra, and Denyse Plummer. Each woman has had to overcome the sexism inherent in the Caribbean music scene, as well as the critiques of the media and audiences, in their pursuit of a musical career. They have come to serve as role models for their contemporaries and as cultural ambassadors for the women of Trinidad and Tobago. The chapter examines the career trajectories of Calypso Rose, Singing Sandra, and Denyse Plummer as well as their participation in musical competitions in Trinidad and Tobago, particularly the Calypso Monarch and the Calypso Queen competitions. It also considers the various competitions for calypsonians of all ages in contemporary Trinidad, designed to find the next generation of calypsonians.Less
This chapter focuses on the careers and performance strategies of the three most successful female calypsonians in contemporary Trinidad: Calypso Rose, Singing Sandra, and Denyse Plummer. Each woman has had to overcome the sexism inherent in the Caribbean music scene, as well as the critiques of the media and audiences, in their pursuit of a musical career. They have come to serve as role models for their contemporaries and as cultural ambassadors for the women of Trinidad and Tobago. The chapter examines the career trajectories of Calypso Rose, Singing Sandra, and Denyse Plummer as well as their participation in musical competitions in Trinidad and Tobago, particularly the Calypso Monarch and the Calypso Queen competitions. It also considers the various competitions for calypsonians of all ages in contemporary Trinidad, designed to find the next generation of calypsonians.
Shane Vogel
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780226568300
- eISBN:
- 9780226568584
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226568584.003.0002
- Subject:
- History, African-American History
What does it mean to be a fad? This chapter outlines a historically specific ontology that unfolds within the political economy of race and entertainment between the 1890s and the 1960s. Vogel argues ...
More
What does it mean to be a fad? This chapter outlines a historically specific ontology that unfolds within the political economy of race and entertainment between the 1890s and the 1960s. Vogel argues that the special temporality of fad culture creates perilous conditions for black fad performers that corroborate black social and political life under Jim Crow. Within this horizon of (im)possibility, the repetition of fad cycles over time are a kind of eternal return of the same that trapped performers in cycles of racialized consumption. But they also allowed some fad performances to co-opt this co-opted time. The argument of this chapter advances in three stages: first historically, then politico-economically, and finally ontologically. It begins with an account of the three major black fad cycles of the long Jim Crow era: the ragtime craze, the Negro vogue, and the calypso craze. It then considers the political economy of the fad. If finally turns to the performances of gravel-voiced calypso chanteuse Josephine Premice who, at the height of the calypso craze, allegorized the ontology of black fad performance by explicitly thematizing the opportunities to pilfer the time of the fad for oneself.Less
What does it mean to be a fad? This chapter outlines a historically specific ontology that unfolds within the political economy of race and entertainment between the 1890s and the 1960s. Vogel argues that the special temporality of fad culture creates perilous conditions for black fad performers that corroborate black social and political life under Jim Crow. Within this horizon of (im)possibility, the repetition of fad cycles over time are a kind of eternal return of the same that trapped performers in cycles of racialized consumption. But they also allowed some fad performances to co-opt this co-opted time. The argument of this chapter advances in three stages: first historically, then politico-economically, and finally ontologically. It begins with an account of the three major black fad cycles of the long Jim Crow era: the ragtime craze, the Negro vogue, and the calypso craze. It then considers the political economy of the fad. If finally turns to the performances of gravel-voiced calypso chanteuse Josephine Premice who, at the height of the calypso craze, allegorized the ontology of black fad performance by explicitly thematizing the opportunities to pilfer the time of the fad for oneself.
Tania Isaac (ed.)
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780813034676
- eISBN:
- 9780813046303
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034676.003.0017
- Subject:
- Music, Dance
Tania Isaac suggests, in her writing here as in her choreography and performance pieces, an intense, complex experience of knowing her native island, St. Lucia, through its dance and its ways of ...
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Tania Isaac suggests, in her writing here as in her choreography and performance pieces, an intense, complex experience of knowing her native island, St. Lucia, through its dance and its ways of looking at the body. To do this she finds four names for St. Lucia which suggest metaphoric characterizations of the multiple selves of her island. She uses these selves to explore the movement of St. Lucian kwadril (quadrille), masquerade, calypso, and soca, of Carnival of the bands playing mas and the more individualistic Carnival of Ol' Mas. Isaac uses description and metaphor to suggest a density and variety of cultural information, a layering that can contain all contradictions.Less
Tania Isaac suggests, in her writing here as in her choreography and performance pieces, an intense, complex experience of knowing her native island, St. Lucia, through its dance and its ways of looking at the body. To do this she finds four names for St. Lucia which suggest metaphoric characterizations of the multiple selves of her island. She uses these selves to explore the movement of St. Lucian kwadril (quadrille), masquerade, calypso, and soca, of Carnival of the bands playing mas and the more individualistic Carnival of Ol' Mas. Isaac uses description and metaphor to suggest a density and variety of cultural information, a layering that can contain all contradictions.
Susan Harewood and John Hunte (eds)
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780813034676
- eISBN:
- 9780813046303
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034676.003.0018
- Subject:
- Music, Dance
Susan Harewood and John Hunte reveal a wealth of information and insight about how the range of Barbados dance and policy on that island helps form identities, from the historical dances, to efforts ...
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Susan Harewood and John Hunte reveal a wealth of information and insight about how the range of Barbados dance and policy on that island helps form identities, from the historical dances, to efforts after independence to use dance to promote nation building, to developing the government-funded Barbados Dance Theatre Company, to that uniquely Barbadian organization, the Landship. Issues of class, of who gets government subsidy, of emphasis on the African-derived or European-derived come to the fore within their framing question of decency and indecency. The wukking up to soca and calypso at Crop Over, Barbados' carnival season, is contrasted with a resurgence of ballroom dancing, liturgical dance, and new dance companies.Less
Susan Harewood and John Hunte reveal a wealth of information and insight about how the range of Barbados dance and policy on that island helps form identities, from the historical dances, to efforts after independence to use dance to promote nation building, to developing the government-funded Barbados Dance Theatre Company, to that uniquely Barbadian organization, the Landship. Issues of class, of who gets government subsidy, of emphasis on the African-derived or European-derived come to the fore within their framing question of decency and indecency. The wukking up to soca and calypso at Crop Over, Barbados' carnival season, is contrasted with a resurgence of ballroom dancing, liturgical dance, and new dance companies.
Cynthia Oliver (ed.)
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780813034676
- eISBN:
- 9780813046303
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034676.003.0001
- Subject:
- Music, Dance
Cynthia Oliver connects the Anglophone islands of the West Indies by calypso and its offshoot soca and the dancing done to this infectious music. She celebrates its early dispersion by radio, her ...
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Cynthia Oliver connects the Anglophone islands of the West Indies by calypso and its offshoot soca and the dancing done to this infectious music. She celebrates its early dispersion by radio, her relatives on St. Croix in the Virgin Islands diverse ways of dancing to calypso, the sexy carnival boat rides of St. Thomas, and the hip circling wining that prevails today all over the Caribbean and the diaspora. This leads her to begin a tangy pan-Caribbean dance performance piece, “Rigidigidim De Bamba De,” by diaspora-diverse women who delve into their island memories, conflicted and joyful, while playfully wining.Less
Cynthia Oliver connects the Anglophone islands of the West Indies by calypso and its offshoot soca and the dancing done to this infectious music. She celebrates its early dispersion by radio, her relatives on St. Croix in the Virgin Islands diverse ways of dancing to calypso, the sexy carnival boat rides of St. Thomas, and the hip circling wining that prevails today all over the Caribbean and the diaspora. This leads her to begin a tangy pan-Caribbean dance performance piece, “Rigidigidim De Bamba De,” by diaspora-diverse women who delve into their island memories, conflicted and joyful, while playfully wining.
Andrew R. Martin
- Published in print:
- 2017
- Published Online:
- May 2019
- ISBN:
- 9781496812407
- eISBN:
- 9781496812445
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496812407.003.0001
- Subject:
- Music, Ethnomusicology, World Music
This introductory chapter briefly discusses an in-depth study of the US Navy Steel Band and its relationship within the scope of two overarching narratives: the development of post-WWII military ...
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This introductory chapter briefly discusses an in-depth study of the US Navy Steel Band and its relationship within the scope of two overarching narratives: the development of post-WWII military public relations and recruiting, and American popular culture's fascination with Latin and Caribbean music over the past century. The chapter then explains what a steelpan is, along with the steelband movement in Trinidad and Tobago, and how it impacted the development of steelbands in America. It also explores how the American calypso craze of the late 1950s influenced the formation of the US Navy Steel Band.Less
This introductory chapter briefly discusses an in-depth study of the US Navy Steel Band and its relationship within the scope of two overarching narratives: the development of post-WWII military public relations and recruiting, and American popular culture's fascination with Latin and Caribbean music over the past century. The chapter then explains what a steelpan is, along with the steelband movement in Trinidad and Tobago, and how it impacted the development of steelbands in America. It also explores how the American calypso craze of the late 1950s influenced the formation of the US Navy Steel Band.
Francio Guadeloupe
- Published in print:
- 2008
- Published Online:
- May 2012
- ISBN:
- 9780520254886
- eISBN:
- 9780520942639
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520254886.001.0001
- Subject:
- Religion, Religion and Society
This ethnography probes the ethos and attitude created by radio disc jockeys on the bi-national Caribbean island of Saint Martin/Sint Maarten. Examining the intersection of Christianity, calypso, and ...
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This ethnography probes the ethos and attitude created by radio disc jockeys on the bi-national Caribbean island of Saint Martin/Sint Maarten. Examining the intersection of Christianity, calypso, and capitalism, the book shows how a multiethnic and multi-religious island nation, where livelihoods depend on tourism, has managed to encourage all social classes to transcend their ethnic and religious differences. In the analysis, the book discusses the island DJs, whose formulations of Christian faith, musical creativity, and capitalist survival express ordinary people's hopes and fears and promote tolerance.Less
This ethnography probes the ethos and attitude created by radio disc jockeys on the bi-national Caribbean island of Saint Martin/Sint Maarten. Examining the intersection of Christianity, calypso, and capitalism, the book shows how a multiethnic and multi-religious island nation, where livelihoods depend on tourism, has managed to encourage all social classes to transcend their ethnic and religious differences. In the analysis, the book discusses the island DJs, whose formulations of Christian faith, musical creativity, and capitalist survival express ordinary people's hopes and fears and promote tolerance.
Shannon Dudley
- Published in print:
- 2007
- Published Online:
- October 2011
- ISBN:
- 9780195175479
- eISBN:
- 9780199851522
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195175479.003.0005
- Subject:
- Music, Ethnomusicology, World Music
At the time of Trinidad’s independence from England, the most popular and hotly contested carnival performance venue for steelbands was the “Bomb,” in which steelbands played arrangements of foreign ...
More
At the time of Trinidad’s independence from England, the most popular and hotly contested carnival performance venue for steelbands was the “Bomb,” in which steelbands played arrangements of foreign repertoires performed in calypso style. Especially popular were carnival arrangements of European classical music. The projection of such colonial icons by the national instrument at the national festival brought together highly charged and seemingly incongruous symbols, and contributed to heated debates about the national culture that persist in important ways up to the present. This chapter outlines contrasting interpretations of the Bomb to analyze the aesthetics of the steelband’s diverse constituents and to sort out some differences between musical thinking and political thinking.Less
At the time of Trinidad’s independence from England, the most popular and hotly contested carnival performance venue for steelbands was the “Bomb,” in which steelbands played arrangements of foreign repertoires performed in calypso style. Especially popular were carnival arrangements of European classical music. The projection of such colonial icons by the national instrument at the national festival brought together highly charged and seemingly incongruous symbols, and contributed to heated debates about the national culture that persist in important ways up to the present. This chapter outlines contrasting interpretations of the Bomb to analyze the aesthetics of the steelband’s diverse constituents and to sort out some differences between musical thinking and political thinking.
Ray Allen
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9780190656843
- eISBN:
- 9780190656881
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190656843.001.0001
- Subject:
- Music, Ethnomusicology, World Music
Jump Up! Caribbean Carnival Music in New York City is the first comprehensive history of Trinidadian calypso and steelband music in the diaspora. Carnival, transplanted from Trinidad to Harlem in the ...
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Jump Up! Caribbean Carnival Music in New York City is the first comprehensive history of Trinidadian calypso and steelband music in the diaspora. Carnival, transplanted from Trinidad to Harlem in the 1930s and to Brooklyn in the late 1960s, provides the cultural context for the study. Blending urban studies, oral history, archival research, and ethnography, Jump Up! examines how members of New York’s diverse Anglophile-Caribbean communities forged transnational identities through the self-conscious embrace, transformation, and hybridization of select Carnival music styles and performances. The work fills a significant void in our understanding of how Caribbean Carnival music—specifically calypso, soca (soul/calypso), and steelband—evolved in the second half of the twentieth century as it flowed between its island homeland and its burgeoning New York migrant community. Jump Up! addresses the issues of music, migration, and identity head on, exploring for the first time the complex cycling of musical practices and the back-and-forth movement of singers, musicians, arrangers, producers, and cultural entrepreneurs between New York’s diasporic communities and the Caribbean.Less
Jump Up! Caribbean Carnival Music in New York City is the first comprehensive history of Trinidadian calypso and steelband music in the diaspora. Carnival, transplanted from Trinidad to Harlem in the 1930s and to Brooklyn in the late 1960s, provides the cultural context for the study. Blending urban studies, oral history, archival research, and ethnography, Jump Up! examines how members of New York’s diverse Anglophile-Caribbean communities forged transnational identities through the self-conscious embrace, transformation, and hybridization of select Carnival music styles and performances. The work fills a significant void in our understanding of how Caribbean Carnival music—specifically calypso, soca (soul/calypso), and steelband—evolved in the second half of the twentieth century as it flowed between its island homeland and its burgeoning New York migrant community. Jump Up! addresses the issues of music, migration, and identity head on, exploring for the first time the complex cycling of musical practices and the back-and-forth movement of singers, musicians, arrangers, producers, and cultural entrepreneurs between New York’s diasporic communities and the Caribbean.
Margot Norris
- Published in print:
- 2009
- Published Online:
- September 2011
- ISBN:
- 9780813034027
- eISBN:
- 9780813038162
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034027.003.0015
- Subject:
- Literature, 20th-century Literature and Modernism
Fritz Senn, one of the most incisive readers ever to tackle Ulysses, calls “Calypso” “probably the easiest chapter in the novel.” This is certainly true for veteran readers of the novel, who can ...
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Fritz Senn, one of the most incisive readers ever to tackle Ulysses, calls “Calypso” “probably the easiest chapter in the novel.” This is certainly true for veteran readers of the novel, who can bring the knowledge of the whole work to bear on figuring out nearly everything that goes on in this episode. But how would “Calypso” strike a first-time or virgin reader, as we might call such a hypothetical figure? This chapter advocates a return to first principles in its endeavor to track the heuristic dilemmas faced by a “virgin” reader of “Calypso.” Adopting Paul Grice's notion of implicature, the role of the unspoken and the implied in discourse, this chapter charts the path the reader must steer through the false leads, explanatory gaps, perplexing conjunctions, semiotic lapses, and insinuated points of view of this episode. It shows that all interpretations of Ulysses must necessarily be incomplete and imperfect and that, moreover, James Joyce forces us to collude in the guilty secrets at which the text playfully gestures only often to reveal as figments.Less
Fritz Senn, one of the most incisive readers ever to tackle Ulysses, calls “Calypso” “probably the easiest chapter in the novel.” This is certainly true for veteran readers of the novel, who can bring the knowledge of the whole work to bear on figuring out nearly everything that goes on in this episode. But how would “Calypso” strike a first-time or virgin reader, as we might call such a hypothetical figure? This chapter advocates a return to first principles in its endeavor to track the heuristic dilemmas faced by a “virgin” reader of “Calypso.” Adopting Paul Grice's notion of implicature, the role of the unspoken and the implied in discourse, this chapter charts the path the reader must steer through the false leads, explanatory gaps, perplexing conjunctions, semiotic lapses, and insinuated points of view of this episode. It shows that all interpretations of Ulysses must necessarily be incomplete and imperfect and that, moreover, James Joyce forces us to collude in the guilty secrets at which the text playfully gestures only often to reveal as figments.
Jason M. Colby
- Published in print:
- 2018
- Published Online:
- November 2020
- ISBN:
- 9780190673093
- eISBN:
- 9780197559789
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190673093.003.0013
- Subject:
- Environmental Science, Conservation of the Environment
By early 1968 , Cecil Reid Jr. had given some thought to orcas. A gill net fisherman based in Pender Harbour, the thirty-one-year-old Reid—“Sonny” to his friends—had ...
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By early 1968 , Cecil Reid Jr. had given some thought to orcas. A gill net fisherman based in Pender Harbour, the thirty-one-year-old Reid—“Sonny” to his friends—had seen many killer whales over the years. As a boy growing up in the 1940s, he heard locals grumble about blackfish, and he watched family members take shots at the animals as they passed by. “My grandfather lived out around the corner from Irvine’s Landing,” he recalled, “and when the whales showed up, they would get the guns out and start shooting them.” Yet Reid knew live killer whales had become lucrative commodities, and when his father suggested catching one, he decided to give it a try. It was winter, however, and there weren’t many orcas around. Then, to his surprise, they came to him. In the late afternoon of Wednesday, February 21, a pod wandered into Pender Harbour, passing Reid’s waterfront home on Garden Bay. Momentarily stunned, Reid raced down to his boat, Instigator One. “I just happened to have my San Juan net still on the drum—which is a lot deeper and touched bottom,” he later recounted. “So when they came into Garden Bay the first time, I just set my net across.” The whales eluded his first attempt, but they lingered in the harbor, and the following morning Reid convinced other fishermen to help him, including several of his brothers and members of the local Cameron and Gooldrup families. In all, nine fishermen worked to seal off Garden Bay, and as the sun set over Irvine’s Landing, Reid felt certain they had trapped at least three orcas. But that night, one of the nets tore loose, and in the morning only one whale remained. Disappointed, Reid and his partners secured the animal—a fifteen-footer they believed to be male. Like those caught previously, the trapped orca hesitated to challenge the frail net surrounding him, much to the fishermen’s relief. Within minutes, the animal was swimming placidly in its makeshift enclosure. “Maybe it likes it here,” mused Reid.
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By early 1968 , Cecil Reid Jr. had given some thought to orcas. A gill net fisherman based in Pender Harbour, the thirty-one-year-old Reid—“Sonny” to his friends—had seen many killer whales over the years. As a boy growing up in the 1940s, he heard locals grumble about blackfish, and he watched family members take shots at the animals as they passed by. “My grandfather lived out around the corner from Irvine’s Landing,” he recalled, “and when the whales showed up, they would get the guns out and start shooting them.” Yet Reid knew live killer whales had become lucrative commodities, and when his father suggested catching one, he decided to give it a try. It was winter, however, and there weren’t many orcas around. Then, to his surprise, they came to him. In the late afternoon of Wednesday, February 21, a pod wandered into Pender Harbour, passing Reid’s waterfront home on Garden Bay. Momentarily stunned, Reid raced down to his boat, Instigator One. “I just happened to have my San Juan net still on the drum—which is a lot deeper and touched bottom,” he later recounted. “So when they came into Garden Bay the first time, I just set my net across.” The whales eluded his first attempt, but they lingered in the harbor, and the following morning Reid convinced other fishermen to help him, including several of his brothers and members of the local Cameron and Gooldrup families. In all, nine fishermen worked to seal off Garden Bay, and as the sun set over Irvine’s Landing, Reid felt certain they had trapped at least three orcas. But that night, one of the nets tore loose, and in the morning only one whale remained. Disappointed, Reid and his partners secured the animal—a fifteen-footer they believed to be male. Like those caught previously, the trapped orca hesitated to challenge the frail net surrounding him, much to the fishermen’s relief. Within minutes, the animal was swimming placidly in its makeshift enclosure. “Maybe it likes it here,” mused Reid.
Jason M. Colby
- Published in print:
- 2018
- Published Online:
- November 2020
- ISBN:
- 9780190673093
- eISBN:
- 9780197559789
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190673093.003.0015
- Subject:
- Environmental Science, Conservation of the Environment
When bob wright awoke on Sunday March 1, 1970, he didn’t feel like getting in a boat. He had attended a wedding reception late into the previous night, and the morning ...
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When bob wright awoke on Sunday March 1, 1970, he didn’t feel like getting in a boat. He had attended a wedding reception late into the previous night, and the morning in Victoria had broken cold and blustery. But he had promised to show his whale-catching operation to Don White, Paul Spong’s former research assistant. Wright already had an orca at his new oceanarium, Sealand of the Pacific, but he was keen to try his hand at capture, and he especially hoped to trap an albino killer whale often seen in local waters. When White and a friend arrived for the excursion, however, Wright wasn’t feeling very eager. “Bob is totally hung over, but he is feeling responsible,” White recalled. “He has told me to come, so he feels like we’ve got to do it.” Along with trainer Graeme Ellis, the three men piled onto Wright’s twenty-foot Bertram runabout and started for Pedder Bay. As the boat rounded Trial Island and cruised west past Victoria, the sea became choppy and Wright grew queasier. But minutes later, as they approached Race Rocks, he forgot all about his hangover. “Fuck!” he yelled. “It’s the white whale!” Sure enough, a group of orcas with what appeared to be an albino member was passing Bentinck Island and heading straight for Pedder Bay. The sighting was lucky, but the timing awful. Wright wasn’t set for a capture that day. His seine nets were in storage, and at first he couldn’t hail any of his Sealand staff. Determined not to let this opportunity pass, he gunned the Bertram into the bay and made straight for the Lakewood—a charter fishing boat he had rigged for orca catching. As Wright gathered his crew on the vessel, the excitement was palpable. “We were playing macho whale hunters,” White reflected, “and Bob Wright was our Captain Ahab.” With only one light net on board, the operation would have to be perfect, and everyone watched anxiously as the whales lingered near the mouth of Pedder Bay. Finally, as the sun began to set, the orcas entered.
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When bob wright awoke on Sunday March 1, 1970, he didn’t feel like getting in a boat. He had attended a wedding reception late into the previous night, and the morning in Victoria had broken cold and blustery. But he had promised to show his whale-catching operation to Don White, Paul Spong’s former research assistant. Wright already had an orca at his new oceanarium, Sealand of the Pacific, but he was keen to try his hand at capture, and he especially hoped to trap an albino killer whale often seen in local waters. When White and a friend arrived for the excursion, however, Wright wasn’t feeling very eager. “Bob is totally hung over, but he is feeling responsible,” White recalled. “He has told me to come, so he feels like we’ve got to do it.” Along with trainer Graeme Ellis, the three men piled onto Wright’s twenty-foot Bertram runabout and started for Pedder Bay. As the boat rounded Trial Island and cruised west past Victoria, the sea became choppy and Wright grew queasier. But minutes later, as they approached Race Rocks, he forgot all about his hangover. “Fuck!” he yelled. “It’s the white whale!” Sure enough, a group of orcas with what appeared to be an albino member was passing Bentinck Island and heading straight for Pedder Bay. The sighting was lucky, but the timing awful. Wright wasn’t set for a capture that day. His seine nets were in storage, and at first he couldn’t hail any of his Sealand staff. Determined not to let this opportunity pass, he gunned the Bertram into the bay and made straight for the Lakewood—a charter fishing boat he had rigged for orca catching. As Wright gathered his crew on the vessel, the excitement was palpable. “We were playing macho whale hunters,” White reflected, “and Bob Wright was our Captain Ahab.” With only one light net on board, the operation would have to be perfect, and everyone watched anxiously as the whales lingered near the mouth of Pedder Bay. Finally, as the sun began to set, the orcas entered.
Francio Guadeloupe
- Published in print:
- 2008
- Published Online:
- May 2012
- ISBN:
- 9780520254886
- eISBN:
- 9780520942639
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520254886.003.0005
- Subject:
- Religion, Religion and Society
This chapter introduces one of the many disc jockeys working in SMX: DJ Fernando Clarke. Clarke is one of the many DJs working on PJD2, the oldest and most popular radio station in SMX. The chapter ...
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This chapter introduces one of the many disc jockeys working in SMX: DJ Fernando Clarke. Clarke is one of the many DJs working on PJD2, the oldest and most popular radio station in SMX. The chapter first describes the kind of work the disc jockeys in PJD2 do, and then focuses on Clarke's celebrity status. It reveals that Clarke does his best to promote his “Christian partying man of the people” image, even though it does not fit well with other aspects of his life. From there, the chapter introduces the Saturday calypso ritual and the marriage between the biblically derived ontological idea of the sinful nature of man and the contextual importance of tourism.Less
This chapter introduces one of the many disc jockeys working in SMX: DJ Fernando Clarke. Clarke is one of the many DJs working on PJD2, the oldest and most popular radio station in SMX. The chapter first describes the kind of work the disc jockeys in PJD2 do, and then focuses on Clarke's celebrity status. It reveals that Clarke does his best to promote his “Christian partying man of the people” image, even though it does not fit well with other aspects of his life. From there, the chapter introduces the Saturday calypso ritual and the marriage between the biblically derived ontological idea of the sinful nature of man and the contextual importance of tourism.
Bryan G. Norton
- Published in print:
- 1995
- Published Online:
- November 2020
- ISBN:
- 9780195093971
- eISBN:
- 9780197560723
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780195093971.003.0007
- Subject:
- Environmental Science, Environmentalist Thought and Ideology
Gifford Pinchot first met John Muir in 1896, while on a trip through the West to study possible sites for new forest preserves. Pinchot was much impressed ...
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Gifford Pinchot first met John Muir in 1896, while on a trip through the West to study possible sites for new forest preserves. Pinchot was much impressed by Muir, twenty-seven years his senior, and recalled the meeting fifty years later in his autobiography. He described Muir as “cordial, and a most fascinating talker, I took to him at once.” Muir, in his writings of this period, was explicitly complimentary of Pinchot’s efforts at sustainable forestry. At the Grand Canyon, Muir and Pinchot struck off on their own and “spent an unforgettable day on the rim of the prodigious chasm, letting it soak in.” They came across a tarantula and Muir wouldn’t let Pinchot kill it: “He said it had as much right there as we did.” Within a year, however, Muir had complained bitterly and publicly about Pinchot’s decision to allow grazing in the national forest reserves. This rift between the Moralist (Muir) and the Aggregator (Pinchot) shaped the two wings of the environmental movement, and its original configuration owes much to attitudes developed in the early life and work of each man. Muir entered the University of Wisconsin in 1861, the year the Civil War broke out. Although he was almost twenty-three, his last formal schooling had been interrupted at the age of eleven, when his family emigrated from Scotland. His father, Daniel, a religious zealot, had no use for any book but the Bible. The elder Muir, who joined ever more extreme sects in search of one sufficiently pure and exacting, chose eighty acres of virgin land and put his eldest son John to work clearing it. Days were spent cutting trees and grubbing out roots, and nights were given over to memorizing Scripture. Daniel Muir planted only corn and wheat for cash crops, and the farmland was worn out in only eight years. Choosing a new and larger plot, the family moved and repeated the process. Again, the hardest work fell to John as his father spent all of his time studying the Bible and preaching to anyone who would listen.
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Gifford Pinchot first met John Muir in 1896, while on a trip through the West to study possible sites for new forest preserves. Pinchot was much impressed by Muir, twenty-seven years his senior, and recalled the meeting fifty years later in his autobiography. He described Muir as “cordial, and a most fascinating talker, I took to him at once.” Muir, in his writings of this period, was explicitly complimentary of Pinchot’s efforts at sustainable forestry. At the Grand Canyon, Muir and Pinchot struck off on their own and “spent an unforgettable day on the rim of the prodigious chasm, letting it soak in.” They came across a tarantula and Muir wouldn’t let Pinchot kill it: “He said it had as much right there as we did.” Within a year, however, Muir had complained bitterly and publicly about Pinchot’s decision to allow grazing in the national forest reserves. This rift between the Moralist (Muir) and the Aggregator (Pinchot) shaped the two wings of the environmental movement, and its original configuration owes much to attitudes developed in the early life and work of each man. Muir entered the University of Wisconsin in 1861, the year the Civil War broke out. Although he was almost twenty-three, his last formal schooling had been interrupted at the age of eleven, when his family emigrated from Scotland. His father, Daniel, a religious zealot, had no use for any book but the Bible. The elder Muir, who joined ever more extreme sects in search of one sufficiently pure and exacting, chose eighty acres of virgin land and put his eldest son John to work clearing it. Days were spent cutting trees and grubbing out roots, and nights were given over to memorizing Scripture. Daniel Muir planted only corn and wheat for cash crops, and the farmland was worn out in only eight years. Choosing a new and larger plot, the family moved and repeated the process. Again, the hardest work fell to John as his father spent all of his time studying the Bible and preaching to anyone who would listen.
