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Throughout its evolution, sound system culture and sound system music have been important weapons of resistance against the status quo and a powerful medium to call out social injustice. Even though it is often associated with its Jamaican roots, sound system culture has constantly expanded in reach and scope, transcending borders while taking on distinct local traits to adapt to the ever shifting musical tastes and specific needs of various communities. In places like London, Toronto, and New York, dancehalls, block parties, carnivals, and disco clubs all became manifestations of the community ideals that underpin sound system culture. Historically, those who have sought refuge through music have tended to be outsiders. As such, any conversation about sound system culture around the world always begins with stories of immigrants, minorities, and the disenfranchised.
What follows are examples of this tradition of protest in the context of various liberation movements, which have become the unfortunate inspiration for some of the greatest music ever created. This is by no means intended to be a complete history on the subject, but rather a starting point to elicit a reflection about the intimate relationship between sound system culture and the dynamics of race, prejudice and oppression.
The affirmation of this Black identity became a prominent part of the Notting Hill Carnival, allowing immigrants of Caribbean descent to claim a piece of the city as their own, and for two days celebrate their culture in the heart of their former colonial motherland. Originally organized in 1959, the first event was a direct response to the Notting Hill Race Riots in 1958, and over time continued to figure prominently in the fight for civil rights throughout the 1960s and 1970s.
At the epicenter of this burgeoning hip hop culture were block parties: ephemeral community gathering spaces powered by makeshift speakers and amplifiers where DJs, MCs, dancers and graffiti artists could showcase their craft for the neighborhood to enjoy.
Dub-Stuy Records stands in solidarity with all those who fight against oppression and injustice. Please consider supporting the Brooklyn Movement Center or supporting a like-minded organization in your own community. Much Respect to all the sound systems around the world working hard to safeguard inclusive spaces and amplify Black culture.
This anthology explores Rastafari religion, culture, and politics in Jamaica and other parts of the African diaspora. An Afro-Caribbean religious and cultural movement that sprang from the streets of Kingston, Jamaica, in the 1930s, today Rastafari has close to one million adherents. The basic message of Rastafarithe dismantling of all oppressive institutions and the liberation of humankindeven has strong appeal to non-believers who are captivated by reggae music, the lyrics, and the "immortal spirit" of its enormously popular practitioner, Bob Marley.
Family was of the highest importance to Babylonians and extended families often lived next to one another. For that reason, Babylonians rarely sold the family home, Podany says. It was passed down over the generations and family burial plots were often under the courtyard.
Ancient Babylonian society was patriarchal, says Podany, but Babylonian women actually had more rights than in later civilizations like ancient Greece. They could represent themselves in court, own property and pass it down to their children, and hold positions as priestesses and officials.
The name "mosh" originates from the word "mash". While performing their song "Banned in D.C." in either 1979 or 1980, H.R., vocalist of Washington D.C. hardcore band the Bad Brains, shouted "mash it - mash down Babylon!" Because of his faux Jamaican accent, some audience members heard this as "mosh it - mosh down Babylon".[2] Beginning around 1983, metalheads began to refer to the slower sections of hardcore songs as "mosh parts", while hardcore musicians had called them "skank parts". Once Stormtroopers of Death released their debut album Speak English or Die in 1985, which included the track "Milano Mosh", the term began being applied to the style of dance.[3] The term was then further popularised by Anthrax's 1987 song "Caught in a Mosh".[4]
The direct predecessor to moshing was the pogo, a style of dance done in the 1970s English punk rock scene, in which crowds members would jump up and down while holding their arms beside them.[5] According to The Filth and the Fury, it was invented by Sex Pistols bassist Sid Vicious in 1976.[6]
Moshing entered mainstream consciousness with the rise of grunge in the early 1990s. Grunge becoming the dominant force in rock music, brought with it aspects of genres like hardcore, punk and ska, and in turn, pop culture became aware of the mosh pit.[17] This was exacerbated by the success of Lollapalooza, which began in 1991 as a touring festival. In his book Festivals: A Music Lover's Guide to the Festivals You Need To Know, writer Oliver Keens stated that "Lollapalooza's greatest impact was to expose Middle America to the joys of stage-diving and moshing...You can see Lollapalooza's legacy in the way mosh pits have become an integral part of youth culture; beyond rock and metal".[18] By 1992, the practice had become so common that concertgoers began to mosh to non-aggressive rock bands like the Cranberries.[19]
I think our audience have become a little bit more attentive and less of that type of [mosh] mentality [...] I understand you want to release that energy... [but] once people start doing that during "Through Her Eyes" it gets ridiculous [...] So this time around we're consciously aiming at theaters that people can actually sit down and enjoy the show and be comfortable [...] without having to worry about their legs falling off or being kicked in the face by a Mosh Pit. So [that] will probably eliminate that problem anyway.[48]
My friend threw down the gauntlet to win with Hammurabi on Deity after we playfully mocked him for picking an 'easy mode' civilization. He chose to go for a Science win and secured it at 1809 AD (map conditions bellow).
In my case, I took the following actions, focusing almost entirely on culture generation. Picking up Humanism (so you can have Archaeological Museums and extract an Artifact, unlocking Combustion) and Urbanization (so you can build Neighbourhoods) and picking my way through the technology tree as follows:
Last week, we considered the show through the lens of questioning the role of the police procedural in our culture\u2019s decades-long support of actual police departments. This week, we wallow in how the show puts a variety of songs in our hearts.
We\u2019ve broken down Babylon Berlin appeal factors for both current and future fans by developing some simple questions to help guide your discovery process. Because this is a time in which we all have needs, and Babylon Berlin is here to meet--nay, exceed!--those needs, right where they are. Let\u2019s go!
Babylon Berlin has this theme locked all the way down. Protagonist Charlotte Ritter is, as Lester Freamon from The Wire would say, Natural Police. Her incredibly strong investigative instincts, combined with her ability to see people, often lead her to the best insights. An outsider in every way that matters to the Berlin Police Department\u2019s powers that be -- dirt poor, living in a crummy tenement, using sex work to supplement her family\u2019s income -- she turns being shut out of the old power structure into an asset. Women in this show have no real legal or political power - they\u2019re nothing - but they\u2019re constantly saying, \u201Cwell, if I\u2019m nothing, you won\u2019t think anything of it if you happen to notice me sneaking into this train shed, but if you do, you\u2019ll also think nothing of answering my saucy questions, because I\u2019m just a pretty girl taking an interest in your line of work, so tell me about it, stud.\u201D
Quarantine Thirst is a thing, and Babylon Berlin is the perfect watch during this, Our Most Unprecedented Time: it both stokes and slakes thirst, creating a perfect ouroboros of desire. It is the hunger and it is the feast. One of the show\u2019s salient features is a desperate kind of sweatiness--drinking to numb but also to feel, dancing to forget, flinging your body at others professionally (or as an amateur, or as a former brother-in-law). But all of that simmering randiness is like a pressure release valve for the deep, deep ache down in the souls of its characters.
Donovan Germain from Penthouse records releases the Chant down Babylon riddim. It is a recut of Yabby You song released in 1976 with versions of Assassin, Chuck Fender, Fyakin, Lejahni, Nikki Burt, Queen Ifrica, Sizzla and Tony Rebel. The riddim is available on 'Something Old, Something New vol. 2' alongside the Land of Love riddim.
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"I do not come down here to Negril very often any more. When I was younger my friends and I would come down and enjoy the beaches. Now this place is such a tourist trap. Jamaicans are dressed like Rastafarians with their long dreads and try to pretend that they are like us. They try and sell tourist anything from drugs to crafts. Please do not take what I am saying the wrong way. It just makes me so frustrated when Jamaicans try to imitate the Rastafarian lifestyle. These Jamaicans may have long dreads and look like a Rastafarians but they do not know what it is like to truly live and be a Rastafarian. Rastafarian culture is very different from a Jamaican. We live in the mountains away from the tourist area. I spend all my days and nights waiting for the signs of Haile Selassie. I understand that these Jamaicans have to make a living I just wished that they did not mimic our lifestyle."
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