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Additional info for Dalit Theology: A Transforming Grace for the Indian Church
Sample text
Early deejays like Count Machuki and King Stitt had largely been content to limit their introductions to a series of slick, rhyming tongue twisters. "Coming to town, your face turned to this sound," Count Machuki toasts, in typical fashion, as he introduces a Sound Dimension instrumental. "On your way up or on your way down, I want you to stop at this station for identification. I'm going to turn it over to your Sound Dimension, your music producer. " But U-Roy (born Ewart Beckford) was the first man at the mike to take center stage and dominate the dance.
KRS-I, for instance, acknowledges the association between reggae and hip-hop, claiming that "reggae is just another hip-hop style,"" but in so doing he fails to recognize the extent of hip-hop's debt to reggae. Hip-hop started to take shape when Kool Here set up his Bronx-based Herculords sound system, combining the Jamaican tradition of talking, or Mcing, over records with the idea of using two turntables to juggle versions of the same instrumental or breakbeat sections of the funk tunes that were calling the shots in the West 31 shaggy: d o g a m u f f i n style Bronx.
While the music's origins in the ska and rocksteady that ruled before roots grabbed the spotlight are certainly widely appreciated, much of what has followed in the wake of the roots golden age — especially the "digital" productions that have carried the swing since King Jammy's legendary "Sleng Teng" rhythm conquered the dancehall in 1985 — has been granted only limited international exposure and even less respect from most of those who write the history books and hand out the awards. As anybody who has listened to modern-day talents as diverse, energetic, and inspired as Shaggy, Sizzla, Capleton, Anthony B, Cobra, Merciless, Bounty Killer, Beenie Man, Baby Cham, Garnett Silk, Luciano, Beres Hammond, Morgan Heritage, Junior Kelly, Buju Banton, and Shabba Ranks can attest, reggae did not come to an apocalyptic end when roots producer extraordinaire Lee "Scratch" Perry destroyed his Black Ark Studio in 1979.
