Project MUSE®: Black Music Research Journal - Latest Articles
https://muse.jhu.edu/journal/469
Project MUSE®: Latest articles in Black Music Research Journal.daily12026-05-12T00:00:00-05:00text/htmlen-USVol. 30 (2010) - Vol. 36, no. 1 (2016)Latest Articles: Black Music Research JournalTWOProject MUSE®Black Music Research Journal1946-16150276-3605Latest articles in Black Music Research Journal. Feed provided by Project MUSE®"Cien porciento tico tico": Reggae, Belonging, and the Afro-Caribbean Ticos of Costa Rica
https://muse.jhu.edu/article/691604
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"Puerto Limón hands in the air!" The DJ shouted into the microphone in Spanish inflected with a West Indian accent. It was reggae night at Ebony, a San Jose nightclub, in January 2012, and the DJ was calling all limonenses to raise their hands and celebrate their hometown on the dance floor. This form of address had additional significance. In Costa Rica, the Caribbean coastal province Limón—whose capital is Puerto Limón—has historically been associated with the country's Afro-Caribbean population: the descendants of immigrant laborers mostly of Jamaican origin. Although today Limón is racially mixed, the historic formation of the province, widely referred to as el caribe (the Caribbean), is such that in the
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/469/image/coversmall"Cien porciento tico tico": Reggae, Belonging, and the Afro-Caribbean Ticos of Costa Rica2018-04-25text/htmlen-US"Cien porciento tico tico": Reggae, Belonging, and the Afro-Caribbean Ticos of Costa Rica2018-04-252018TWOProject MUSE®1208962026-05-12T00:00:00-05:002018-04-25Revisiting the Katanga Guitar Style(s) and Some Other Early African Guitar Idioms
https://muse.jhu.edu/article/691605
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Before the rise of rap and hip-hop in Africa during the 1990s, the guitar reigned supreme for over a half a century as an integral instrument in syncretized forms of African jazz and popular music. It served as an indispensable resource in an array of musical styles, speaking a mutually intelligible language that transcended differences of race and ethnicity. During the 1920s and 1930s, numerous commercial recordings of West African acoustic guitar music were made, signifying the growing popularity and appeal of guitar playing in sub-Saharan Africa. However, while Kru sailors and other itinerant musicians developed and disseminated palm wine highlife idioms, including dagomba, ya amponsah, and mainline, their
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/469/image/coversmallRevisiting the Katanga Guitar Style(s) and Some Other Early African Guitar Idioms2018-04-25text/htmlen-USRevisiting the Katanga Guitar Style(s) and Some Other Early African Guitar Idioms2018-04-252018TWOProject MUSE®898912026-05-12T00:00:00-05:002018-04-25Freedom Songs: Helping Black Activists, Black Residents, and White Volunteers Work Together in Hattiesburg, Mississippi, during the Summer of 1964
https://muse.jhu.edu/article/691606
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"Freedom songs" is the umbrella term for the diverse body of songs adapted or composed for the civil rights movement, particularly songs in most frequent use in that struggle during the early 1960s. Many of these songs remain familiar today among them "This Little Light of Mine," "Ain't Gonna Let Nobody Turn Me 'Round" and, of course, "We Shall Overcome."1 Two activists—one white, one black—attest to the powerful roles freedom songs played. Veteran singer and activist Pete Seeger (2004) made the broad claim that the civil rights movement could not have succeeded without the songs. Cordell Reagon, organizer and song leader in the Student Non-Violent Coordinating Committee (SNCC) was more specific in an earlier
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/469/image/coversmallFreedom Songs: Helping Black Activists, Black Residents, and White Volunteers Work Together in Hattiesburg, Mississippi, during the Summer of 19642018-04-25text/htmlen-USFreedom Songs: Helping Black Activists, Black Residents, and White Volunteers Work Together in Hattiesburg, Mississippi, during the Summer of 19642018-04-252018TWOProject MUSE®988522026-05-12T00:00:00-05:002018-04-25Ragga Soca Burning the Moral Compass: An Analysis of "Hellfire" Lyrics in the Music of Bunji Garlin
https://muse.jhu.edu/article/691607
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Ragga soca, a music indigenous to the twin island Caribbean nation Trinidad and Tobago, incorporates the freestyle aesthetics of hip-hop lyricists, the political critique and social commentary of calypso, the "chant down Babylon" demeanor and stagecraft of reggae and dancehall performers, and the spontaneous delivery of "biting" lyrics popular among Trinidadian extempo artists, another subgenre of calyspo. Typically, it can be loosely described as a fusion of soca and indigenous Jamaican musical forms, namely Jamaican dancehall and, to a lesser extent, reggae beats and soca rhythms. From my knowledge of the music industry in Trinidad, having been a member of several music networks during the years 2006-16, I posit
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/469/image/coversmallRagga Soca Burning the Moral Compass: An Analysis of "Hellfire" Lyrics in the Music of Bunji Garlin2018-04-25text/htmlen-USRagga Soca Burning the Moral Compass: An Analysis of "Hellfire" Lyrics in the Music of Bunji Garlin2018-04-252018TWOProject MUSE®680752026-05-12T00:00:00-05:002018-04-25