{"id":510,"date":"2017-02-20T15:52:57","date_gmt":"2017-02-20T14:52:57","guid":{"rendered":"http:\/\/dikoweb.de\/blog\/?p=510"},"modified":"2024-12-12T23:52:34","modified_gmt":"2024-12-12T23:52:34","slug":"sounds-like-london","status":"publish","type":"post","link":"https:\/\/dikoweb.de\/?p=510","title":{"rendered":"Sounds like London"},"content":{"rendered":"\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"alignleft size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"184\" height=\"293\" src=\"https:\/\/dikoweb.de\/wp-content\/uploads\/2017\/02\/sounds_like.jpg\" alt=\"\" class=\"wp-image-3984\"\/><\/figure>\n<\/div>\n\n\n<p class=\"indent wp-block-paragraph\">&#8222;When the likes of Desmond Dekker, the Upsetters and the Pioneers were making it onto<span class=\"Apple-converted-space\">&nbsp;<\/span><em>Top of the Pops<\/em>, so too were the Temptations, the Supremes, Johnny Johnson and the Bandwagon, and Marvin Gaye. Then, once the 1970s rolled around,<span class=\"Apple-converted-space\">&nbsp;<\/span><em>Shaft<\/em><span class=\"Apple-converted-space\">&nbsp;<\/span>ushered in blaxploitation, James Brown\u2019s<em>Sex Machine<\/em><span class=\"Apple-converted-space\">&nbsp;<\/span>kick-started a funk revolution, and imported TV shows, building on the success of<span class=\"Apple-converted-space\">&nbsp;<\/span><em>I Spy<\/em><span class=\"Apple-converted-space\">&nbsp;<\/span>and<span class=\"Apple-converted-space\">&nbsp;<\/span><em>Julia<\/em>, stopped ignoring African-American actors. When it came to images of cool black people \u2013 most of whom weren\u2019t Caribbean, let alone Jamaican \u2013 this generation of British youth were spoiled for choice. Visuals played a major role. The attitude in the Jamaican music industry that photography was an unnecessary expense meant that few Londoners had any idea what reggae stars looked like, whereas black American music stars always put effort into presenting an image.<\/p>\n\n\n\n<p class=\"indent wp-block-paragraph\">For boys and girls alike, hair styles and hats assumed holy-grail status. By the time these kids hit the party circuit, many were looking beyond the sound-system dances. Once roots and culture took over, that disconnect increased all the more. With little apparent room for compromise, this new reggae was all about Jamaica, indeed all about one aspect of being Jamaican \u2013 sufferation.<\/p>\n\n\n\n<p class=\"indent wp-block-paragraph\">So, while there\u2019s no disputing how musically creative and spiritually directional the magical era of roots reggae proved to be, subject-wise reggae was turning in on itself. Faced with a wide array of black cultural templates, London teenagers did not unequivocally embrace it. Yes, of course they liked reggae, but not this reggae, or not to any great extent.&#8220;<\/p>\n<\/blockquote>\n\n\n\n<p class=\"indent wp-block-paragraph\"><span style=\"color: #ff9900;\"><em>aus: Lloyd Bradley, Sounds like London.100 Years of Black Music in the Capital (2013)<\/em><\/span>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u00dcbersetzung:<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&#8222;Als Desmond Dekker, die Upsetters und die Pioneers in den Top of the Pops auftauchten, waren es auch die Temptations, die Supremes, Johnny Johnson and the Bandwagon und Marvin Gaye. In den 1970er Jahren f\u00fchrte Shaft den Blaxploitation ein, James Browns Sex Machine l\u00f6ste eine Funk-Revolution aus, und importierte Fernsehserien, die auf dem Erfolg von I Spy und Julia aufbauten, ignorierten keine afroamerikanischen Schauspieler mehr. Wenn es um Bilder von coolen Schwarzen ging &#8211; von denen die meisten nicht aus der Karibik, geschweige denn aus Jamaika stammten &#8211; hatte diese Generation der britischen Jugend die Qual der Wahl. Das Visuelle spielte eine gro\u00dfe Rolle. Die Einstellung der jamaikanischen Musikindustrie, dass Fotografieren eine unn\u00f6tige Ausgabe sei, f\u00fchrte dazu, dass nur wenige Londoner eine Vorstellung davon hatten, wie Reggae-Stars aussahen, w\u00e4hrend schwarze amerikanische Musikstars sich immer M\u00fche gaben, ein Image zu pr\u00e4sentieren.<br>Sowohl f\u00fcr Jungen als auch f\u00fcr M\u00e4dchen wurden Frisuren und H\u00fcte zum heiligen Gral. Als diese Kids auf den Partys auftauchten, blickten viele nicht mehr nur auf die T\u00e4nze des Soundsystems. Als Roots und Kultur die Oberhand gewannen, verst\u00e4rkte sich diese Trennung noch mehr. Mit wenig Spielraum f\u00fcr Kompromisse drehte sich bei diesem neuen Reggae alles um Jamaika, und zwar um einen einzigen Aspekt des Jamaika-Seins &#8211; das Leiden.<br>W\u00e4hrend man also nicht bestreiten kann, wie musikalisch kreativ und spirituell richtungsweisend die magische \u00c4ra des Roots Reggae war, drehte sich der Reggae thematisch um sich selbst. Konfrontiert mit einer breiten Palette schwarzer kultureller Vorlagen, nahmen die Londoner Teenager diese nicht eindeutig an. Ja, nat\u00fcrlich mochten sie Reggae, aber nicht diesen Reggae, oder nicht in gro\u00dfem Umfang.&#8220;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">aus: Lloyd Bradley, Sounds like London.100 Years of Black Music in the Capital (2013).<\/p>\n","protected":false},"excerpt":{"rendered":"<p>aus: Lloyd Bradley, Sounds like London.100 Years of Black Music in the Capital (2013). \u00dcbersetzung: &#8222;Als Desmond Dekker, die Upsetters und die Pioneers in den Top of the Pops auftauchten, waren es auch die Temptations, die Supremes, Johnny Johnson and the Bandwagon und Marvin Gaye. In den 1970er Jahren f\u00fchrte Shaft den Blaxploitation ein, James [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_crdt_document":"","footnotes":""},"categories":[6,4],"tags":[203,131],"class_list":["post-510","post","type-post","status-publish","format-standard","hentry","category-literatur","category-musik","tag-black-music","tag-buchtipp"],"_links":{"self":[{"href":"https:\/\/dikoweb.de\/index.php?rest_route=\/wp\/v2\/posts\/510","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dikoweb.de\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/dikoweb.de\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/dikoweb.de\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/dikoweb.de\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=510"}],"version-history":[{"count":1,"href":"https:\/\/dikoweb.de\/index.php?rest_route=\/wp\/v2\/posts\/510\/revisions"}],"predecessor-version":[{"id":3985,"href":"https:\/\/dikoweb.de\/index.php?rest_route=\/wp\/v2\/posts\/510\/revisions\/3985"}],"wp:attachment":[{"href":"https:\/\/dikoweb.de\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=510"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dikoweb.de\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=510"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dikoweb.de\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=510"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}