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Rub A Dub Style – Preamble « DanceCrasher

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      Rub A Dub Style – Preamble

      Rub-a-Dub Style: The Roots of Modern Dancehall
      By Beth Lesser
      http://bethlesser.com/
      Copyright © Beth Lesser 2012 – All Rights Reserved
      Published by Beth Kingston, Toronto, Canada, 2012
      Editor & Collaborator: David Kingston
      Cover, Book Design & Layout: Nuno Gomes – www.NunoGomes.org
      v1.0

      ISBN 978-0-9868797-1-5

      If you are interesting in supporting vintage artists, here are ways you can help

      The Jamaica Association Of Vintage Artistes & Affiliates (JAVAA)
      Oakton Park. Entertainemnt. Complex;
      57 Hagley Pk. Rd.
      Kgn. 10
      Tel /Fax: (876) 908-4464
      E-mail: javaa_jm@yahoo.com

      JAVAA is always fund raising to support its social welfare and business education
      programs for members. JAVAA promotes the history of about Jamaica’s
      popular music in schools.

      To support the artists, I recommend that fans buy re-released vinyl from reputable
      dealers or download songs from websites that who pay royalties to the
      artists.

      Fans could also help arrange a booking for a vintage artist in a local club- it just
      takes speakers, an amp and someone to play music.

      If there is a vintage artist who you would like to directly support, request that he
      or she voice a dubplate/special for you. Contact artists, studios and producers
      through the internet- through Myspace and Facebook etc. Certain artists, like
      Prince Jazzbo, can arrange ‘special’ recording with a wide variety of artists.
      Ask around. Jamaica is a small island and everyone knows everyone, or at
      least they know someone who knows someone who knows that person you
      are looking for. If you are visiting Jamaica, bring along a gift of anything that can
      help in the production of music- even if it’s just batteries or blank CDs.

      Thanks to all those who took the time to speak to me, including Admiral Tibet,
      Anthony Malvo, Anthony Redrose, Aston Family Man Barrett, Barnabas,
      Barrington Levy, Barry G, Brigidier Jerry, Bunny Lee, Burro, Carlton Livingston,
      Chaka Demus, Charlie Chaplin, Chester Symoie, Chris Sedgewick, Clive
      Chin, Crutches, Danny Dread, Denis Alcapone, Denzil Naar, Dexter Campbell,
      Dillinger, Dudley Swaby, Dwight Pinkney, Echo Minott, Exodus Studio, Family
      Man, Flabba Holt, Frankie Campbell, Frankie Paul, George Phang, Gerwin
      Dinal, Guillaume Bougard, Gussie Clarke, Half Pint, Hedley Jones Sr,, Jack
      Scorpio, Jah Life, Jah Mikey, Jah Thomas, Jason from Deadly Dragon, Joe
      Lickshot, Johnny Clarke, Johnny Osbourne, Joseph Hookim, Junie Ranks,
      Lady Anne, Lady G, Lady Junie, Little John, Lone Ranger, Lord Sassafrass,
      Loyal Haylett, Madoo, Major Stitch, Mikey Faith, Neville Lee, Noel Harper,
      Ossie Thomas, Pad Anthony, Percy Chin, Peter Metro, Peter Wardle, Phillip
      Frazer, Phillip Smart, Pluggy Satchmo, Pompidou, Prince Jazzbo, Puddy
      Roots, Ranking Joe, Ranking Trevor, Rick Bracamontes, Sammy Dread, Scientist,
      Scion Sashay Success, Sister Nancy, Smiley and Michigan, Sonny Linton,
      Squidley Ranks, Steve Barrow, Thriller, Tiger, Tony “Rosa” Green, Tony Virgo,
      Trevor Elliot, Trevor Junior, Trinity, Trinity, Tristan Palma, U Brown, U Roy, Versa
      Manos, Wayne Smith, Welton Irie, Yami Bolo, Yellowman, Zaggaloo

      Special thanks to
      Dave Kingston for his work on this project- his time spent and his knowledgeable
      assistance – and for his continuing moral support, Guillarme Morel for
      creating and maintaining my website, Al Fingers for providing music, Michael
      Tutton for organization and planning.

      DanceCrasher would also like to thank
      Beth Lesser, Dave Kingston, Who Cork The Dance.

      Support Vintage Artists
      This book is being offered as a gift of gratitude to the people who have created
      this magical and inspiring thing called reggae music. I hope that this book will
      provide a greater understanding of what went into making and sustaining this
      music, and a greater appreciation of the music itself.
      As this book is available to everyone free of charge, it would be wonderful if
      those who are willing and able could find a way to get some monetary returns
      to those artists who have dedicated their lives to making this music and have
      precious little to show for it today (like many of the artists mentioned in this
      book). Some have moved abroad and are working in different fields. But others
      are living very close to poverty despite having made hits and toured abroad. I
      am suggesting that fans investigate the living conditions of their favorite artists
      and do whatever is possible to help out.

      Chapter 1 (Part 1): The Early Days

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