Item description for Culture @ the Cutting Edge: Tracking Caribbean Popular Music by Curwen Best...
The anglophone Caribbean has long been celebrated and known for its vibrant and innovative music. Reggae, dancehall, calypso, soca, gospel and ringbang have flourished within the Caribbean and have exploded on the worldwide stage. Somewhat surprisingly, many facets of this contribution have not been analysed or discussed by academic writing. This work deliberately moves away from the customary exclusive focus on Trinidad and Jamaica and broadens the discourse to represent the wider region. It addresses such topics as the status of Caribbean gospel; the birth of new musical styles in the Eastern Caribbean; cultural misrepresentation in Caribbean music videos; the representation of Aids in Caribbean music; and the impact of the actual music technology utilized by Caribbean musicians since the 1980s.
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Studio: University Press of the West Indies
Est. Packaging Dimensions: Length: 8.9" Width: 5.98" Height: 0.63" Weight: 0.79 lbs.
Release Date Jan 29, 2005
Publisher University Press of the West Indies
ISBN 9766401241 ISBN13 9789766401245
Availability 54 units. Availability accurate as of Oct 22, 2016 03:08.
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More About Curwen Best
Curwen Best is professor of Popular Culture, Literary, and Cultural Studies at the University of the West Indies, Cave Hill Campus Barbados. He is Head of the Department of Language Linguistics and Literature.
Reviews - What do customers think about Culture @ the Cutting Edge: Tracking Caribbean Popular Music?
Best book on Caribbean Pop Culture May 19, 2005
I was drawn to this book firstly through its title. Since many books on caribbean pop culture tend to be either too theory ridden or journalistic, I was impressed with this work's ability to ride in the liminal space between academia and the everyday, so to speak.
Here is an author who seems to really know the subject matter and whose approach reflects passion and even an anxiety to take Caribbean criticism to new levels. Although the book makes reference to other more established critical approaches to Caribbean pop critique, it doesn't fall into the trap of labouring over them, instead it demonstrates how far Caribbean culture has advanced and the distance that criticism must be prepared to go to catch up. Given the work done on Contemporary culture studies at University of the West Indies, this book marks a new trend in some respects, chief among which must be the attempt to unhinge cultural critique from the pole of overworked methods rooted in postcolonialism, gender, marxism etc.
Here is a work that is prepared to chart its own course, so to speak. Its discussion of leading-edge subjects such as AIDS, gospel, Internet, Technology etc makes this book easily the most creative and daring work so far on Caribbean culture in the 21st Century.
For me "Culture @ the Cutting Edge" helps to invigorate criticism about Caribbean society. In the future this text might very well be regarded as one of, if not the defining work that marks the active entry of the UWI School into the robust domain of first world cultural production.