This Post Does Not Contain Thing Ignorant People Fear

We’re going to be talking about the genres of my writing. If you are new to my writing, you may not have seen the things I am talking about yet. I plan to to change that if you continue visiting my zine written.

The first thing I probably need to address is the GOS conundrum (a graphomanic obsession session), which this does not count as though it be strikingly similar in some ways. In order to identify what makes a writing labeled as such, we must say what writings cannot be labeled so; otherwise, all writings would appear to be graphomanic.

Without further adieu, here is the writing, originally printed in July 2016.

labelsonfood

This is a “wall-of-manifesto” piece I wrote and originally posted to DadaNoise or an Instagram as a caption to a photograph. I edited it slightly and saved it to a graphic, because why not. Writings like this also have characteristics I categorize as, “ran on ranting clauses” and “non-poem prosaics.” These are all often types of my “graphomanic obsession sessions,” which it is important to note that this does not qualify as. While it could have been one such, it lacks the qualifying factor that is,

–GOS (graphomanic obsession session) documents are always characterized by–

…a repetition of the same words, phrases, thoughts, and ideas; occurring more than twice, and interrupting the movement from one thought into the next without insistence to further elaborate the same thing.

It need not be ongoing completely without transition to anything else, but in the text, an eventual return to the point already made must characterize the development of points from sense into seeming nonsense; or, seemingly unrelated points that meld together and…

the document may be a wall of text or a line break prosaic poem or almost anything at all, but it must perpetuate itself into an unending loop of characteristic mania…

Lastly, the characteristics described need not characterize the beginning of a document; it is only that they eventually can be identified in the text that is important to categorizing the work.

Though the style is similar to many writings I will call graphomanic, …thing that sounds bad to the all knowing consumer!, is lacking in the way of being an obsessive compulsive inability to break out of the the mental state that makes for such writing.

What makes it a “ran on rant” might seem obvious until you have observed more pure and clear examples of this genre. There are not nearly enough semicolons, parentheses, and em-dashes to truly show off what I mean when I call it the “ran on ranting clauses.” But, it still is.

The “non-poem prosaic” is essentially a thing that is not designed to be interpreted as a poem, or a lyric, which expresses itself in a style of diction that is less straight forward than prose typically is and found more often in poetry. Often times it will be a wall of text, as if to intentionally forego line breaks or a sense of metre, because it isn’t a poem. Other times it will have arbitrary line breaks thrown in haphazardly in the same intent, as if to mock its non-poem status as a thing altogether too prosaic.

It is not a “manifesto”; rather, it is a “diatribe.” In the genres of my writing, a manifesto describes a complete depiction of how and why. A diatribe expresses emotion and does not bother; though, logic characterizes neither necessarily and may or may not be present.

I will present more examples of what I am talking about in other posts.

Ideas Intersect

(in three historic manifestos)

So, if you were not aware, I am given to producing at times what I cannot refer to as art or poetry or music, but rather, Dada — beat generation-like nonsense, collages of found objects, and straight up compulsively obsessive noise put forth for the sake of its self as a means to its own.

It’s possibly easier to give you the crash course in Dada thought with the 1918 manifesto written by Tristan Tzara, a Frenchman living in neutral Zurich during WWI.

Dada Manifesto
by Tristan Tzara
23rd March 1918

After reading this in 2013 for the first time, many aspects of my “meta-modernist[1]” nihilism and new philosophical outlook began to take form — [1]that is, post post-modernism (to be modernist again after modernism and its hope was lost to postmodern despair, but practically in the light of both notions [said to be in oscillation]) — and is somehow very similar [that is, my personal philosophy as it has developed] to what western people think of as a Buddhist idea of duality and acceptance without all the practices of the “Great” way.

So, let me just go ahead and plug a few other manifestos relevant to the paragraph above which is possibly not making sense to you if you have not been already familiar,

The Metamodernist Manifesto
by Luke Turner (2011)

Though my ideas are not specifically influenced by this millennial notion of meta-modernism, it is true that my ideas are at the very least occurring as a result of modernist and postmodernist ideas and happening in the same era, same as my own ideas. So, it’s relevant, and I consider it a contribution to the modern day Dadaism I have found peace in, I also brought it up and hopefully it sheds light on what I said above. Otherwise…

Let me simply plug another one; but first let me say, I am not a Buddhist. Like most organized notions of spiritual existence and the order of those who understand it, Buddhism has some neat ideas mixed in with a whole lot of ancient bullshit. How seriously you take it is obviously up to you, but let me affirm again: I am not a Buddhist. Don’t fall into any of the con artistry of these spiritual websites and their holy texts and inspiring quotes. I can’t be responsible for what this leads you to.

Besides, I can’t verily give a fair summation of Buddhism, as I am fairly without knowledge of its many variations and intricacies. And though I find that it’s “ironic” how much I have in common with this poem, I take no interest in otherwise identifying myself with what is already my primary criticism of the work: there is nothing terribly great about this way of thinking. It simply is a way of thinking. Nothing more. But eerily often, it is quite like my own way.

The Third Patriarch of Zen
Hsin Hsin Ming by Seng-T’san

I find it hard to make time to write the things I often wish to write. These days I’m always getting ready for work, you know, which I have to be doing soon and so I can’t continue to where I would go along this train of thought at the moment. So I’ll leave you simply with these notions and how they have intersected within me to form some personal philosophy, which I have only begun to speak of officially here.

The context of my Neon Dadaism will be relevant when I begin to edit and publish the collected bits of graphomanic verse that I write — which, that’s a thing to talk about another day.

But if you must get a hint at what I mean, here is one such verse (or a portion of it) put to the Dadaist noise I spoke of in the first paragraph.

This was released under the pseudonym, fromthefirmament, which is my identity on Soundcloud.

Yeah, I’m going to get to talking about the production of noise soon enough and put some amount of sense to it. I plan to organize and edit and collect written works I have often left unedited — like, the words spoken in the 2billionyears verse. For now, simply behold the madness.

bloodclaat selassie

So… This post is going to talk about music (specifically, the change from reggae to modern dance hall). After all, I can only obsess about so many things {read – one thing} at a time), but the aspect of the music that it will address is also somewhat heavy and polarizing. I would hope that if you disagree with me, that you are not put off from reading my thoughts. However, I am familiar with your ilk, and I know that some of you will be put off.

So be it.

Let’s talk about Rastafari, which we often imagine when we think of Jamaica over here in the States. But you didn’t know, in the ska era, this dread head culture was not as popular or yet established. When the 70’s came and ska fell out, roots brought a lot of new themes. Many of them were positively aimed, with less commentary on criminal violence, but… I will argue that not all of the themes are positive. There is often commentary made with a different kind of violence; that is, the constant objective superiority and moral elitism inherent in all Abrahamic religions and most of the reformations that is asserted to the extermination of other ideas.

To be honest, the songs about bloodclaat Selassie would be fucking laughable if not for the fact that it’s so sad, that Abrahamic religions were brought to slaves on colonies where they were deprived in education and placed in positions of spiritual desperation.

I mean like, as a modern atheist of Britain’s spread of white people into the world, I just can’t help but see  those religions as ideas that are not needed and unnecessarily negative when the benefits of religions, spirituality, and the lack thereof are possible without it. If you can’t wrap your mind around that one, let me know and I’ll give it a second thought. But I’ve pretty consistently and strongly felt that way for a while.

And so, I can overlook a song that’s about coping with poverty and invoking the name of a story meant to help them only because… I do not blame them for their lack of educations. I blame my ancestors and how greedy the human race (of all colors, one) is, seen in its alphas males and females.

Of course people of the Americas, England, Australia, Canada (and all people who are inside whatever else, still British) do not receive the same understanding in the appreciation of their arts. If you’re from London or from NYC and your music is produced in 2017, then you cannot praise the name of Yahweh and earn my respect.

The word Christ is a huge deal breaker that makes you basically like… (and this is not hatred of you, but for your ideas that you cannot let go of and burden others with) …you’re faced with not looking at yourself as the chosen holy righteous who get love from the wonderful god that all others are wrong and Satan worshipers to be burned with their books so that any possibility of our god not being thrust down your throat is impossible.

That vile book that you call, “the good book,” is like a book of death and horrible things to illustrate that god intentionally made you so that he could watch you fuck up and then be forever in debt to him as the little bitch who better do what I say or… it won’t be good. Then… Because that makes so much less than zero sense, over time the religions had to reform so that now God is a guy who’s totally changed and feels like you’ve died and suffered enough for petty, petty shit. Shit that makes you be like, “Do we really even want this guy in charge?” No.

Thankfully, life is much better than made somehow okay with God to say so. No, life is good because man (and woman) have the power to make their life mean whatever they would make it be. That no man is correct is the blessing we all have. We can live our lives ourselves and not disturb the integrity of our ideas or anyone else’s ideas.

And so, I do enjoy the themes of reggae that express positive vybz and an outlook on life that feels good about it self… because I truly feel that way, but I don’t have to place myself in a light of goodness that must be cosmic or the world is too painful to endure. I can seek out “good” things, things that benefit mankind, like the reform of your religions again to admit there are usable parts and other parts to be omitted. (See, unlike you, I wouldn’t exterminate your culture. But you’re going to allow mankind to progress in science, philosophy, and the possibility of non extinction without smoking out the world with your ignorance — and pitifully weak spirits).

But… I say this as a white person who knows that we need to remember that… our educations, even our working class educations, and our history of “whatever it is we do that’s so great”, does not make us more correct in how we live or think than others who we see as wrong. This includes the three unholy religions of Abraham (as I affectionately call them). See, what’s correct, true, holy, or righteous are all concepts that are not necessarily unquestionable. See, in the interest of positive vybz, it’s better to force yourself to experience things that you are unfamiliar with and possibly make you uncomfortable, permit them, possibly take interest or not, and live without offense taken or made on others of different values, for the understanding that… none of us are correct, we could never possibly know for certain any thing. The Socratic admission that one is not wise is somehow wise, similar to how…. evil doesn’t exist and only things that proclaim they are most good are the most awful.

This is a topic I think about a lot because I listen to not just ska or reggae. I also listen to modern reggae dance hall, which is basically just a more hip hop version of reggae with what I would call more often less “roots” themes. Modern dance hall artists are more produced in the way of all modern pop music genres everywhere — they have several faces, they’re very manufactured, and based around capitalism — in almost exactly the same way as the American rapper, but with a history of roots reggae that is… well, modern dance hall might like to think it was still pretty roots, but nuh. It ain’t as roots as say… the roots, for what that’s worth. But it’s still characterized by reggae riddims.

For example, these are two songs by Popcaan — a very yute-ful sort of yute — and, one of them coming from 2016 and the other 2017, you will pree what I mean to say about the stereotypical dance hall prince (as I call them). There would be argument in Jamaica about who was the dominant dance hall artist after the fall of the World Boss, but as far as to who is the king of spreading Dance hall out of Jamaica, it is undeniably Popcaan.

This is most likely due to his association with the artist, Drake, who mi a tell you dis straight up: I’m not sure if I’ve ever once listened to one of his songs. I just know he’s popular I guess? I don’t know, man, I listen to strange shit too much to have time to waste on top40 on purpose (which, isn’t always bad or anything. … but yeah, nuh time fi that inna real life. If I’mma listen to shamelessly manufactured pop music, it’s at least going to be from an interesting island somewhere else.

[That is of course what I like about Dance hall — it’s foreign qualities. Rude boys, ska people, and and 70’s skinheads might drop their haw to hear me say that I liked modern dance hall and ska in the same sentence, but… I have an open mind, and that’s what I’m trying to really get at in this post as I criticize what you possible believe about your own cosmic correctness]

Anyway, in Never Sober and in Where We Come From, you’re going to notice more similarities to a rapper than to Bob Marley, in the ideas expressed. This is how I mean it’s not roots.

But I will say for it… that it’s what made me fall in love with Patwah speech in songs. I find that it’s far more pronounced than I’ve ever heard coming from Jamaican music, which I still cannot understand why that is, Maybe it’s in my imagination because I can think of no reason for that that makes any sense. For example, you can follow the thoughts of Bob Marley easily. Were you able to follow Popcaan below? I definitely didn’t understand a word he said at first. It’s possible that Bob was just a bit more educate than Poppy (lol).


Interestingly enough, modern dance hall and ska dance hall are similarly unlike reggae in the same way; the rude boy is now the badman. The Rasta is somewhat less commonly seen emphasized if at all. Most go for a look that says, “I have money,” not, “I am close to God.” And, in ska and in modern dance hall, the needing (or having) of money and the possibly (and certainly) going to jail and narrowly avoiding death and how difficult it is to get by with so much violence going on are all the most common themes.

(Although I would say, in the ska days, there were less fake ass little bitches pretending to be bad and it was more real ass people addressing the real problem where rude boys and police were a constantly dangerous combination at any sound system)

When a dance hall artist names god or whatever, it’s usually to express that he has the favor of that god by virtue of his money. It’s very rarely ever more spiritually complex than that, like in roots.

And lastly, what’s really odd… is the track by Prince Buster called 10 Commandments

Either one of two things are happening in this sort of joke track, and possibly both: 1) Prince Buster, in 1967, was framing Christianity in a comical absurdity that was intended to make one ask, “How is it that we even take this book seriously” ; or, 2) He was using the “good book” to validate his militant sexism and belief that man should utterly dominate the woman in every way possible.

And the latter is most possibly my least favorite characteristic of Jamaican men. And I’ll conclude that, I think it’s for the best that we stop celebrating the dangerous, destructive religious ideas of Abraham. Case in point. I will not tell you what good is, but I can tell you what it is not. This is not good.

And though I feel that way, I still enjoy the music that celebrates the ignorance of the “Holy Land,” because I must not make the mistake of being as forceful with an idea of my correctness as they have been and still are.

A beautiful song and some inspiring notions… and yet, invoking the name of that awful entity from the old books.

over-thinking or just hella thinking?

So, it might be pretty universally considered a wrong move by bloggers, webmasters, and content creators online, to post an entry and then immediately follow it with the next entry after a spell of resting stillness marked with a mind like this one writing. And, it doesn’t bother me because I don’t care to present myself in such a way that I will generate a following ideally. I’m going to do what I do, and while I appreciate any interest in my writing, I can’t change how overwhelmingly intense I can be sometimes. If you can’t keep up with me, that’s not a big surprise to me. A lot of people can’t. And while I do have to keep that in mind when I deal with people, I’m not doing so as a writer. It doesn’t matter to me if my presentation isn’t conducive to being easily consumed. I’m doing it because I want to and this is how I do it.

So, as you can see, whether I’m tired or not, I have the capacity for thoughts that don’t stop. It’s a complex thing because… if my mind would chill out, I would rest and have a more comfortable, easy day of wakeful moods and so forth. But I enjoy the thinking. I enjoy the long way of saying a thing. And it’s good that I do, because… I couldn’t do it any other way if I wanted to.

Let’s see. I’m going to put on coffee… or something. Let’s think of how many hours I have left before -waking up-.

Five hours and twelve minutes. … I’m sitting up in my bed. I’m going to try lying flat with my feet on the ground for a moment.

Typing this paragraph some minute after the last, it was orgasmic to stretch out the arch in my back and release the tension of my body that just sits back up again to type on the laptop, strain my eyes longer with the reading lenses (all I’ve ever known) that aren’t enough anymore, and indulge in the mood uplift that music can bring to the weary.

But, I’m having second thoughts about that… coffee, which I Really might still make. Do I really allow myself to accept that I’m not sleepy and can’t sleep, despite the severe tiredness, the same problems on recent nights, and how much less brutal it would be if I slept a single hour (but of course, ideally two; three is too unrealistic to consider.)

If I take the Benadryl, I’m going to feel like anticholinergic ass for the next hour as I slowly become more distant and unable to focus, which will put me into a state of perturbed dreams most likely and result in an extra amount of confusion when the alarm finally occurs to me and I’ve managed to do something about it, pop out of the dream I instantly can’t remember but know was utterly mad and quite the annoyance. And on top of the extra, it’s going to be extra-extra because there aren’t enough hours for the drug to run its course. I’ll have to wake up under the effect of it, drag myself up, and somehow get to work without showing up late as fuck or no call no showing before I realize that it even happened.

These are the very critical concerns of an insomniac… At a point, does sleeping become more dangerous to attempt to squeeze in? Because let’s just be honest with ourselves. It’s not going to happen in the amount of time I have between my last night’s close and my this morning’s open shift without some form of pharmaceutical action. There are some awesome things I could have to take at times like this that would make this a lot simpler to get through, but I don’t have those things. What I do have is the pill I have always had to fall back on when I had to.

And then there’s the possibility that the Bendaryl will have wrought all of its side effects on me all night and into the morning, and I will still get out of bed having felt like I didn’t completely fall into zzz’s even once.

So, you can call it over-thinking. A lot of people think that about me. But these are things one has to think about, I would think. Or do they not have to and this is the only reason I’m not able to feel sleepy in spite of such tiredness? Could I just let it be that this was very simple, lie down, (not even take the wretched pill), and go right to sleep? I’m sure it’s a bit more complicated.

I don’t always feel like this, as I’ve said. There are times I have the opposite problem, where I can’t will myself to want to do anything but lay in my bed and snooze away the free moments. And it’s definitely a cycle of opposite problems that lead to the other problem. Being over exhausted eventually results in a hibernating torpor that groans to momentarily reach out of and drag itself to the moment where it can go back. That has its own difficulties.

And the cycle just goes and goes and goes.

It’s more complicated than I (and especially you) realize, but it’s been slowly (or rather rapidly, maybe) driving me crazy and killing me for years.

Fortunately, I’m pretty happy anyway. Sure, sometimes I endure suffering. So does everyone. But I practice acceptance a lot lately — I’m not a Buddhist or anything. This is just what I do and it brings me peace in spite of the strife, in a lot of ways. I try not to let the stress overwhelm me, though I occasionally falter, and feel content anyway in spite of anything that could possibly happen. I try to maintain this. Most of the time, I manage.

If you ever read my blogs or writings or LiveJournals or whatever from some years ago, like… literally anywhere from 2002-2013, you would find everything I did and said laced with anger, sadness, despair, depression; all characterized by wildness of the mind. I suppose that’s subjective, but… Let me just leave it at that.

I deal with a lot of the same issues I’ve always dealt with. In some ways, some of my issues are much worse. I am, after all, older. But the one that is not much worse is that I am not unhappy about things I can’t control anymore. There aren’t things I can’t have that I lament so badly all the time. There aren’t atrocities, tragedies, and horrors I haven’t looked dead on and accepted for what they are without breaking down.

But I deal with a lot of bullshit still. It’s just that… I’m pretty good at dealing with bullshit now.

And part of that skill is the fact that I know that I need to lie down rest my body, let my mind do its thing, and if I have to have my coffee in the morning (I do), I’ll have it. But having it now would be fairly masochistic and not even willing to chance rest.

And so, while I’ve not said everything on the matter, I figure it’s best to let it be at that. I won’t get started on the posts about different types of music, bands, and so forth that I’ve been meaning to write about and intentionally forego sleep with several hours left.

But I’ll tell you this for certain: I’m not taking that Benadryl. If I was going to do that, I should have done it hours ago, like I said in the post from earlier when it was still last night. But there were a lot of reasons I didn’t, as you can see.

I’ll go ahead and end with a random song that I would normally say something about in these posts, but which I’ll let just speak for itself again.

It’s interesting because I’ve come full circle. This is the music I listened to as a teenager, which was influenced by music I never really knew much about, and now am having such a phase that it brings back the memories.

I nearly started going into all these different opinions I have about various waves and elements of ska and blended ska genres. Because, I really want to.

But right now, this post about how hectic my sleep and work life can be is far more prudent to throw out there and end with.

And the funniest part is that I got out of bed to post this maybe some hour later, am about to pour my coffee, and then some. 😛

I hope that someone can relate with the struggles of the mind described, which I admit at times does over think things to the point of interference. But sometimes, things are worth thinking about at length, I think.

‘(healthy body, sick mind; it’s just a matter of time; sick body, sick mind)’

named laughing boy

I haven’t made time to even think about what I would write if I had the leftover energy and attention after everything to really do it. It’s been an exhausting last week, through the weekend, and into this week — the entire span of days has been pretty hectic. Even now that I’m doing it, I’m barely maintaining the concentration to finish one sentence and begin the next. But, I guess it’s not like my body and mind hasn’t been coping with sleep issues for ever. So, it’s whatever.

I just got off work. I have to be back in 8 hours. I’m tired but restless enough to be writing about it. There’s a little pink pill that I probably should take… but that I hate taking so much that I don’t do it, put it off, and sometimes take it a bit too late to not be a groggy mess trying to come out of it and wake up.

It’s just a Benadryl. For desperate need of sleep and allergy relief, I sometimes have to take that awful pink fucker. But I definitely avoid it if I can, even if I need to get the best rest I can get in the shortest amount of time, and I know it’s the best way I have available. It just feels too gross to want to will myself to swallow the thing, and I endure instead being awake.

Speaking of that, let’s not forget my alarm clock needs to be set — now. And there; it has informed me that this is in fact more like seven hours and eight minutes. It’s always good to know the damage.

See… I could possibly lie here in bed all night restful in the body and relatively motionless but still barely awake but for a possible time of unconsciousness that might have been an hour or more maybe? Who can be sure. And if you’re familiar with managing that problem. you know what I mean.

But I don’t despair on the matter. It can be difficult to not get enough sleep sometimes and then have to function somehow while you’re half dead and falling asleep finally on your feet. Every moment of downtime is magnetically held to the bed or wherever else is more convenient. I’m actually, as I said, fairly mentally and physically equipped to cope with sleep deprivation. And I really only have the problem for a while before I swing hard the opposite direction and eventually stabilize — and, of course, eventually remember the familiar feeling of the opposite extremes.

So we’re going to play a random song that just occurred to me. Aside from work and Dragon Ball Z and sleep, what I’ve been doing mostly is listening to music again and a lot of it has been 50’s rocksteady, 60’s ska, 2-tone, and the occasional punk band from my youth. And, I’ve been digesting large quantities of this music. Most of the early Jamaican stuff was very new to me. I obviously knew how ska had affected punk rockers and how it emerged in America, but I didn’t really know the roots of it — which is funny, because ska from 60’s is the roots of the roots if you’re referring to the type of reggae.

And… I really like it. There’s so many songs I want to talk about and post but I’m starting to lose my energy. I’m either going to take this pill…. or… I’m not going to. And I don’t have much left in me at the moment. But I never know what’s going to happen, really, as far as that goes. I deal with it without letting it get to me, too bad.

So instead of talking about any of that music, I’m just going to put on the B side to the 1997 album that started my obsession with said band from like 2001-2005, if not longer, because the title describes me rather well.

A manic depressive named Laughing Boy by Modest Mouse.

And oh, how I can still jam this shit hard. It’s been a long time. I’ll see you guys if you come back. I’m just not used to doing this anymore.

ska is the the energy

I basically have rude boy ska on 24/7 as I listen to more of it, and try out different names, associated acts, and read about the years the records are pressed and to read them.

I’m not sure yet how to differentiate between the the blended genres of ska and reggae in words yet. I think I might eventually find or understand how to say them, because I can tell the difference in at least two general sub genre, ska and reggae.

Reggae is often the default term, including ska, but there is a significant difference in theme, enunciation and singing voices. At times though, there is always cross over between the elements of reggae and ska. Ska artists often did songs that were less “ska” and I wouldn’t be surprised if more post-ska reggae had elements of ska in it inherently bu virtue of that one leads to the other.

Ska —–> Reggae

Imagine the difference in R&B and trap rap put over the same beat, at different tempos. Ska is “rude boy music” and reggae is “deadlock rasta music”

And like, the Wailers, being Marley’s band, and the people involved in that were largely a part of the ska scene before roots reggae was formed from it. So, as I’ve said, it’s possible to differentiate them, but they are also always a part of each other — ska and reggae.

If the name Skatalites didn’t give it away, this band and most of its tracks are what I’m going to say are the best example of ska as a thing like but different than roots, which is funny because Bob Marley and Wailers, then the Wailing Wailers, were the first to do a rendition of Simmer Down. It was their first success. Recorded in 1963, it basically sums ska up really well

It’s fast and up beat and the themes of the songs largely involve –like it or not– ska being made up of and and surrounded by rude boys, which were basically criminals. (A more common term today in dancehall culture would probably be badman which translates to gangster more or less). The song incorporates elements of jazz heavily to have a spastic quality and there is no slowing down of the guitar with a spiritually smoking weed way of being calmed or at peace. Ska is wild. Roots reggae is not.

Additionally, do this one by Desmond Drekker and his band the Aces, 007 (Shanty Town), recorded in 1967.

Both are about rude boy culture. The first asks for the rudeys to try to relax. The second empathizes with why the rude boy does not relax.

But what I like about ska is the energy that seems draind out of it in the average roots reggae stuff. It’s a similar sound, but with dumbed down horns to do less jazz and a more soulful singing style.

Ska is a reggae music that you’re supposed to constantly move to and not stop for any reason. It’s pure and sheer energy that the reggae guitar strumming we know today was invented by, but it wasn’t left to be a calmness. It was sped up to blow horns by and do a constant dance of moving as much as you possibly can in a back and forth way nonstop with variation in how so.

That’s the best I can do and I’m pretty sure I did an okay enough job explaining. Although, I’d like to check out some more tracks from the 1950s, when ska originated, because it seems a lot of these are in the 60s. Also, I can’t even begin to tell you how to define rocksteady, which also came before reggae. So I’ll get to that, too.

Also like, there is an entire other part to this post which diverges into another topic as long as this one, so I’ll save it for another post, though it has already been pretty written.

I’mma leave you with a 1977 singing female reggae duo, Althea and Donna, doing Uptown Top Ranking; and I’m going to post the live video so you can see their performance and how sexy they are. (ha!)

But seriously Next to those rude boy songs, this is pretty calm. But it’s not nearly the type of calm I’m talking about as this

All I really have to say about this song is, I’m not that interested in listening to it and, see what is missing from it?

I’m too much like a ska song to be as much like a reggae song. I’m never calm and I’m always happy anyway.,

mi a go show you a ting

So first, I’m going to direct y’all to some Wikipedia with my, ain’t-nuh-ever-been-to-Jamaica, pale as can be possibly fathomed and not albino in the ass as I am-ass, to explain what Patwah is.

Jamaican Patois, known locally as Patois (Patwa or Patwah) and called Jamaican Creole by linguists, is an English-based creole language with West African influences (a majority of loan words of Akan origin) spoken primarily in Jamaica and the Jamaican diaspora.

…and a creole language is basically a language that is a complete language and not a blending of two languages. Furthermore, a creole language is both African and English in its making.

Sometimes I use it in my slang or to say a specific thing. I listen to music that uses Patwah speech often and I’ve made a pretty decent effort to understand it as I hear it. If you are unfamiliar, try hearing it. You will be surprised that you cannot understand a lot of it. I could not express a grammatically correct thought without attempting to copy the words of others to say different things. There is a lot I still don’t know, so of course, but I always use Google and the more I do so the less often I need to. And for certain, some  things I could make a good attempt to say with it would be super, super awkward but probably understood since English as it is outside of Jamaica isn’t exactly foreign there. It’s the national language, after all and people have been streaming Dance Hall princes like “The World Boss” for a while there, on their Internets, so….

But… learning to talk like them, with them, and from their perspective is how we (the supposedly more educated in the more proper, which there is no such thing) English white people can atone for the sins of our aristocracies and the ignorance of we common people, who are all just the same people no matter how characterized, and can integrate.

I will not make the argument for integration here, either to whites or to blacks, because it’s a topic all in it’s own; but, I’ll only assume that you realize, integration of our races is the best action for we who can see that there is only one way that racism is ended — full integration, till whites and blacks are one race — not one assimilated into being without the other, but both races, at the same time — one race.

To be educated is to know the way of people’s speech, writing, thoughts, and characteristics. How do we go on feeling as if our English as we speak it is the one true way, when we have learned from the old things that the English of our ancestors was not the language we speak at all. Is this English now more proper than it was before? And could there have ever been an English at all without other languages which came before it? Can you say that tomorrow, the way you speak will definitely not be something like how Latin is of use to us today.

Suh you di tap a di tap, den, Sir Edward Educate, Esquire, weh unu pree exactly the fucking opposite in the god damned books. You nuh bad. Unu cyaan read even this sentence, so… mi a di educate one.

If I can’t communicate with it completely, I can understand it if I try. And so can you.

My use of patwah isn’t an attempt to assert that I reflect the Jamaican person’s perspective. I do not, as I have made abundantly clear in all my writing, but is an attempt to understand and communicate with black people — a specific black people, but not one to be omitted in the understanding of black people by white people. I hope that white people will be understood more by blacks, too, and that understanding collectively as one will help the best traits spread out in our cultures to thin out the worst traits we all share in our humanity.

This is a noble pursuit to me. I do not take it lightly or appropriate for the sake of a gimmick. I have given much thought to race relations and how to improve them. It’s a thing that I want to be, and a thing that I believe mankind is able to do. So feel free, if you don’t talk like white people talk, to try it out. In America where I live, black people have a dialect that is characteristically not white. And while it’s not its own language like a creole, it’s a way of speaking that is not only valid but quintessential to the Americas as they are, and so it should be learned.

White people should go into rooms with all black people and talk exactly like them, and black people should go in rooms of only whites and communicate with them how they communicate.

And the language should morph completely so that the way we speak is no longer either a way a white or a black speaks, but some way that both speak interchangeably. And, furthermore, and more importantly I think, whether you agree or not… the language is going to morph into something that is mixed up of other things whether you like it or you don’t.

I was originally going to post some more thoughts about Jamaican music that I’ve been listening to and how I’m learning more about it… but… this manifesto of sorts is a disclaimer I want to have understood and it took some time to express. I hope you feel the the positive vybz and if you don’t, I’d like to understand why.

So we’ll save the interrupted rough draft in the other tab for later posting.

tweet manifesto on hip hop

To tweet something is to say a thing with such brevity that almost nothing can be completely said at all; but with the hopes that it will be read by many, you find yourself dumbing down your sentences. Or, at least I do.

In thirteen tweets, adhering to the limitations of Twitter, I speak on the matter of hip hop as it has become today from what it originally was.

1 Hip hop came up originally in the underground, where DJs introduced a new way to blend records and make for a dance party that don’t stop.

2 The place of the MC was an afterthought. The rapper as we know him blew up in that community and the poetry of street truth arose.

3 After decades of hiphop, rap music is no longer an underground movement. The street knowledge and the truth is now a manufactured product.

4 It’s one that facilitates economic gains over anything, so the production no longer nec. reflects the street. The street reflects hiphop

5 Yeah, “I done flipped a bit a work” in my time, too, but… You top40 rappers aint need to flip no work, but never shut up about it.

6 Black ppl is getting shot by police REG-EW-LAR and the prison industrial complex is alive decedent from the abomination, slavery.

7 This is the truth that needs to be said. Mainstream hiphop is an industry of uber-capitalist white men who have taken your voice.

8 See, you used to say wack MCs were anyone that wasn’t you, ‘;cause your style was that fresh. Now wack MCs are boy bands playing thug.

9 and the most realest, real shit out there is few and far between, hidden, lost in the underground, never played in clubs.

10 I’,mma conclude and let this album speak for itself, in the excess of wackness out there, this is fresh. Telephone by @noname ..link next

11 https://t.co/5xTA4Dyu0P … — in spirit, I love hiphop. But MCs are not all as profound as this and I can’t really tolerate the fakeness.

12 That said, I be dancing to any beat, uknow…. I’m not a hater. I’m just saying. A lot of y’all shit be up off an assembly line str8 up.

13 https://t.co/5xTA4Dyu0P … Now make sure y’all play this shit.give it to me 2 times. Telephone by. @noname ; STOP.

I’ll embed the YouTube video from the url above.

And you should also check out her Tiny Desk Concert on NPR Music where she really shows her personality, and is so lovable. Her band is really into it and they all respect each other it looks like. They’re on tour now I think.

rude boys have a go wail

// 007 (Shanty Town), by Desmond Drekker (1967); Kingston, Jamaica

0-0-7, 0-0-7
At ocean eleven
And now rude boys have a go wail
‘Cause them out of jail
Rude boys cannot fail
‘Cause them must get bail
Dem a loot, dem a shoot, dem a wail (a shanty town)
Dem a loot, dem a shoot, dem a wail (a shanty town)
Dem rude boys get a probation (a shanty town)
And rude boy bomb up the town (a shanty town)

This shit is profound. I’m educating myself in more early ska, rocksteady, and etc. as it was in Jamaica and before exported. I’ll probably be writing about this topic for a bit until I have to get other kicks experiencing, thinking, and analyzing other stuff.