Titlebook: Narratives from Beyond the UK Reggae Bassline; The System is Sound William ‘Lez‘ Henry,Matthew Worley Book 2021 The Editor(s) (if applicabl

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,‘Dem a Call Us Pirates, Dem a Call Us Illegal Broadcasters!’: ‘Pirates’ Anthem’, PCRL and the Strugan be understood in terms of how sound systems and pirate radio stations have operated as two sides of the same coin. What made Birmingham distinctive was the dominance of reggae and dancehall music at the heart of the pirate radio scene. Birmingham was and perhaps still remains the capital of reggae-oriented pirate radio in the UK.

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Introduction: Narratives from the Bassline,transmitted nationwide by the UK’s Afro-Caribbean community. There was a pre-history, of course. Through the 1950s into the 1960s, as communities formed around those who travelled to Britain from the Caribbean for work and a new life, so blues parties and fledgling sound systems—not to mention under

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A Who Seh? Reflections of a Lost and Found Dub Poet,paces that may be obscured from the public, owing to the sensitive nature of the materials themselves. Archived materials when shared with the public may take the form of a ‘public exhibition’ where the materials (not on show) may comprise of documentary processes; visual imagery, text and maybe som

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Smiley Culture: A Hybrid Voice for the Commonwealth, breakthrough singles, popularity in the press and role as a figurehead of the Commonwealth Institute, he tied together the everyday experiences of race in Britain, and the history and role of the nation on the global stage. In this chapter I will use Smiley Culture’s voice, words and work to track

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,The Story of Nzinga Soundz and the Women’s Voice in Sound System Culture,he founders of the Sound, DJ Ade and Junie Rankin, trace their sound system journey from the early days as the children of ‘immigrants’, playing for family and friends at house parties, community and social events, to dances, concerts and large-scale festivals. Our story is also told against the pol

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Sound-Tapes and Soundscapes: Lo-Fi Cassette Recordings as Vectors of Cultural Transmission,ound system session and provided a privileged insight of the innermost workings of Reggae culture by showcasing the creative improvisations, linguistic codes, musical compositions and dynamics at play within this space. As such they acted as a proficient and authentic vector of cultural transmission

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,‘Dem a Call Us Pirates, Dem a Call Us Illegal Broadcasters!’: ‘Pirates’ Anthem’, PCRL and the Strugfree community radio stations that emerged during the 1980s within the UK’s urban cities such as Birmingham and their pioneering free radio station, The People’s Community Radio Link (PCRL). The histories of Black led pirate radio stations and their intertwined relationship to sound-system culture c

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