Essay by Perry Henzell A look into the secluded world of Rastafarians, a culture and religion closed to outsiders. With these bold portraits and landscapes, Cariou indelibly captures the strict, separatist, jungle-dwelling, fruit-of-the-land lifestyle, popularised by reggae legends Bob Marley and Peter Tosh. The book's release follows that of a collaborative reggae CD. With 105 tritone photos. '...the photos will stun you with the beauty of their locations and the poise and tranquillity of their subjects' - Newsday
Going far beyond the standard imagery of Rasta—ganja, reggae, and dreadlocks—this cultural history offers an uncensored vision of a movement with complex roots and the exceptional journey of a man who taught an enslaved people how to be proud and impose their culture on the world. In the 1920s Leonard Percival Howell and the First Rastas had a revelation concerning the divinity of Haile Selassie, king of Ethiopia, that established the vision for the most popular mystical movement of the 20th century, Rastafarianism. Although jailed, ridiculed, and treated as insane, Howell, also known as the Gong, established a Rasta community of 4,500 members, the first agro-industrial enterprise devoted to producing marijuana. In the late 1950s the community was dispersed, disseminating Rasta teachings throughout the ghettos of the island. A young singer named Bob Marley adopted Howell's message, and through Marley's visions, reggae made its explosion in the music world.
"REPI offers a fresh angle on the Rastafari by drawing on underutilized sources such as news stories and colonial records, along with other data such as field notes, interviews and cultural products like screeds and hymns. Charles Price introduces readers to new connections, characters, and events salient to the development of the Rastafari. REPI is a scholarly resource written in a style accessible to a general audience"--
Museums must comply with a myriad of laws and ethical codes regulating virtually every aspect of their organization and operations. While some of these issues are common to businesses of all kinds, some apply to nonprofit organizations, and others are unique to the museum community. Museum Administration: Law and Practice explores the many areas of law applicable to museums, including governance, personnel, facilities, intellectual property, collections management, and fundraising. Designed as a textbook for use in connection with museums studies programs and law school courses, the book utilizes a “casebook” approach: relevant court decisions and other primary source materials illustrate and enliven the descriptive text. Study questions are included in each chapter so that readers can apply legal and ethical principles to museum-focused fact situations. A comprehensive but concise introductory text to the legal and ethical issues facing museums, Museum Administration: Law and Practice is also an authoritative resource for museum professionals and lawyers.
For the past decade, downtown-New York indie dance music innovation could be summed up in three letters: LCD. The brainchild of frontman James Murphy, LCD Soundsystem grew from a solo project into one of the most highly regarded live bands in contemporary music. In 2011, at the height of their career, LCD Soundsystem decided to end the band. From 2004 to the day they quit, photographer Ruvan Wijesooriya navigated through both private and public moments with the influential, Grammy-nominated, NYC indie band. Ruvan was a fan, first and foremost, and quickly became a fly on the wall and instigator who brought new meaning to the term, "I'm with the band." His access and friendship with LCD is something rare in the commercialized and controlled music industry of today, and this close relationship can be seen in the rapport between photographer and subject. The locations include Hyde Park in London, various New York institutions, Coachella, Rick Rubin's recording mansion in the Hollywood Hills, Way Out West festival in Sweden, Miami Art Basel and more. In addition, the scope of the book goes beyond just photography and features various album art and original interviews with members of the band and showcases an exciting design by James Timmins, art director of Dossier magazine. A handful of these photographs were featured in the recent LCD film, Shut Up And Play The Hits, and others have appeared in Rolling Stone, Spin, The New York Times Magazine, and The New Yorker, but the vast majority have never been shown before, making this the ultimate must-have for every fan to remember the band. "All of Ruvan's pictures remind me of that feeling: that you're geographically fucked, and its all happening right now, somewhere else, without you. There's an enormous amount of intimacy in them, and promise, and intrusion..." -James Murphy, LCD bandleader
Description 'Skinheads, Rastas and Hippies' reflects John's involvement in the alternative culture of the 1970s through to the 1990s. He saw a common denominator between the different ethnic and sub-culture groups i.e. Rastas mixing with hippies/skinheads etc. It was these experiences coupled with his own diagnosis of schizophrenia that lead John to put pen to paper. A truly entertaining read the story reflects John's upbringing and youth in the mixed and sometimes volatile Brixton in South London. About the Author John was born in Jamaica in 1955, he currently lives in Brixton, South London. John has had various jobs but has struggled to find employment since becoming ill with schizophrenia. His interests include reading, football and meeting people. He has two children - Adrian aged 16 and Samantha who is 12 years of age. John wrote his book in order to share his perception of his experiences and interpretation of his life issues and tribulations. He believes that the seventies and early eighties were key years in defining the issues of today.
Shares the spiritual wisdom of Rastafari through the stories, teachings, and traditions of practicing Rastas in Jamaica • Includes the author’s interviews with bush doctors, healers, and Rastafarians gathered during his 15 years of living in Jamaica • Reveals the old ways of the Rastafarians and how their beliefs form an unbroken lineage tracing back to King Solomon • Explains the connection of Rasta beliefs to important biblical passages Tracing their lineage back to King Solomon--the wisest man who ever lived--Rastafarians follow a spiritual tradition of peace and meditation that is more a way of life than an organized religion. During his 15 years living in Jamaica, Gerald Hausman developed deep friendships with Rastafarians and rootsmen, enabling him to experience firsthand the beliefs and traditions of these followers of the Kebra Nagast--the African gospel excised from the King James version of the Bible. He met bush doctors, Rasta preachers, members of the Marley family, and respected elders who knew Marcus Garvey, prophet of the Rasta movement and vocal proponent of the Pan-African movement in America. He also met elders who were present when Haile Selassie I, Emperor of Ethiopia and descendant of the House of David, came to Jamaica in the 1960s. Through interviews with fishermen, mystics, and wise men, as well as direct encounters with spirits and the spiritual, the author reveals the deep wisdom that underlies the “old ways” of the Rastas. He connects their stories, lives, and teachings with important biblical passages as well as reggae songs. He shares their views on the medicinal and meditative powers of cannabis--the sacred herb of Solomon--and explains that while Rastas believe it to be “the opener of the door,” they maintain that peace and understanding must be found within. Illustrating the unwavering faith and hope of the Rastafari of Jamaica, Hausman shows them to be a people who, above all, emphasize equality, because the Holy Spirit within each of us makes us all one and the same.
From home, to school, to juvenile detention center, and back again. Follow the lives of fifty Latina girls living forty miles outside of Los Angeles, California, as they are inadvertently caught up in the school-to-prison pipeline. Their experiences in the connected programs between “El Valle” Juvenile Detention Center and “Legacy” Community School reveal the accelerated fusion of California schools and institutions of confinement. The girls participate in well-intentioned wraparound services designed to provide them with support at home, at school, and in the detention center. But these services may more closely resemble the phenomenon of wraparound incarceration, in which students, despite leaving the actual detention center, cannot escape the surveillance of formal detention, and are thereby slowly pushed away from traditional schooling and a productive life course.
Danielle Levittarrived at her distinctive photographic style capturing street fashion, pop culture, and celebrity for countless publications. While producing this commercial work, Levitt also pursued her passion for documenting American youth. The result is We Are Experienced, Levitt's first monograph, a series of portraits depicting adolescents in a variety of urban, suburban, and rural settings, as individuals and in groups, loaded with signifiers both mainstream and marginal. We Are Experiencedincludes football stars, tanorexics, wiccans, punks, prom dates, snowboarders, and baton twirlers. Levitt revels in the beauty of the age and its incomparable potential. She also exposes an advanced awareness particular to a generation. The notion of strident youthfulness was invented in the last century; today it is an understood quantity, a streamlined experience. Levitt's subjects are well-schooled in the expectations, limitations, and developmental strategies of growing up American, and have unparalleled resources to identify in a multitude of ways. We Are Experienced is a lushly stylized archive of the choices they make.
Contemporary media authorship is frequently collaborative, participatory, non-site specific, or quite simply goes unrecognized. In this volume, media and film scholars explore the theoretical debates around authorship, intention, and identity within the rapidly transforming and globalized culture industry of new media. Defining media broadly, across a range of creative artifacts and production cultures—from visual arts to videogames, from textiles to television—contributors consider authoring practices of artists, designers, do-it-yourselfers, media professionals, scholars, and others. Specifically, they ask: What constitutes "media" and "authorship" in a technologically converged, globally conglomerated, multiplatform environment for the production and distribution of content? What can we learn from cinematic and literary models of authorship—and critiques of those models—with regard to authorship not only in television and recorded music, but also interactive media such as videogames and the Internet? How do we conceive of authorship through practices in which users generate content collaboratively or via appropriation? What institutional prerogatives and legal debates around intellectual property rights, fair use, and copyright bear on concepts of authorship in "new media"? By addressing these issues, Media Authorship demonstrates that the concept of authorship as formulated in literary and film studies is reinvigorated, contested, remade—even, reauthored—by new practices in the digital media environment.
