nevin2010
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Nevin, Timothy D.: |
CONTENTS
Acknowledgments 4
List of abbreviation S9
Abstract 10
Chapter 1
Growth and Development of Liberian Popular Music in the 20thCentury to 1989 11
Themes and Arguments 12
Literature Review and Methodology 12
Grassroots Cultural Revival 18
Challenges Facing Liberian Musicians 23
American Cultural Domination 24
Early Historical Background 26
19th Century Historical Background 29
Early to Mid-20th Century 33
The 1960s 34
1970, the End of the Tubman Era 35
1971 and the Tolbert Inauguration 38
1979 and the Formation of Leftist Political Opposition 41
The Rice Riots or “Black Saturday” 43
The 1979 Organization of African Unity Conference 45
Introducing Master Sergeant Samuel Doe 46
1980 and the formation of the
People’s Redemption Council Junta 49
1981; PRC leader Thomas Weh Syen Eliminated 51
1983; the Split with Thomas Quiwonkpa 51
1985; the Rigged Elections 53
The Failed Quiwonkpa Coup Attempt 54
Conclusions 58
Chapter 2
Musicians at the Crossroads during The Turbulent 1970s 60
Introduction 60
President Tolbert at the Crossroads 61
The Liberian Contingent at FESTAC ’77 64
Yatta Zoe “Queen of Folksongs” 66
Young Girls Stop Drinking Lysol 67
Camp Bella Yalla Military Prison 69
The Syncretic Character of Liberian Popular Music 70
Afro-centricity and Liberian Popular Music 72
Liberian Electric Highlife 74
Emergence of a Distinct Genre 76
Morris Dorley, Leading Musical Innovator 77
The Tejajlu Phenomenon 81
Tejajlu as a Musical Collective 82
The National Cultural Center at Kendeja 85
Chapter 3
Challenges and Professional Discrimination in the 1970s 87
Introduction 87
The State of the Liberian Music Industry in 1971 88
Lack of Musical Infrastructure 89
The Church’s and Military’s Institutional Role as Music Educators 90
Popular Prejudices and “Grona Boys” 92
Widespread Parental Opposition (Intergenerational Conflict) 94
Recording Studios in Liberia during the 1970s 97
ABC Studios 97
Studio One 99
Limited Markets for Liberian Music 100
“Ameri-centric” Cultural Dependency 100
The Prevalence of “Copyright Music” 102
Liberian Musical Impersonators 104
The Copyright Phenomenon 105
Copy It Right 108
Poor Working Conditions 113
Low Wages and “Shobu” 115
Discrimination on the Radio 115
State Radio Station ELBC 117
Radio Stations ELWA & ELNR 121
Chapter 4
Liberian Popular Music as a Historical Lens to View Contemporary Events 123
Introduction 124
Liberian Popular Music as a Historical Lens 124
“Normal Times” Defined 126
“Normal Times” and its Relationship to Local Music 127
OAU Welcome to Liberia! 129
Events Surrounding the 1980 Coup 132
The 1980 Coup Revisited 135
Sam Doe’s Social Milieu 140
The 1980 Coup; Effects on the Performing Arts 141
Who Owns Papa’s Land 142
“Redemption of the Liberian People” Dance Drama 145
Social Commentary on the 1980 Coup 146
Miatta Fahnbulleh on the 1980 Coup 147
Miatta Fahnbulleh and “Revolution” 149
Miatta Fahnbulleh, First Lady of Song 151
Princess Fatu Gayflor’s Beginnings 153
Princess Fatu Gayflor’s Career 155
Princess Fatu Gayflor & the Market Women of Rally Time 156
A Gedeh Rooster in the Big City of Lights 158
Youth Concerts and Variety Shows 161
Chapter 5
Recording Studios and Cassette Piraters in the 1980s 164
Introduction 164
Recording Studios and Musicians 165
Hotline Studios 166
Record Producer Faisal Helwani 168
The Introduction of Studio 99 170
Production and Conflict at Studio 99 170
Donald Cooper Comments on Studio 99 175
Close to Power, Yet Relatively Powerless 177
Command Performances under a Military Dictatorship 179
The Musician’s Union of Liberia (MULA) 180
Audiocassette Technology 183
Cassette piracy in Liberia 187
Tulsi Halwani, Pirate Extraordinaire 190
Cassette Piracy Cartels 192
Cassette Piracy and the Radio 192
Chapter 6
Peace and Human Rights: Rallying Cries of the 1980s 194
Introduction 194
Afro-rock and Reggae 195
Purple Haze 196
Reggae’s Popularity in West Africa 198
Reggae Arrives on Liberian Shores 200
The Reggae Sunsplash ’88 Mega-Concert 202
Shared Visions of Peace 203
“No Peace, No Love” and the Anti-War Message 205
Aaron Lewis and the Medusa Group 211
Saku Sillah’s Contribution 212
Liberian Women Musicians and Male Chauvinism 214
Hawa Daisy Moore’s Story 216
Hawa Daisy Moore’s Career 219
Miatta Fahnbulleh’s Experience 220
Nimba Burr Begs us to Remember 222
Chapter 7
Ethnic Pluralism and Social Justice in the 1980s 226
The Ideal of Ethnic Pluralism 226
The Cause of Sectional Equality 229
Zack and Gebah’s “Sweet Liberia” 233
Code Switching and “Africaneity” 235
Malawala Balawala on National Television 236
Liberian Palaver Hut at the 1985 World’s Fair 236
Doughba Caranda’s Career 237
Tejajlu and the Struggle for Social Justice 238
Tejajlu on the National Stage 242
Showman Tecumsey Roberts 242
Tecumsey Roberts; Career and Tragic Demise 244
The Moga Band and Afro-disco 247
Kapingbdi and “Don’t Escape” 249
Lost Career Opportunities Due to Civil War 251
Chapter 8
Reprise: A Summary of Findings 254
On Remembrance and the Act of Forgetting 254
Music History as Labor History 255
Section One (Chapters 1-3) 257
Section Two (Chapters 4-6) 259
Section Three (Chapters 7-8) 261
The Evolution of Musical Taste in Liberia 263
Language Choice Matters 265
Three Political Openings 267
Appendix
A. Interviews for Dissertation 270
B. A Search List of Liberian Recording Artists 275
List Of References 279
Biographical Sketch 307
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