Dub Reality
Indigenous Resistance


IR 20 Dancing On John Wayne’s Head
The following are some commentaries written about the album when it was first released:
“This is probably one of the most unusual and creative dub records you’re ever likely to hear. Imagine typical bottom-heavy, bass-filled Jamaican dub reggae — complete with horns, percussion, the whole nine yards — mixed with traditional Native American vocal music (don’t ask how it works, just believe that somehow it does). Now add spoken word samples from Native American, black, Russian, women’s lib, and other sociopolitical leaders discussing the effects of colonial imperialism and totalitarian governments on the common man (and, of course, woman), and what you get is this radically inventive album.Give them credit for crafting a thought-provoking concept piece that matches cool grooves with a progressively conscious message. ~”Bret Love, All music
“The music on “Dancing on John Wayne’s Head” is a vital expression of cultural exchange and resistance. Just as Bob Marley provided inspiration for Third World liberation forces during the ’70s and ’80s, we will need these uplifting rhythms as we renew the struggle against Babylon into the next century.”
Jon Greenbaum, Solidarity magazine

IR 20 Dancing On John Wayne’s Head

The following is a track by track breakdown of the release highlighting some of the political thought behind each piece of music.
Track 1 “Poundmakers Dub (Remastered ) “feat. Augustus Pablo.

This new edition of Dancing On John Wayne’s Head starts off with a remastered dub mix of Poundmakers Dub ..our musical tribute to this Cree resistance warrior. The story of how TFTT found about Poundmaker is an interesting one. One day we were sitting in an Aboriginal youth center listening to some drumming. Andy who was one of the aboriginal youth singing came to us and said” Do you
know that there was a famous Cree warrior from the nineteenth century who had long dreadlocks? ‘ we were really surprised . We hadnt heard of this.Andy gave us the name of a book and said find this book and you will see what Im talking .Sure enough we found a picture of Chief Poundmaker a great warrior who refused to cut his hair and yes indeed he had long and beautiful dreadlocks!
I.R recently created a mural in Colombia which featured image of Poundmaker beside images Jah9 and Franz Fanon. You can see pictures of that mural at the IR Indigenous Resistance tumbir page a href=”http://tinyurl.com/8urucbj”
BELOW IS A VIDEO that was made for the track “Poundmaker’s Dub’

Track 2 “ Basslines & Ballistics 2012 IR Edit “feat. Eagleheart Singers

This is an extended Jazz Dub edit done by IR of the track ‘Basslines & Ballistics” in
which has Harry Allen making the point that instead of ‘dialogue’ he felt
“I think what most black people want what people from the Seneca nation from the Mohawk nation want would be activity {action} massive amounts of it”

Track 3 Ohtokin (Manasseh Remix) feat Oku Onuora

Ohtokin the fiery dub poem by Jamaican pioneer dub poet Oku Onuora gets a special roots remix from dubmaster Nick Manasseh with added percussion from Crispin ‘ Spry ‘ Robinson. Oku chants “this is not the time to weep ,this is a time to seek a way out..because there can be no justice on stolen land” One of the impetuses for the track was an aboriginal resistance magazine put out by indigenous activist Gord Hill called Oh-tok -in. Gord who has recently released a comic book called ‘ 500 Years Of Resistance ” writes about some of the historical realities that faced aboriginal peoples in north america. For instance the fact many aspect of the apartheid system in South Africa were actually based on what South African authorities viewed when they visited indigenous reservations in Canada and how they witnessed the Indian Act in Canada operating to oppress indigenous peoples.

Track 4 ‘New Ways Of Looking At Power’ (Remastered) feat Augustus Pablo .

Sometimes You Need To Shake Things Up…
Like poet Sandille Dikeni refers to ..sometimes its necessary to shake shake things up in order to challenge the system..

The fourth track ‘New Ways Of Looking At Power’ certainly did that when it was created and released. Initiated and produced
by a male member of TFTT the track made some feel very very uncomfortable and at the same time was empowering and liberating for others.

The track features spoken word from women of colour who were asked to talk about the issues they felt men of colour needed to address espcially around issues of sexism. Musically it featured contributions from folks like Augustus Pablo, Scully, King Jammy and traditional singer Kelly White…
Here are some excerpts from the track..
The first is spoken by Farah Shroff:
“I would like all our brothers to realise that women who are involved in the political struggle also have a struggle to face against you because often you haven’t realised there are many levels to the struggles. The struggle start with yourself, the struggle starts with all of us..part of the thing we are always facing is trying to understand how to liberate ourselves within the context of a racist,misogynist society .and while we can feel alot of solidarity with our brothers of colour..the misogyny is perpetuated by you just as it is by the racist society…”
[** one dictionary definition of misogyny defines it as ‘ the hatred or dislike of women or girls . According to feminist theory, misogyny can be manifested in numerous ways, including sexual discrimination, denigration of women, violence against women and the objectification of women”}
From Jon Leah :
“Slavery is like going into the armed forces if you like. the whole initial objective was to break us as people. and we managed to hold on to some things and we are very proud of those things..i think had we not become malleable …perhaps we would not have been able to survive on this continent ..so that’s the upside.. the downside was that part of that malleability was conforming to the points of views and social structures of our masters, the people who owned us..
and the end result is that we have adopted much more of their philosophy than we are required to ,,,.you can’t live with masters without becoming like them and we have to ferret out that portion of being like the masters that we are not happy with and not comfortable with that we see as detrimental to us as a community and move to change those things and it will not be easy but it seems to me its probably worth the effort”

From Kerrie Charnley :
“what makes it terrifying is that with all this focus on white male power that men of colour have , there is an obsession to get that power.. that white male power.. with all that focus .what happens when and if they get that power.. what happens to the women ? it’s not going to be a pretty picture. so what needs to happen is that there needs to be new ways of looking at power.”

Jon Greenbaum interviwed TFTT about this track who had this to say:
“”We need a more wide open inclusive vision when people of color strategize. There are a variety of cultures that all have various backgrounds and political lessons that we can learn from.”This is especially true in
the track, “New Ways of Looking at Power,” in which women confront their male counterparts in the movement and comment on how the movement recreates the status quo through internalizing old conceptions of power. [ the track’s producer ]sees the cut as crucial. He found a lot of resistance to this track. Other men saw him as a traitor. “But we can’t negate somebody’s potential contribution because of their gender either.”

Track 5 Prayer To Jah( remastered ) feat Don Patrick Martin

This is a track speaking to the need to be fearless and courageous and to value our selves in the face of an oppressive system that is often telling us the opposite.In this track John Trudell former chairperson of the American Indian Movement says
“as human being we are all valid we are all worth something ”

Track 6 Guava Juice (Moltov Cocktail Mix) feat Sandille Dikeni

South African poet Sandille Dikeni featured on track” Guava Juice”

One of the highlights of ‘IR20 Dancing On John Wayne’s Head’ is the track ‘Guava Juice ‘ remastered in 2012 by Spider in Kingston , Jamaica.

It is a fiery resistance poem by South African poet Sandille Dikeni during the time of apartheid ..’ Guava Juice ” which is slang in South Africa for molotov cocktail and was an inspiration for many in the struggle against apartheid. It also features Rupinder Kaur reciting excerpts from a poem by revolutionary indian poet Bismal .The poem was a favorite of prominent Indian anti imperialist ,anti British revolutionary Bhagat Singh .Roughly translated from Punjabi it means’ for oppressed people ,one of the biggest obstacles is the realisation that one is valuable as a human being. Now that we have realised that and achieved our goal of self realisation as a nation as well as a culture, the only thing that remains is to see how much strength is there left in the oppressors arms’

Track 7 Blakk Indian Posse ( 2012 IR Groove Edit )

. A pure groove mix with dancehall inflexion and featuring this quote from the book ‘The Spook Who Sat By The Door’ by Sam Greenlee.. this is not about hating white folks it’s about loving freedom enough to die for it .”

Track 8 Empire In Dust ( Mad Professor Dub Mix)

….a new unreleased dub mix by the Mad Professor..pure drum and bass..with a title that is a reference to the decline of colonial empires…

Track 9 Beyond Survival Dub ( Remastered ) feat Augustus Pablo, Mikey Dread & Chuck D

As Chuck D of seminal rap group Public Enemy says at the start of this track “Im coming up hearing Columbus discovered America ..well how the hell can man discover land when he’s got brothers here waiting for him”

Augustus Pablo featured on some of IR20 tracks

Some of the traks from this release are available for free download on the indigenous resistance soundcloud page but if you wish to help us cover some of the costs we incur for things like remastering of tracks you can buy traks in the following locations:
IR20 Dancing is available on Itunes HERE, Beatport HERE, Juno and through Believe Digital (france)


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