Uncategorized

More Margarita!

I have been going through Star newspaper archives over the past year and came across these two photos of Margarita, Anita Mahfood. For those who have read my book, Don Drummond: The Genius and Tragedy of the World’s Greatest Trombonist, you will know the book is almost just as much about Margarita as it is about Drummond. She was also the impetus for my writing Songbirds: Pioneering Women in Jamaican Music because she is a classic example of a woman whose value has been largely unrecognized. She was tenacious, charismatic, talented, and powerful.

So when I came across these two photos, I was like a kid in a candy store, seeing two new images I had never before seen of this woman I idolize. And I was even more astounded when I read two accounts of her performances, which I think are indicative of two aspects of her performances–the sensuality, and also the danger. Neither can possibly mention the aspect of Margarita that I am most interested in, which can only be recognized through the eyes of looking at her historical impact, and that is her role in helping drumming and Rasta musicians come to the mainstream, by crossing from the camps into the upscale clubs. Therefore, Margarita was crucial to the evolution of what would become reggae.

Here are the two reviews of her performances, and the later is the more chilling.

From the Star newspaper, January 3, 1959, “Xmas Revue–good to the last tune.” “Curvacious Marguerita, fittingly costumed, did a spot of rhumba dancing ‘shimmying’ that had the girls holding down the boyfriends in their seats and the wives daring their husbands to look.”

From the Star newspaper, February 19, 1960, “A Bit Overdone,” by Archie Lindo. “. . . Marguerita, nicely costumed, didn’t do very well. It appears that she was a bit scared of the boys up front who threatened to climb on stage during her number.” Margarita performed with other artists such as Rico Rodriguez, Totlyn Jackson, The Jiving Juniors, The Downbeats, Laurel Aitken, Girl Satchmo and others. The event was hosted by C.B., or Charlie Babcock. It is interesting to note that in the Let’s Rock advertisement on March 16, 1960, the following month, Margarita is not on the lineup. Nor was she on the line up in May of that year. Perhaps her experience in February kept her away, but this is also the year that she had her daughter, Suzanne, so perhaps her pregnancy could also be a reason. She had previously appeared at this show, so it is curious why this was the last, at least for a while, that she performed on the bill.

I would also like to draw notice to the fact that both reviews acknowledge Margarita’s costume. Zola, Margarita’s niece who adored her aunt, told me that Margarita made all of her own costumes herself. She taught herself to sew, just as she taught herself to dance. What a phenomenal woman.

Anita Mahfood - Margarita, Don Drummond

Margarita and Domestic Violence

margarita

American news has been finally focusing on the epidemic of domestic abuse, particularly in professional sports like football. It always brings to mind, for me, the abuse that Margarita, Anita Mahfood, suffered at the hand of her professional boxer husband Rudolph Bent before leaving him to enter a relationship much worse, the one with Don Drummond that would end in her death at his hand. This past week I traveled to Kingston where I combed through the Star Newspaper archives which are still in original form, never digitized or put on microfilm, and with white-gloved hands, turning the pages of the yellowed and crumbling bound editions of the newspaper, I came across the following article. I picture it here and have transcribed the text below and ask the following question for those who have claimed that Margarita liked the violence, and yes, there are those men who have even spoken publicly about this theory of theirs–tell me how a woman likes this? That is all I will say for fear of letting my anger toward such claims run away with me.

From The Star, Saturday, November 21, 1964

Chopped, hit, kicked by her boxer husband

Repeated beatings by Jamaican and British Honduran middleweight champion, Rudolph Adolphus Bent (now in America), of his dancer wife, led her to seek her freedom from him in the Divorce Court yesterday. The court heard her story, of a number of violent assaults in which the boxer’s fists were brought into play, in her undefended petition.

Petitioner was Anita Bent (nee Mahfood), who is Jamaica’s premier rhumba and interpretive dancer with the stage name of “Margarita.”

Mr. Justice Shelley granted her a decree nisi with costs against her husband. Custody of the two children of the marriage is to be decided in Chambers. Petitioner was represented by Mrs. Margaret Forde, Legal Clerk.

Mrs. Bent wept as she told the Court that her husband had forcibly taken away the children and transported them to his homeland, British Honduras where they now reside with his mother. Mrs. Forde said that respondent entered an appearance only with regard to their custody.

Petitioner said that they were married in St. Andrew on March 15, 1961, but were never happy as he gave her no monetary support and had too many girl friends. She gave her present address as 32 Coral Way, Harbour View.

Assaults

She recounted some of the many assaults made on her by respondent. She said in June, 1961, he came home about 3 a.m. and when she spoke to him he told her, “Why don’t you take your pickney and go and leave me in peace?” Then he hit her with his fist in the right eye and on the mouth, which was cut and started bleeding. He grabbed her by the hair, opened the door and threw her outside. Next he threw their little daughter, Susie, after her.

Shelter

She ran up Slipdock Road to a friend in her nightgown and found shelter. In July, 1961, they quarrelled over money and he said, “You want money. Well, you’re not getting any from me.” He twisted her arm and choked her.

In September, 1961, there was another row over money and a girl and he tore off her dress and punched her down on the bed. He put a pillow over her face and tried to suffocate her. Another boxer in the house came in and rescued her, she said. A further assault was committed in November, 1961, when he choked her and tore off her clothes. She then left him to live apart as she was afraid of him.

In February, 1962, he asked her to return to him and hen she said she would not, he dug his two fingers into her eyes, hit her on the chin with his elbow, chopped her on the side of the neck with his open right hand and kicked her down. This took place while she was alone in her father’s home.

After they returned living, in July, 1963, he dragged her by the hair, thumped her with his fist in the face and tore off her clothes. Her sister came to her rescue.

Blood

Fay Roberts, dressmaker of 2 Glasspole Avenue, gave evidence of the assault committed in June, 1961. She said she was at the Slipdock Road address when Mrs. Bent came screaming into the home with blood flowing from her mouth and her eye swollen. She was in her nightgown and was carrying her baby.

Kola wine

Plenty Bottle of Kola Wine

kola-wine-ad1

The lyrics of the classic song “Sweet and Dandy,” written by Frederick Hibbert, known to us as Toots, tell of a young couple’s wedding day jitters and reassurances from their family, who have spent money on food and refreshments for the assembled guests. As I sing along, I belt out the words, “kola wine,” realizing that I, once again, have no idea what I’m warbling! So I decided to check it out, for those non-Jamaicans like me, so we can know the history of this beverage called kola wine with the hopes that I may someday try a glass and toast to Toots himself.

Advertisements for kola wine first appear in the Daily Gleaner in 1900. One ad describes this new drink:

It is a powerful Stimulant, A Pure Product, Palatable as well as Nourishing, An Agreeable Beverage that is also a Nutritive Tonic. It is tolerated by the weakest stomach and is a substitute for solid food in cases of acute disease and is valuable to digestion in all chronic conditions including mal-assimilation of food. In cases of acute disease in which other nourishment cannot be received, Club Brand Kola Wine is effective and easily bourne. But perhaps its widest usefulness is among chronic invalids, those convalescing from wasting illnesses, those who are constitutionally feeble and those who are temporarily or frequently require a tonic.

kola-wine-ad2

The advertisement goes on to state that it is good for “various ailments” including dyspepsia, asthma, sea sickness, diarrhea, heart weakness, following fevers, brain and nerve ailments, neuralgia and migraines, and as a general tonic to aid circulation. These advertisements are not unlike those of Coca-Cola or Dr. Pepper in the same era in the United States and elsewhere. The “stimulant” found in kola wine is, like Coca-Cola and other popular soft drinks, caffeine, which is found in the cola nut used in production of both Coca-Cola and kola wine. The nuts have been used for centuries as a diuretic, stimulant, cardiac tonic, astringent, and anti-depressive.

coca-cola-advertisement-721253

These sorts of tonics were and are still popular in Jamaica and among Jamaican musicians. Pianist Herman Sang revealed to me that Don Drummond was known to drink a tonic in the studio, although it is unknown exactly what it was. Sang told me, “I noticed that he had this brown bag, a paper bag with something that looked like a one pint little bottle and he would bring it and put it beside the piano, like on the ground where the piano was. And whenever we had a break he would come over and open the bag and nobody really knew what it was. Maybe it was an energy drink! (laughs) But I always remember that.” Kola wine? Perhaps! Drummond’s favorite drink, however, was limeade or a concoction of Ovaltine and clay.

A Jamaica Observer article on September 1, 2003 revealed more information about what is called “root tonics.” Author Gwyneth Harold writes, “There is a variety of roots wines in the supermarkets and on bar shelves. They have names like Zion, Baba, Allman Strength Roots Drink, Lion Brand, Kola Wine, Magnum, Ginger Joy, Ginger Wine with Ginseng, and Pump It Up. They have stiff competition from the ‘small man’ who mixes a batch in his kitchen and sells it unlabelled out of a knapsack under names like Front End Lifter. Some of the roots drinks claim to be specially recommended for those ‘suffering from a run down constitution’ or ‘fatigue.’ Some say that they are number one in their class for enhancing one’s energy level ú taking it to a whole new plateau. The makers of Magnum proudly declare their drink to be with ‘Vigorton 2’ – a popular drink of an earlier time that was immortalised in ska by Lee Scratch Perry and King Stitt. There are also virility claims because some of the natural ingredients contain aphrodisiacs such as peanut root, sarsaparilla and medina. . . . Pump It Up, itself used to be known as Samsons Wine, The modern blend has 27 roots. It is recommended for adults only. A serving size of roots drinks ranges from one to two wine glasses. But while they are a popular part of Jamaican culture, we wondered if there were any standards in place to regulate these beverages. Diane Robertson, registered pharmacist, herbal consultant and author of ‘Live Longer, Look Younger With Herbs’, explained that one of the first distinctions to be made was the difference between roots tonic wine and a roots drink or roots juice. Tonics are for perking up the system, she said, but once the word tonic was on a bottle, it had to be registered by the Ministry of Health (MOH).” The article goes on to advocate regulation and proper labeling.

Below are the lyrics to “Sweet and Dandy” as well as a link to the song. Please post below if you have tried kola wine and share your experiences—for those who are unfamiliar with the beverage, like I am, we’d love to know your thoughts!

Listen to the song here and see Toots & the Maytals perform this classic in the film The Harder They Come: Sweet and Dandy

Sweet and Dandy
By Toots & the Maytals

Etty in the room a cry
Mama say she must wipe her eye
Papa say she no fi foolish
Like she never been to school at all

It is no wonder
It’s a perfect pander
While they were dancing
In that bar room last night

Johnson in the room afret
Uncle say he must hold up him head
Aunty say he no fi foolish
Like a no time fi his wedding day

It is no wonder
It’s a perfect pander
While they were dancing
In that bar room last night

One pound ten for the wedding cake
Plenty bottle of kola wine
All the people them dress up in a white
Fi go eat out Johnson wedding cake

It is no wonder
It’s a perfect pander
While they were dancing
In that bar room last night

Etty in the room a cry
Mama say she must wipe her eye
Papa say she no fi foolish
Like she never been to school at all

It is no wonder
It’s a perfect pander
While they were dancing
In that bar room last night

Johnson in the room afret
Uncle say he must hold up him head
Aunty say he no fi foolish
Like a no time fi his wedding day

It is no wonder
It’s a perfect pander
While they were dancing
In that bar room last night

One pound ten for the wedding cake
Plenty bottle of kola wine
All the people them dress up in a white
Fi go eat out Johnson wedding cake

It is no wonder
It’s a perfect pander
While they were dancing
In that bar room last night

But they were sweet and dandy
Sweet and dandy
Sweet and dandy
Sweet and dandy

Sweet and dandy
Sweet and dandy
Sweet and dandy
Sweet and dandy

They were sweet and dandy
They were sweet and dandy
They were sweet and dandy
They were sweet and dandy
They were sweet and dandy

Uncategorized

The Monkey Tambourine Tree

tree

I am beyond excited to write this week’s blog post! I have stumbled across a photo of the Monkey Tambourine Tree, also called the Dibby Dibby Tree, that once stood at the Alpha Boys School. I was looking through some old issues of the Jamaica Journal that I recently purchased off of ebay for the fun of it, and located in the May-July 1987 issue was an article titled “The Search for Africa’s Baobab Tree in Jamaica.” This photo appeared on page 6, and I thought, could this be the tree? The one that Don Drummond practiced under that I had been told about by various Alpharians? I posted my inquiry on Facebook and had my hopes confirmed–this is the tree!!!

My friend Ronald Knight who was an Alpharian and a member of the band says, “Yes it was. We used to do our musical theory lessons under it every morning, the buildings you can see was where instruments were kept. And to the right of the tree,out of sight was the printing & bindery buildings. It brings back some memories , that tree ….” Alpharian Charles Simpson confirms, “Its back of the printery and binding shop right of the old band room,” and Rico Rodriguez also agrees, this was the tree!

Why is this so exciting for ska fans like me? Well I would like to talk about it by including the following information which is an excerpt from my book in the chapter entitled, The Monkey Tambourine Tree. Had I discovered this photo before it was published, this certainly would have been included in the chapter. I get chills thinking of Don D practicing as a child under this tree. I can picture him there, I can almost see his ghost.

From Don Drummond: The Genius and Tragedy of the World’s Greatest Trombonist:

How did Don Drummond develop such musical skill at such an early age? Certainly Reuben Delgado had a big hand, Drummond’s classmates and mentors like Carl Masters had a hand, but truthfully, it was Drummond himself who took the opportunity he was given and made the most of it. Instead of playing games like other boys, instead of going to class to further develop his math or reading skills, Drummond spent time, on his own, under a tree, practicing. Winston “Sparrow” Martin recalls Drummond’s discipline for music when they were both students at Alpha. “I came here when I was nine years old and Don Drummond was on his way out. He was a man who liked to stay by himself. There used to be a tree by the band room when I used to be here called the Monkey Tambourine Tree and he used to sit there practicing, or if he not practicing he would be looking at a piano book. He practiced the trombone out of a piano book, because the piano has the melody and the harmony so you practice that and he would play the part of what the piano played. On the piano you have something called the treble section and the bass section so he would play the bass section,” says Martin. A monkey tambourine is a specific style of wood tambourine. The tree that Martin and others referred to as the Monkey Tambourine Tree was also called the Dibby Dibby Tree by Sister Ignatius and others after a slang term meaning bad quality.

tree1

Headley Bennett also remembers Drummond practicing and studying under the Monkey Tambourine Tree. “We meet him at Alpha. He never used to play games with us. He just sit under the tree and watch the games. And he used to read a lot. He used to read a lot about leaders, like the Russian leaders and German leaders. He used to read those kind of books. And I used to look at him and tell him that I don’t really understand those books. He need the knowledge, you know? But they were too high for him, for his age, you know. He was around 14 or 15 years old and we were the same age. We played cricket, football, baseball. He sat under the tree and watched us. And he always smilin’, you know? When we see him under the tree he smiled. He used to practice more than any one of us. When we finished class at three or four o’clock, he practiced every evening when he’s not watching games. He practiced very hard, more than us. We were in the band together with Reuben Delgado. He was a very strict band leader. Drummond was quiet. You could not get him to talk too much. He don’t want to discuss nothing. You don’t have to talk about nothing at all. He used to read a lot, that’s how he tried to gain more knowledge,” says Bennett. It was during this time that Drummond was fitted for glasses since he was found to be extremely nearsighted. His glasses were very thick, like magnifying glasses.

Martin says that Drummond even began skipping classes to practice on his own and the administrators allowed it since he was so skilled at music. Walking the path on Alpha’s campus from an area of overgrowth and debris that used to house the old band room, Martin recalls, “When he was going to school, we take our instruments from here and walk to the practicing area. But when we leave the practicing area and come back to put all the instruments away, Don don’t put his instrument away yet. He sit down under the tree and practice, so when the bandmaster come in, Mr. Delgado, he would still stay there, with his instrument but he would have the piano music in his hand.”

tree2

Drummond spent time studying classical music in the classroom, but on his own he listened to jazz on the radio and he started to compose songs of his own. “Don Drummond didn’t want to play classical music, he wanted to play jazz music and he practice jazz music, so a lot of guys do that when they’re older, they want to go into jazz, the Louis Armstrong, the J.J. Johnson, all these type of jazz musicians we used to hear about,” says Martin.

Uncategorized

Ska, Rocksteady, and Boxing?

Bunny_grant

Bunny Grant

Alton Ellis’s classic 1965 song Dance Crasher features the following lyrics in a warning to rude boys to mash up sound system dances:Don’t break it up, please don’t make a fuss, go to a gym, get yourself in trim, be a prize fighter, instead of a dance crasher, let me tell you, be a gentleman, you could be a champion, like Mr. Bunny Grant.”. Ever wonder who Bunny Grant was and why boxing was such a big deal in this Alton Ellis song? I mean, sure we know about dance crashers and rude boys, but boxers?

Ever wonder who Bunny Grant was? Reggae Archives tells us that “Leslie “Bunny” Grant was a Jamaican light-welterweight boxing champion active during the early 1960s. Whilst there have been many Jamaican-born boxers on the international scene before and since, most fought under the flag of an adopted country such as USA, Canada or Great Britain. Grant was revered in Jamaica largely because he fought as a Jamaican.”

The Jamaica Gleaner, on November 7, 1999, in a series of the 20 Greatest Jamaican athletes of the Century, profiled Bunny Grant. Here is the feature:

BUNNY GRANT has the distinction of being the first Jamaican boxer to fight for a world title.

He fought the American champion Eddie Perkins for the world junior welterweight boxing title at the National Stadium on April 18, 1964, but lost in a unanimous points decision.

In 1962, Grant held as many as four titles simultaneously – the Latin American junior welterweight title, the British Empire lightweight title (renamed the Commonwealth title) and the Jamaica lightweight and welterweight titles.

On August 5, 1962 – on the eve of our Independence from Britain – Grant did Jamaica proud by winning the Commonwealth lightweight title, defeating the Englishman Dave Charnley inside the newly-built National Stadium. It was a fitting Independence gift.

By virtue of his outstanding exploits in the ring that year, Grant at age 22 was named Jamaica’s first ‘Sportsman of the Year’ by the Machado Foundation.

During his heyday, the boxer whose real name is George Leslie Grant, was not only a genuine crowd puller but a role model to young aspiring sportsmen as well. He was immensely popular.

Blessed with a fast pair of hands, good footwork and a punishing left jab, the man who fought eight world champions in the lightweight and welterweight divisions in a career spanning 15 years, ended with a professional ring record of 102 fights, 86 wins, 10 losses and six draws.

After his memorable victory against Charnley, Grant defeated the world number three lightweight Doug Vaillant of Cuba in his next fight at the National Stadium months later, out jabbing and out punching his opponent for his biggest win.

Other notable bouts were his loss to the highly ranked Carlos Hernandez of Venezuela in 1963, which for a time set back his bid for a crack at the world title, and his victory over fellow Jamaican Percy Hayles for the local welterweight title in the early 70s, this inside the National Arena.

Significantly, Ring Magazine, in its ranking for February 1965, named Grant as the number one contender for Carlos Ortiz’s world title. Between 1963 and 1968, he was consistently ranked in the top 10 in the junior welterweight division.

For his outstanding contribution to boxing, Bunny Grant was inducted to Jamaica’s Sports Hall of Fame on October 21.

Okay, okay, so enough about Bunny Grant, still what’s the big deal with boxing? Well boxing was hugely popular in Jamaica and still is today. Boxers were admired for their strength, skill, and sport and so they were idolized by Alton Ellis and others. Sister Ignatius taught her boys at the Alpha Boys School the sport of boxing by sharing films of the greats, instructing the technique as the boys watched. Local theaters like the Ritz screened fight films, like Rocky Marciano vs. Don Cockell. The Jamaica Boxing Board of Control (JBBC) was established as early at 1929 by Jamaican national hero Norman Manley, one of the leaders responsible for negotiating Jamaican independence. Manley even served as president of the JBBC during its infancy.

Today, the outstanding Minneapolis band the Prizefighters have paid homage to this tradition and to Ellis by naming their band after this cultural affinity as they revive the sounds of 1960s Jamaican ska—definitely check them out at theprizefighters.net.

My interest in boxing and ska came as I researched Don Drummond since Anita Mahfood, also known as Margarita, was married to a boxer before she became involved romantically with Drummond. Margarita was married to boxer Rudolph Bent. They had two children together, Suzanne and Christopher. Rudolph Bent was known as the Dark Destroyer. He was born in Belize, which was then called British Honduras and he fought his first professional fight on July 13, 1952 against Jimmy Pollard in Belize City. Rudolph Bent left Belize for Jamaica in 1955 to continue his career and he met Margarita and they had their first child in 1959 getting married afterward and then having a second child two years later.

Perhaps Bent’s most famous moment in his boxing career came on October 20, 1965 when, at the age of 33, he fought against Boxing Hall of Famer Sugar Ray Robinson in Robinson’s final fight. Robinson, who was 45 years old at the time, won his 174th and final victory in a third-round knockout of Rudolph Bent in Steubenville Ohio. Bent had just come off of a 13 fight losing streak when Robinson won. Robinson’s purse for the fight was $500. It was not Bent’s last fight, but his string of loses definitely signaled the end of his career.

You can read more about Bent, see photos of him, and hear about the abusive relationship he had with Margarita before she divorced him and moved in with Don Drummond while her kids were sent away to Belize. My book is available at skabook.com and here are a few recent reviews:

Heather, just letting you know that the Don Drummond book is the best book I have ever read on the subject of Ska. It is so well researched and informative! I particularly liked reading about Graeme Goodall and The Caribs, the Australians who helped pioneer the genre. Keep up the good work, can’t wait to read your next book! cheers, Steve Douglas, guitarist with The Resignators, www.theresignators.com

Well researched. By reg69 on October 22, 2013 For the avid or casual reader on the subject of early Jamaican music this is a must read.Writer has come up trumps here ,cannot have been an easy task extracting information on D.Drummond in his native land. So thank you Heather for sticking your neck out , it must have been a daunting task. On behalf of reggae fans worldwide , thank you.

This man is back !!!!!!!!!!!!!!!!!!!!!!!!!!! By Darren Powell on November 2, 2013 Meticulously researched & beautifully put together – a wealth of new information on a musical giant & a revelation in terms of Margarita Mafood.

Through dozens of interviews Heather Augustyn’s book paints a vivid and at times traumatic picture. She never shrinks from dealing with the cycles of violent abuse and the stigma of mental illness. Her book demands that we learn from the lessons of the past so that we might react differently in the future. Let’s face it, Don Drummond was not alone. He joins a host of stellar artists and musicians who have dealt with depression and psychosis, some of whom were able to deal with it, others who weren’t. In the end ‘Don Drummond: The Genius and Tragedy of the World’s Greatest Trombonist’ leaves us no place to go but the music and that my friends takes us to those Far East melodies, those groundbreaking compositions… minor masterpieces… that allow his melancholy genius to shine. Roll on Don Cosmic… Ungu Malungu Man! –Paul Brad

Uncategorized

Bellevue Mental Hospital

Jamaica-2013-762

It is the week of Halloween and I see advertisements everywhere for haunted houses, many of them “insane asylums” with silly images of fake butchered patients at the hands of saw-wielding zombies as Marilyn Manson plays in the background. I can’t help but think of the real life insane asylum that is part of ska history, Bellevue Mental Hospital in Kingston, Jamaica, home to trombonist Don Drummond during the last years of his life and periods throughout his life. While Bellevue was never a site of such horrific butchering as will likely be portrayed in haunted houses, it is still haunted with inhumane treatment and horrifying scenes, as I witnessed when I visited the interior of this hospital last February. The photo above is a patient’s artwork on a boarded up, abandoned building located on Bellevue grounds.

First, let me share a little about Bellevue’s history, which you can also read about in more detail, including information on Don’s treatment and death in my book, Don Drummond: The Genius and Tragedy of the World’s Greatest Trombonist, available by clicking the books link above.

In the mid-1800s, Kingston had only a single public hospital located on North Street and West Street. This hospital served the city’s 30,000 people and contained the Jamaica Lunatic Asylum, as it was called at the time. Accommodations were so awful that one former senior medical officer claimed they were “little better than stables for animals.” Treatment for patients during these early years was primitive at best and included such procedures as “tanking,” or submerging patients into a shallow tank of water many times to reduce their aggressiveness, or rather forcing compliance, not unlike today’s torturous water boarding. Private medical practitioner Dr. Lewis Bowerbank changed these conditions when he appealed to the Colonial Office in London to make investigations into the mistreatment of patients. As a result, Bellevue Mental Hospital was built in 1861, delayed initially by an outbreak of cholera in 1850. But the hospital wasn’t known as the Bellevue Mental Hospital in those days. It was called the Jamaica Lunatic Asylum, then in 1938 the name changed to the Jamaica Mental Hospital and later it was called Bellevue Mental Hospital.

It is interesting to note that as improvements were made over the years, namely in the areas of nutrition, uniforms and sleeping conditions, recreation, occupational opportunities, and skilled treatment, there was also a brass band that was organized in 1860 to help provide recreational and therapeutic opportunities for patients. This continued during Don Drummond’s tenure and he periodically played with this band, even tutoring a patient there. A senior medical officer remembers that this student was known as Trommie but his real name was Eleazor Beckford. Music is still used as a form of occupational therapy at the hospital today.

The medical treatment patients received at Bellevue were rudimentary in the early days and during the days of Don Drummond’s stay. In the 1800s, the main medication for patients in the asylum was alcohol—brandy, wine, rum, and gin were given to patients. This was greatly reduced and replaced by drugs and castor oil. Overcrowding was always an issue so knocking out patients helped the limited staff, who was not skilled in the early days, deal with clients. During my visit to the hospital, no staff at all was visible in multiple buildings as patients roamed their fenced-in areas, barefoot, bandages unraveling from their heads.

In the 1960s, when Don Drummond lived at Bellevue, one form of treatment was prevalent, having just emerged into the medical industry in Jamaica. In addition to drugs that would have rendered Drummond a zombie, he also was treated with electro-shock therapy. Don’s fellow musicians confirm that he received this treatment at Bellevue, as does the senior medical officer’s (SMO) family who was there, living on the estate, at the time. “EST was definitely the thing, electroshock. The medication would have been basically heavy sedatives. There were basically things to kind of conk you out. Drummond was pretty zonked out from early on,” says the SMO’s daughter. The drugs that Don was given by the unskilled staff were drugs that have since been banned since they are fatal. One administrator told me, “We used strait jackets to restrain different patients. We also had chemical restraints, sodium barbital. The patient would be tranquilized to the extent that they would sleep for a few days and given glucose. They would come out and be in a different state. We also used chlorpromazine, or CPs for short.” Sodium barbital is the same class of drug that killed Jimi Hendrix and Marilyn Monroe.

Was Don Drummond killed in this house of horrors? You can read my thorough research into this and my conclusion in my book. What do you think?

Glass Bucket Club

Ska at the Glass Bucket

Glass-Bucket

This is the Glass Bucket Club, a stage that once bore the greats before ska ever existed. This stage helped to shape the musicians who would go on to create the sound that swept Jamaica and the world. Without this stage, it could be argued that Jamaican music would be altered and unrecognizable.

The Glass Bucket Club opened on December 22, 1934 on Half Way Tree Road in Kingston owned by Bob Webster and later Joe Abner. This area of Kingston was a border between uptown and downtown and the club certainly catered to high-class clientele. On opening night, some 700 patrons packed the club to see “the Rhythm Raiders, a new dance orchestra under the direction of’ Dan Williams. These musicians have been carefully chosen. not only to play for dancing, but to accompany the Vaudeville troupe which will be a regular feature of the Glass Bucket dances. Vaudeville acts are to be brought from the United States, each troupe remaining on the island for six weeks beginning January 5th,” read the Daily Gleaner announcing the opening.

Because the club catered to the upper classes and tourists, the entertainment offered was according to established tastes and was frequently dictated by trends in the U.S., such as Vaudeville. But when tastes changed from Vaudeville to the sounds of big band orchestras, the Glass Bucket adapted. It was here, at the Glass Bucket in 1956, that great American jazz singer Sarah Vaughan came to perform in mid July. Don Drummond played trombone as part of Vaughan’s musical backup and Vaughn was so impressed with his playing that she said he likely ranked in the top five trombonists in the world. Other acts included Xavier Cugat and Abby Lane. In the 40s and 50s the people who went the Glass Bucket wore gowns and tuxedos, or suits at least. There were formal shows on Christmas Eve and New Year’s Eve and galas of all sorts.

It was also here that Margarita, who was advertised in Glass Bucket advertisements as “Jamaica’s No. 1 Torrid Rhumba Dancer,” performed her sultry dance. Another advertisement on July 9, 1955 for her performance at the Glass Bucket stated, “Sparkling Native Flooor Show featuring Desir & Rahma in their sensational dance on broken glass, and Marguerita, ‘exotic dancer.'” Margarita’s father, Jad Eid Mahfood, did not approve of her dancing at the Glass Bucket, or anywhere, but she snuck out to do it anyway. When Anita won a competition at the Glass Bucket, her father was there to see it, unbeknownst to her. Her father’s discovery never stopped her though. The Glass Bucket also served as the live broadcast venue of the Teenage Dance Party (TDP) hosted by Sonny Bradshaw which was broadcast on JBC Radio in its early days. Later, Winston Blake played the venue with Merritone Disco, and his moves made him the first King of the TDP.

Byron Lee & the Dragonaires first performed here in 1960. Lee recounted these days for an article in the Daily Gleaner. “When you go to the Glass Bucket you had to have a reputation.  We used to play as an opening act,” for such entertainers as Perez Prado from Cuba and Sammy Davis Junior. Soon they graduated to holding main spots of their own. Lee said the Glass Bucket’s real party days were Fridays, Saturdays, and Sundays, with lunch being served and activities such as rehearsals being conducted during the week. On party nights, when the music was provided by a band before clubs utilized sound systems, the music started at 9 p.m. and by 1 a.m. things were winding down. “By 8 p.m. people started to come in. They expected that you would start at 9 p.m., or they would clap you,” Lee said. Lee remembers that it was also a very peaceful time. “You used to park your car, don’t roll up your windows when you come back everything was inside. Sometimes even the key was in it,” he said. Lee brought ska to the Glass Bucket from what he had seen at Chocomo Lawn, sent there by Edward Seaga to popularize the sound. “Glass Bucket mash up the night. Glass Bucket was for the rich and famous and then for the people. Ska played that role,” said Lee.

Today, the site of the Glass Bucket, which changed names to VIP during the later 1960s, is a shopping plaza.

Uncategorized

9 Rusden Road

rusden

This is 9 Rusden Road, the house where Don Drummond lived with and murdered Anita Mahfood, Margarita in the Rockfort neighborhood at the foot of the Wareika Hills. I took this photo last February and it was my second time visiting the home which a lovely woman named Carmen still lives in. These are her grandchildren sitting on the front steps, the same steps that Margarita climbed early in the morning on January 2, 1965. Don Drummond had fallen asleep earlier in the night and missed his gig with the Skatalites at the La Parisienne Club in Harbour View, a club near the Palisadoes Airport in east Kingston. He never made it to that performance. It was not the first time he missed a gig. He frequently missed performances or was late for a gig. Tommy McCook has said that he went to pick up Don at 8 p.m., prior to the gig, and found him asleep so he left without him and returned after their first set during intermission to try again. Still, Don was asleep, a side effect of the medicine he took, said McCook.

800×600

I want to take a moment to logically think about an argument that has been made over the years blaming Margarita for giving him his medication late, causing him to fall asleep, and then slipping out to dance against his wishes. How would we know that Margarita did that? She was dead so she couldn’t tell. Could Don have claimed that Margarita gave him his medication late? Not likely as Don was despondent and what talking he did do at the Rockfort Police Station was a lie since he claimed that Margarita stabbed herself and that was proven untrue. It simply defies logic to argue that Margarita administered Don’s medication that night, but it does put the blame on her so it is interesting that those in disbelief over the incident would want to shift the blame.

Margarita’s best friend, Faye Chin, remembers the murder which was easily overheard by the other tenants of the house. That’s right, there were other tenants in this small home. It was split into four rooms with Don and Anita occupying one. It was furnished with two single beds and a desk that contained Don’s compositions on paper. Faye says, “Now this place was like a house and you rent a room and another person rent a room and another person rent a room. So this woman that her room was behind their room, she said she heard when Anita came in and she laid down on her bed, she heard a scream and said, ‘Oh God, Don what are you doing?’ She’s screaming, ‘Don, what are you doing?’ And he stabbed her so badly. There was no blood. The knife stabbed her in the chest. I got a call early in the morning and I phoned Conchita, her sister, I tell her, ‘Okay, I’m coming to pick you up,’ and I drove over to Conchita’s house, pick her up and we went down to identify the body. She had on her jeans (sobbing) and she had on a shirt with a stain in the front at her waist and she was just laying on her bed on her back (sobbing uncontrollably).”

You can read all about the murder from the recollections of many fellow family, friends, and musicians, as well as the trial that ensued in my book Don Drummond: The Genius and Tragedy of the World’s Greatest Trombonist (click the “skabooks” link above for more info). I would love to hear your thoughts on this event that literally changed the course of music in Jamaica forever, for it was after this event that the Skatalites broke up without their master composer and it was after this event that the heat wave that summer ushered in slower rocksteady and subsequent reggae. How important do you think Don Drummond was to ska?

Uncategorized

Spies, Gun Slingers, and Gumshoes. American Film in Jamaican Ska.

guns-of-navarone

Here is an advertisement for Guns of Navarone from the Daily Gleaner, January 19, 1963. Certainly it inspired The Skatalites and Don Drummond to create their classic ska version of the American film’s soundtrack. American movies were incredibly popular in Jamaica during the 1950sand 1960s, as were all types of American culture and media, especially music. Spaghetti westerns with tough cowboy stereotypes, and spy movies were favorites. In addition to “The Guns of Navarone” which was a seminal hit for the Skatalites, so too was the James Bond theme, “Dick Tracy,” and “Lawless Street” which was made after the 1955 western movie, while “007 (Shanty Town)” became a big hit for Desmond Dekker in later years. “Bonanza Ska” was a ska version of the classic television theme song played by Carlos Malcolm and his outfit. “Duck Soup” by Baba Brooks was a song in honor of the Marx Brothers’ 1933 movie of the same name.

Byron Lee & the Dragonaires even appeared in the Bond movie Dr. No, the first James Bond movie, which came to film in Jamaica. The Dr. No soundtrack included Byron Lee & the Dragonaires tunes “Kingston Calypso” and “Jump Up,” which they performed in the film as the house band in a scene set in a club. The club in the Dr. No was known as Pussfeller’s bar but they were actually filmed at a hotel and yacht club at Morgan’s Harbour which was located on the main road to Palisadoes airport (renamed to Norman Manley International Airport).

The Daily Gleaner on January 16, 1962 boasts the headline, “Dr. No Team Arrives.” Ian Fleming had already visited the island as early as 1948 and fell in love with the land and its people, eventually calling it home, so it is no wonder that he chose Jamaica as setting for his first film. The film stared Sean Connery and Ursula Andress. The article stated, “Many Jamaican actors will be used in the film. They Include Reggie Carter, ‘Miss Jamaica’ Marguerite LeWara, Eaton Lee, and others. Monty Norman, who is to write the music for the film, will use local bands as far as possible. Director Terence Young will be interviewing local artists at the Copacabana club tomorrow evening, for the cabaret scene.”

As a side note, the following month, musician and orchestra leader Carlos Malcolm and guitarist Ernest Ranglin filed a monetary claim suit in the Supreme Court against the production team, claiming that “he was engaged to compose and write musical scores and supervise the recordings, while Mr. Ranglin claims he was engaged to look after the arrangements.” It is not known what the outcome of that suit was, but the film was premiered in Kingston at the Regal and Carib Theaters on September 17, 1963.

The role of American film in early Jamaica ska is important. Scholar Joseph Heathcott writes, “Such songs reveal the close affinities ska musicians felt to liminal male characters—tricksters, spies, cowboys, private dicks—as well as the ongoing media and commodity ties between Jamaica, Britain, and the United States.”  The incorporation of such imagery in ska and rocksteady only grew and evolved in the English and American incarnations of ska in the subsequent decades as they were interpreted through new eyes.

Can you think of more Jamaican-era ska or rocksteady references to American film? Comment here.

Uncategorized

Rude Roots

pauline7

Here is a photo I took of the gorgeous and talented Pauline Black on September 14th, 2013 at RiotFest in Chicago where Selecter performed. She is amazing, her vocal range is impressive and what a show-woman! Because my blog focuses on the foundation of ska, I wanted to take this opportunity to talk about the link between bands like Selecter and the others of the 2Tone era with the roots of ska.

During their set, Pauline and Gaps sang some of their classics that brought the Jamaican foundation into the UK in the 1980s, and by performing them on stage today, they still are reminding the next generation of the foundation. “Carry Go Bring Come” was a Justin Hinds original, trombone solo by Don Drummond, of course, and what a masterful one it is! “Too Much Pressure” included a little segue into “Pressure Drop,” the Toots Hibbert classic. Plenty of 2Tone bands paid homage to their ancestors and breathed new life into these tunes.

Why did they do this? Well, first of all, they liked the sound. When the West Indian immigrants ventured over to what they thought were greener pastures on ships like the Windrush, the immigrants brought with them their culture and their music. This music, when played at house parties or clubs in the West Indian neighborhoods, was a way to remember home, a force of comfort in the land where rental signs brazenly stated they weren’t welcome–No Irish No Blacks No Dogs. Unemployment was rampant and white working-class youth suffered the effects. They lived in the neighborhoods where the West Indian immigrants played their songs from home, and so the sound leapt into new ears and was seen through new eyes. The message was the same–pressure, oppression, racism, struggle–but the sound was changed, blended with the British genres that surrounded this era–punk, rock, pop.

Styles were also adopted and adapted–scooters, hats, sharp suits, shortened pants with white socks and black shoes. And the culture was adored too–the rude boy, which was actually a very dangerous and deadly gangster in Jamaica, was turned into a badass in Britain, a character.

The following is a list of either cover songs or interpretations of Jamaican originals released on the 2Tone label. Since the days of 2Tone, the tradition to cover or be inspired by the Jamaican ska greats has produced thousands of songs:

The Specials:

Gangsters, inspired by Al Capone by Prince Buster

A Message to You Rudy by Dandy Livingstone

Too Much Too Young, inspired by Birth Control by Lloyd Charmers

Guns of Navarone by The Skatalites

Longshot Kick De Bucket by The Pioneers

Liquidator by Harry J Allstars

Skinhead Moonstomp by Symarip

Rude Boys Outa Jail inspired by Rude Boy Gone A Jail by Desmond Baker & The Clarendonians

Too Hot by Prince Buster

Monkey Man by Toots & The Maytals

Stupid Marriage inspired by Judge Dread by Prince Buster

You’re Wondering Now by Andy and Joey and later The Skatalites

Enjoy Yourself by Prince Buster

Madness:

The Prince inspired by Earthquake by Prince Buster

Madness by Prince Buster

One Step Beyond by Prince Buster

The Beat:

Ranking Full Stop inspired by Pussy Price by Laurel Aitken

The Selecter:

Everyday (Time Hard) by The Pioneers

My Boy Lollypop inspired by Barbie Gaye and later Millie Small

Carry Go Bring Come by Justin Hinds

Murder by Leon & Owen & Drumbago All Stars

The Bodysnatchers:

(People Get Ready) Lets Do Rocksteady by Dandy Livingstone

Too Experienced by Winston Francis

007 by Desmond Dekker

Rico:

Oh Carolina by The Folkes Brothers

Easy Snappin’  by Theophilus Beckford

Do The Reload inspired by Green Island by Don Drummond

Don’t Stay Out Late by Lord Creator

That Man Is Forward inspired by Joker by The Duke Reid Group

* Source: “Under the Covers.” 2-tone.info/articles/covers2.html