Lone ranger speaker system
On a riverbank in Texas, a master of disguise waited patiently with his accomplice, hoping that his target, an infamous horse thief, would show himself on the trail. After four days, the hunch paid off, when the bandit unwittingly walked towards the man who haunted the outlaws of the Old West. Springing from the bushes, the cowboy confronted his mark with a warrant. As the desperado reached for his weapon as a last ditch effort, the lawman shot him down before his gun could leave his side. Though the quick-draw tale may sound like an adventure of the Lone Ranger, this was no fictional event. In fact, it was one of many feats of Bass Reeves, a legendary lawman of the Wild West—a man whose true adventures rivaled those of the outlaw-wrangling masked character.
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Lone Ranger - Lovelorn
At the turn of the late 70s and early 80s, the deejay phenomenon was bubbling on sound systems in Kingston, Jamaica. As roots reggae began to shift towards what would become dancehall, the sound of the day was a pleasing combination of microphone lyricists chatting in wide-ranging and humorous fashion over reggae rhythms played on live instruments.
One of the more influential and inventive exponents of this re-alignment was Lone Ranger. Harking back to the way U-Roy had galvanised deejaying at the start of the 70s atop repurposed 60s Treasure Isle rhythms, Ranger brought a similar breezy melodious flow to augmented Studio 1 backings, adding his own infectious vocal dancehall gimmicks. Born Anthony Waldron , the young Lone Ranger grew up briefly in Kingston, spending a large portion of his childhood in London.
On returning to Jamaica, he tried his voice at singing before switching to deejaying and becoming a rising star on the local - and then national - sound system scene. Meanwhile he was making waves in England with debut album, Barnabas Collins , produced by the Synmoie brothers and distributed by Alvin GG Ranglin , featuring its iconic cover of Ranger dressed as a vampire. As his fame rose, he began travelling to Europe and the USA during the mid 80s, settling in New York until a second return to Jamaica in the late 90s.
In person, Lone Ranger has a similarly world-weary laconic humour to his favourite singer as a youth, Horace Andy. Like Horace , he is not a prolific giver of interviews, only agreeing if it is suggested by someone he trusts. Yet he spoke happily about his beginnings, his influences, his relationship with Coxsone Dodd , and his experiences as a child of immigrants in Britain, which sadly, ring all too true today Yeah, in my mother was up there and she sent for me.
She had three boys. I'm the small one and in she decided to send for her kids. I lived in Tottenham. England is nice. I love England but the only problem was in the 60s the racial thing was up.
Up up, real up. Because even me, I had problems going to school all with the skinheads and all that. My brothers them, they could always fight. They would carry me to school and pick me up. Yeah man. That was in England too. Because once you were in England, the schools there, drama is a subject, swimming is a subject, everything is a subject. Not like Jamaica where swimming is there but they don't care about it, if you want to do it, you do it. In England it is a subject so you have to take part.
So I was doing drama for a little bit, standing on stage reciting poems and acting. So all that was in me from early. It was drama, yes! Well after a while it was getting really really hectic, for even my mother.
Because my mother is a nurse, you know? And in England in the 60s, yes, you had the Conservative party which is not really for the black people.
So my mother didn't even deal with that. She just booked her ticket, her passage and we took a ship, the Begona. This was in we reached back. Well it wasn't much too long. I'm hearing all sorts of artists from the 60s.
Because my mother used to keep house parties in England. And it sounds good to me. And it being in the 70s you would flip it over and the version is there so I would write out the A-side and rehearse on the B-side.
Ellison school used to have a sound named Merry Soul and I used to deejay one or two songs around there. And then, you know, Arrows was the king in our area, in the east, and we used to listen to Arrows.
Because I used to go Vauxhall and Vauxhall playground was adjoined to the backyard of Arrows International. So if Arrows was testing the sound you could stay in the schoolyard and hear it, so there was a crowd listening to music. Well after that now, it was me and Carlton up in Franklin Town. Because in that time Arrows deejays were Puddy Roots and Crutches. So in those times we really didn't have the name yet. So we just draw out our thing on [our sound] Express with Carlton , Noel Smith and the next man, running a little champion sound and Carlton would deejay and I would sing.
My favourite singer in that time was really Horace Andy. I used to buy all of the Horace Andy them, and do the same thing, write them out, study them and rehearse on them. And so when I started to go on a little area sound and start deejaying I sounded different.
And everybody was wondering why I sounded different? And the reason I sounded different was through I did grow in England and I have the English accent and when I speak you can hear every word I am saying clearly. It was a plus for me. And then through I liked to write poetry and write songs, you know I'm a writer, I stick to the topic from start to finish. And I got into it, that was my groove and everybody was loving that style until Express boom!
Big, nice and controlled East Kingston and mashed up the place! And the other sounds were there like Stereophonic , Arrows … But what got me ahead now was in that Barnabas Collins came out, Dark Shadows , that did it. That one set the foot right in. Laughs Alright, the singing career now it was my brethren Chester Synmoie and we formed a group named the I-Fenders. I was lead singing, Chester was harmonies and a male nurse from the Bellevue Centre was doing harmonies.
Two songs we recorded for JoJo [Hookim]. Well, it was a dance in Rollington Town deejaying on the same sound Soul Express and we were playing at a place named the Studio 1 bar. I was the only deejay on Express and the other sound had about three, four, five deejays. They were all going at it and nicing up the place and then like it was our turn, our time to play.
And the dance bust! And from that night the name stick laughs. From Jah Waldron to the Lone Ranger. In the same period of time Barnabus was doing good and then I was introduced to and was rehearsing for Coxsone now.
So we would do our things, riding dubplates, riding off of the rhythm, crashing here, crashing there, lose track of the rhythm. This was done every Sunday morning after Tony Walcott came from church because he was a churchman. And they had a gramophone system, the old gramophone that he put up, up, with the Coxsone dubplate them.
I can remember the first rhythm he gave us to ride was a tune named Pearl , the Alton Ellis. Man, that was one of the hardest rhythms to ride! But we did it and we got it and we got through and I wrote and I wrote and I got through and we firmed up ourselves.
Until one Sunday now, Mr. Dodd individually. Ok, Carlton Livingston. And then Mr. So I just remember the good old Arrows Hi-Fi the big sound, they used to play some real hardcore Studio 1.
These were the rhythms that I chose. And even Mr. And those were like taking candy from a baby laughs because I was out deejaying on sound system. I was immaculate in the soundsystem field and I was immaculate in the recording field.
Everything I touched was just boom! Going, going, going. With a little of my originality in the mix! Until I found my real voice and the firmness, so that when I go to a dance now I can deejay like me, I can put in my little U-Roy style, my little Big Youth style and keep a dance going all night because Yeah, versatility.
Well Barnabas Collins , now, was known as Dark Shadows. Everybody in England and even in Jamaica when it touched 9 o'clock everybody's gone in, everybody watching Dark Shadows and people are scared too! It was the in thing. It was the phenomenon of that era. Mad hit. Because a lot of people think that he was a producer. He wasn't a producer, he was a distributor. And he had a very top photographer, Marie, I can't remember her name but she was big so he arranged for me to meet her somewhere up in Hope Road to take this Barnabas album with the fangs and the modern Barnabas drinking blood out of a crystal glass!
After that now Island started getting involved, Chris Blackwell got involved and at that time I was deejaying Soul to Soul. It came up spontaneously.
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He helped pioneer a newly rhythmic, on-the-beat rhyming style that led DJ toasting into the modern age, and punctuated his lyrics with bizarre exclamations and sound effects "bim" and "ribbit" were his favorites that made him perhaps the most imaginative stylist of his time. He first recorded in tandem with Welton Irie at Clement "Coxsone" Dodd's famed Studio One, but soon went solo, toasting over the rhythm tracks of past Studio One hits from the rocksteady and roots reggae eras. An album of the same name aka Barnabas in Collins Wood followed on Ranglin's label, and established him as one of the top recording DJs of the time. M featured further hits in the title track, "Natty Burial," and "Fist to Fist.
Long Ranger 4
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Story of the Song | Hit from horror - Lone Ranger writes 'Barnabas Collins' from TV family time
At the turn of the late 70s and early 80s, the deejay phenomenon was bubbling on sound systems in Kingston, Jamaica. As roots reggae began to shift towards what would become dancehall, the sound of the day was a pleasing combination of microphone lyricists chatting in wide-ranging and humorous fashion over reggae rhythms played on live instruments. One of the more influential and inventive exponents of this re-alignment was Lone Ranger. Harking back to the way U-Roy had galvanised deejaying at the start of the 70s atop repurposed 60s Treasure Isle rhythms, Ranger brought a similar breezy melodious flow to augmented Studio 1 backings, adding his own infectious vocal dancehall gimmicks.
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Created by George W. Trendle and written by Fran Striker, the show became so popular it was one of the reasons why several stations linked together to share programming on what became the Mutual Broadcasting System. Several characteristics were unique and central to the premise of this western, and the initial episode which explained the legend was occasionally repeated so young viewers would under-stand how the hero gained his name and why he wore a mask. The Lone Ranger was one of six Texas Rangers who were ambushed while chasing a gang of outlaws led by Butch Cavendish. After the battle, one "lone ranger" survived, and was discovered by Tonto, a Native American who recognized the survi-vor as John Reid, the man who had saved his life earlier.
What Do You Mean “Kemosabe,” Kemosabe?
First, the bumpside bed was cut to the desired length and pushed forward to morph into the cab, giving it the look and style of a full-size Bronco like those introduced in Once the bed was positioned, the poor old van received a severe scalping and its roof was grafted to the modified bed. Ford big block backed by a C6 under the hood. Most would expect a Coyote, of course, but the fit the vision of a concept truck better. A Chassiworks four-link was fitted as the rear suspension with an Accuair system controlling the ride height. The factory instrumentation was restored and is complemented with Vintage Air and a hidden sound system for cruising pleasure.
Lone Ranger
Lone Ranger born Anthony Alphanso Waldron, 2 November is a Jamaican reggae deejay who recorded nine albums between the late s and mids. He initially worked as a duo with Welton Irie , but soon began recording solo, having a big hit in Jamaica with "Love Bump". He also worked on the Virgo Sound sound system and had a number one UK reggae chart album in with Barnabas Collins. He is regarded as one of the most lyrically inventive deejays of his era, and was a major influence on British deejays of the early s.
This appeal from summary judgment for federal copyright infringement and state law conversion requires us to return to the yesteryear of the Lone Ranger, and to the Copyright Act of We have jurisdiction under 28 U. In part, this case involves twelve of those scripts. The company also owned three scripts of the first adventures of the Lone Ranger it planned to use for phonograph records. By the company held federal copyrights in all fifteen scripts.
Already have an account? Log in! Lone Ranger's deejaying style was based on the groundbreaking deejay U-Roy. Originally he had been a part of Soul Express Sound System from Kingston where he featured as a singer. Another one featured at the sound was the singer Carlton Livingston but at that time as a deejay.
Whether the action was on the small black and white television screen at home or in the cinema where the dangers loomed much larger in living and dying colour, deejay Lone Ranger's mother was a horror flick fan. She would involve her boys in the scary experience. Lone Ranger chuckles as he remembers how they would "hitch up" in the living room in England where he migrated to from Jamaica when he was five years old.
cool, but it makes no sense !!!
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They made a booth here ... It seems to me that the author wrote correctly, well, it could have been softer. P. S. I congratulate you on the last Christmas!
I can't take part in the discussion right now - there is no free time. But I will return - I will definitely write what I think on this issue.