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Dub poetry and the reggae page
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Poets turned reggae cadence, sound-system address and political speech into recorded and printed literature.
Dub poetry sits between page, stage and studio. LKJ, Mutabaruka, Oku Onuora, Mikey Smith and Jean Binta Breeze show how Jamaican speech, bass culture and political memory travelled through albums, books and performance.
Dub poetry sits deliberately between the page, the stage and the studio. Linton Kwesi Johnson, who moved from Jamaica to London as a child, coined the term itself in the 1970s to describe verse that stayed "word-first" - real poetry, not lyrics subordinated to a beat - while still carrying reggae's rhythm and, often, a live dub backing track built with producer Dennis Bovell. Johnson's own records (Dread Beat and Blood, Forces of Victory, Bass Culture) documented Black British politics of the 1970s-80s directly. In Jamaica, Mikey Smith carried the same form with Rastafarian and left political sympathies; he was killed in Kingston in August 1983, days after publicly heckling a government minister at a political rally, a death widely read as political retaliation. Johnson later released some of Smith's recordings on his own LKJ Records label, launched in 1981 - one dub poet using his platform to preserve another's work after his death.
Source trail: Wikipedia (Linton Kwesi Johnson; Mikey Smith); Rough Guide to Reggae; Carolyn Cooper. Mikey Smith's death is described in multiple secondary sources as politically motivated, but circumstances and responsibility remain disputed - present as widely-reported context, not a settled legal finding.
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