Word: disces
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...radio is at once the only constant and the only release from monotony, Rule said. But even that is beyond his control. His mood is at the mercy of the disc jockeys' whims. A country folk singer for one circuit. Hard rock for another. People get on. People get off. The night rolls irreversibly, monotonously...
...truck drivers on the road all over the country cock an ear. For the next 7½ hours, over WWL, a clear-channel New Orleans radio station at 870 on the dial, they can hear not only country music but business information that could be vital. Two years ago, Disc Jockey Douglas-who has never driven a truck, but was fascinated by the big rigs that rolled through his boyhood home of Ludowici, Ga. -sold WWL on an all-night program beamed specifically at truckers. His show, Charlie Douglas and the Road Gang, has won the loyalty of both listeners...
...night and finally into the first suburban fringes of Perth. It is 6:45 a.m. Kitchen lights glow in the freshly painted frame houses backed against the track. The sleeping-car porters rap hard on the compartment doors to make sure all passengers are awake. A disc jockey, piped into the train from a Perth radio station, is playing his morning selection. "Now here's a good one," he says, and the song begins, "Pardon me, boy, is that the Indian-Pacific...
Like American Negro blues, reggae is black ghetto music, born of the misery of island shanty towns. It first became commercialized in the early '50s when "sound systems men"-itinerant disc jockeys who became reggae's first record producers-traveled from village to village with amplifiers and a stackful of primitive recordings made by local musicians. By 1964 Singer Millie Small's reggae recording My Boy Lollipop sold 6,000,000 copies, scoring in the top ten on both sides of the Atlantic. But it was not until Johnny Nash's Hold Me Tight...
...election in February 1972, when Michael Manley, head of the opposition People's National Party, hired Reggae Singer-Composer Clancy Eccles as his campaign consultant. First Eccles converted the reggae hit Better Must Come ("Let the power fall, beat down Babylon!") into the party anthem. Next he supplied disc jockeys with rhythmic campaign slogans. Then he assembled a morality play, casting Manley as Joshua-rewriting the last line of his own reggae song Rod of Correction and substituting the name of Prime Minister Hugh Shearer in "King Pharaoh's army was drownded...