Moral Fibre Underpins Our Social Fabric

Groundins

By: Charles H.E. Campbell

In all societies it is the moral fibre that underpins and holds together the social fabric. In our country, this is rapidly unravelling before our very eyes, while we pontificate and vacillate.

"Sitting here in limbo, waiting for the dice to roll
Sitting here in limbo, got some time to search my soul"
(Jimmy Cliff)

One of the classic definitions of culture is: The customs and civilisation of a particular time or people. Analysed from this perspective, our artistic expressions are essentially just a synthesis, composed by interpreting and crystallising our human intellectual achievements through various creative forms and mediums. Culture therefore cannot be divorced or stand separate and apart from the daily lives of our populace. Hence, it goes without saying that everything starts from the home. This is where our conscience is inculcated, engendering ethics, principles and standards. We all have the right to choose, especially in this age of globalisation, so we cannot expect the government to be the watchdog of our morality.

Where as traditionally, religions have been the gatekeepers of our common ideology and bastions of morality, in the western secular world over the last fifty years or so, their influence on the citizenry has been on the wane. To a large extent, their pervasiveness has been substituted by the personality cults and modern day mammon such as wealth aggrandisement, by any means necessary. The age of neo-liberalism has diminished the instinct of the strong protecting the weak. We are not encouraged to be our brothers’ and sisters’ keepers. This a proverbial rat race, in which freedom and social responsibility are no longer the twin pillars propelling our society. Rather, as Freddie McGregor’s song of the same name says:

"To be poor is a crime, Man haffi know dat inna dis ya time"

Haplessly, while we were witnessing this social disintegration, we have failed to foresee or stem the now fully manifested inevitability of deviant, anarchic and violent behaviour. Now, large segments of our population, long abandoned by society, have gradually opted out, rejecting society's core values, norms, laws, rules and regulations and replacing these with an uncouth subculture that has all but subsumed the previously dominant.

"Catch a fire, the tables have turned
Catch a fire or you'll get burnt"
(Bob Marley)

Historically, respect and obedience to the existing social order has not accommodated the social mobility of the masses. As a result, it has produced the widespread sentiment, echoed in McGregor's song above.

"I'm tired of being pushed around,
Won't Jah help me to get off the ground,
They wanna see me go down,
It's really hard for some of us to stay around"

Belatedly, international organisations like the World Bank and the International Monetary Fund (IMF), have come to realise that nations cannot achieve sustained growth and development, without putting issues pertaining to social justice for the poor and disadvantaged, at the fore and centre of our national affairs, in the building of an economy's social capital.

I know this about-turn, gives many old radicals, who long held this worldview, secret satisfaction and a deep sense of vindication, but this is no consolation at all. I believe we have so lost our rich cultural moorings, that for the first time in my life, I am not so sanguine about our future survival as a vibrant cultural crucible and a dynamic social democracy.

Ironically, in the last few days, the most positive signal of a seismic policy shift, that could bring about qualitative improvement in our way of life if extended to the Caribbean, is the admission from USA Secretary of State Hillary Clinton that her country's insatiable appetite for pleasure drugs, and their laissez-faire approach to the international trafficking of guns, has fuelled the destructive violence now raging in Mexico. We know how the international trade in illegal drugs and guns have profoundly warped our social and cultural life in Jamaica. I hope this new, enlightened understanding will ultimately lead also to a review of the USA's lax policy on the export of guns to Jamaica.

So let’s face it, while the Broadcast Commission has done what it deemed proper in cleaning up the public airwaves, the problem is much deeper than that. While addressing the symptom is correct, it will not have a lasting effect, unless we cauterise the root cause. Otherwise, we will only send it further underground to flourish.

This carries us full circle back to the lack of wholesome family life, due to the abject neglect of the inner cities and the shutout of its residents from the socialisation process from which the rest of us benefit. Even so, knowing the power of the social networking websites to entice the attention and corrupt the impressionable minds of our youth, how many of us adults and parents, as guardians, systematically monitor and sift those being frequented by our wards?

From an industry standpoint, nothing I have said above abdicates our social responsibility to avoid compounding the moral crisis by applying self-regulatory measures. In that regard, it is not unreasonable to request that our music producers label all their products with information that rates the lyrics of the particular song so as to guide the purchaser in its appropriate use. Secondly, our sound system operators and selectors should be more judicious in the time and place that they play songs that are obviously made for adult audiences. Thirdly, our dance hall and club operators need to more strictly apply rules restricting entry to minors. Call me a prude, but a so mi see it.

(c) 2009.

Email: che.campbell@gmail.com

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Reggae Month '09 Reprise

Goundins

By: Charles H.E. Campbell

When we look back at Reggae Month 2009, we must accept that we have a
far way to go in achieving the objectives and high standards that we
set for ourselves at the outset. To avoid the helter-skelter next
year, the planning must begin now to develop a more comprehensive,
cohesive programme including expositions, symposia and some
spectacular events. There is a wise and famous cautionary
statement,”Be careful what you wish for, it might come true”.

Along with others, a letter was sent to me from entertainment lawyer,
Lloyd Stanbury this week. In it, he confirms an assumption I have
publicly speculated on, more than once before, without having any
inside information then. Quoting from his correspondence, “the concept
of Reggae Month was introduced to RIAJam in mid-2007 by our then
sponsorship consultant for the Reggae Academy Awards, Jacqueline
Knight-Campbell. Acting upon her suggestion, RIAJam formally wrote to
Prime Minister Golding (copied to Min. Grange) a letter requesting
that February be officially declared Reggae Month. This was a
deliberate strategy taken by RIAJam to also help in the promotion of
events such as the Marleys’ Africa Unite Concert, the Reggae Academy
Awards and the UWI’s Global Reggae Conference, which were all planned
for February 2008.”

My good friend and seer Miguel Lorne, is not happy with February
being chosen as Reggae Month because it clashes with, and could
potentially dilute the diasporic celebration of our glorious, heroic
Black history and heritage. Others believe it is quite appropriate to
celebrate Reggae as a part of Black History Month. Still others,
including Maxine Walters, believe that the month of July is more
appropriate. These issues are worthy of debate.

The three events above were all laudable in their own right and
certainly enhanced not just the profile of Reggae Month 2008, but the
international image of the Jamaica brand. Their absence this year made
the programme that much weaker. If they were indeed the main stimulus
that spurred the government to issue its proclamation last year,
officially declaring February as Reggae Month, then the Reggae
Industry does owe them a debt of gratitude for their successful
lobbying efforts. This was a major milestone in our common heritage.

The entire initiative and its implicit symbolisms would be greatly
diminished if it became or remains the sole reserve or prerogative of
a few narrow interests, public or private. Rather its planning and
organisational efforts should be as broad based as possible.

The fundamental question, to my mind is, does Reggae deserve this
national honour? Let’s put it another way, is it a reasonable
measurement of the society’s appreciation of Reggae music as a deeply
rooted, popular and important idiom in the cultural life of Jamaica?
Is it because of the significantly beneficial impact of the industry
on the social and economic welfare of the country? Does reggae now, to
some degree, help to define who we are, here at home and around the
world? If the answers to all of the above are on the affirmative, then
Reggae is our national patrimony. It is something we are all proud of
and, in a sense, jointly own. Whereas the industry is made up of many
competing musical, creative, artistic and commercial entities, it is
in our common interests to continue to sucker, protect and regulate
its continued growth and progress.

Towards this end, there is an urgent need for an umbrella organization to advocate on behalf of the industry. We all have a stake and a responsibility in ensuring that the Jamaica Reggae Industry Association (JARIA) successfully completes
these incipient stages. If we take things out of proper context, then
we won’t see the forest forsake the trees. When you listen to the
history, as told by those who contributed to its birth, who suffered
through its incubation, who strived to build this thriving industry
today, we have to acknowledge that to them should go the greater
glory. This is not only because of their incredible ingenuity,
creativity and perseverance, but also for their sense of identity,
purpose and service. So let’s be objective in giving credit where it
is truly due.

If we don’t know or acknowledge from whence we came, then how can we
know who our true heroes are, or help to guide our ultimate destiny?
To be self-perpetuating and more meaningful, certainly Reggae Month
must have loftier motivations, objectives and goals. While it should
endorse excellent programmes like those referred to in Stanbury’s
letter, the stimulus should never supersede or substitute the
phenomenon. I prefer therefore, to take my cue from the official
rationale given by PM Golding at the formal proclamation ceremony in
2008.

He reminded all, that in addition to being a part of our
culture, Reggae music has been used by Jamaica as a means of
expression and to communicate our experiences, trials and successes,
as well as our joys and sorrows. The annual observance of Reggae Month
was geared towards highlighting the impact of the musical genre on the
country’s social, cultural and economic development. [excerpted from
MCIS document.]

Email: che.campbell@gmail.com

Reggae Icons to be Honoured By JARIA

Groundins

By: Charles H.E. Campbell

Today, March 1, the Jamaica Reggae Industry Association (JARIA) will host its inaugural Honour Awards at the Pegasus Hotel. The Honour Awards will seek to recognise individuals who played an instrumental role in the creation, evolution and development of the Reggae music industry and its various sub-genres. These icons and pioneers are achievers, responsible for a great volume of recorded works that spans Reggae through its various stages, phases and eras. Although some of these people are well known within the industry, their names and contribution may not be as popular within the broader community. Categories like the engineers and producers who work behind the scenes, who were there at the genesis of our music, are hardly ever featured in the blare of the media.

Sylvan Morris is a pioneering engineer and electronic technician who has made an indelible mark on the development of Jamaican music, being credited with creating the distinctive Studio One sound. He did seminal work at both Harry J’s and Dynamics Sounds. He has recorded some of the greatest Jamaican hit songs including the first four albums released on Island Records by Bob Marley and the Wailers and songs from the Harder They Come soundtrack performed by Jimmy Cliff.

In the 1960’s and 70’s, Syd Bucknor, a cousin of producer Clement Dodd, worked as an engineer at all the major studios in Kingston including Treasure Isle, Studio One, Dynamics Sounds and Channel One. He later continued this work in Britain, engineering for the Bob Marley, Lee ‘Scratch’ Perry, the Wailers, Cimaroons, Max Romeo, Gladdy Anderson and Tommy McCook, among others. Bucknor mentored many of Reggae’s talented engineers including Overton ‘Scientist’ Brown and Mad Professor.

Producer Leslie Kong’s entrée into Reggae music in the early 1960’s was at the urging of Jimmy Cliff. This propelled him to produce some of the most outstanding recordings in the history of Jamaican popular music, including The Pioneers' Long Shot Kick The Bucket, The Melodians' Rivers of Babylon and Sweet Sensation, The Maytals 54-46 and their UK top charting single Monkey Man and Bob Marley’s first two recordings, Judge Not and One Cup Of Coffee. His productions with Derrick Morgan are some of the most memorable Ska and Rock Steady tunes, having formed the basis of the now legendary rivalry between Derrick Morgan and Prince Buster. Kong became the first locally-based Jamaican producer to get an international Rock Steady hit- in 1967 with Desmond Dekker and the Aces’ 0-0-7 (Shanty Town), which they followed up in 1969 with Poor Mi Israelites, topping the UK Charts, going to the number nine spot on the US charts and selling over two million copies.

Sonia Pottinger is undisputedly the single most important woman involved in the seminal stage of Jamaica’s recorded music business, having produced artistes from the 1960’s until the mid-1980’s. She first opened her Tip Top Records Shop in the mid-1960s and started to record musicians in 1966. Baba Brooks, The Ethiopians, Delano Stewart, The Melodians, Ken Boothe, Alton Ellis and Toots and The Maytals were among the many artistes she recorded. In the 1970s, she produced albums by Bob Andy, Marcia Griffiths, Culture, U Roy and Big Youth. Among her most memorable hits is Marcia Griffith's version of Dreamland. In 1974 Mrs. Pottinger bought Treasure Isle from long time friend and fellow producer Duke Reid and has continued to reissue songs from that label.

Osbourne ‘King Tubby’ Ruddock, a brilliant engineer and electronic technician created the King Tubby Hi-Fi, as the successor to his original sound system called Hometown Hi-Fi. King Tubby Hi-Fi was known for its thunderous bass woofers, which could be heard for miles away, playing specials and roots music. The sound system was legendary for its use of echoes, reverbs, flanging and sound effects, which were custom built by Tubby himself. As such, Tubby is revered as the godfather of Dub, being the creator and main innovator of those production techniques characteristic of the Dub sub-genre.

Jah Love Music sound system disseminated the music of the philosophy of Rastafari, African consciousness, Pan-Africanism and black liberation. Brigadier Jerry with his brilliant speed-toasting provided the colouring for the conscious music which Jah Love was famous for. Other staples were Marley, Tosh, Burning Spear and the Abbysynians. Jah Love has made an outstanding contribution to the establishment of roots Reggae both nationally and internationally.

Ansell Collins is a giant of Jamaican music, a brilliant keyboardist, producer and vocalist. Collins was responsible for one of Jamaica’s first million sellers, Double Barrel featuring Dave Barker. He is also responsible for the famous rhythm track Stagalag 14 for producer Winston Riley, one of the most enduring rhythms that have been sampled by international recording artistes, including Alicia Keys. Collins has worked with most of the top Jamaican artistes from the 60’s through to the 80’s as musician and arranger. He continues to work as musician and vocalist in the Oneness band for Jimmy Cliff.

Many are captivated by the strains of Montego Rock but few are familiar with the name of its creator, Lenny Hibbert, the most accomplished Jamaican vibraphonist. The unforgettable Village Soul places Hibbert among the finest instrumentalists ever to have received the Studio One seal. Many musicians today owe their accomplishments to the mentoring and tutelage of Hibbert at Alpha Boys School and the Ocho Rios High School.

Pam Hall is a singer with a unique range and style who has thrilled audiences for three decades. The recordings which best define Hall as a solo artiste are I Was Born A Woman, from the soundtrack of the 1979 movie Children of Babylon, which became a bona fide Jamaican classic without being released as a single; the UK charting Dear Boopsie; and Perfidia. She also had a smash hit with the late Orville Wood as the duo, Pam and Woody, with the classic Book of Life. Hall perhaps is the most accomplished backing vocalist in Jamaica’s history. Her ability to reinvent songs like You Are Not Alone, How Glad I Am and Unbreak My Heart and make them her own, as well as her incredible vocal instrument, make Hall unique among her peers.

Mystic Revelation of Rastafari, lead by master drummer Count Ossie, was first known as Count Ossie and the African Drums. Prior to 1956, popular Jamaican music was Mento. It was not until Count Ossie drew on references from both Kumina and Burru, did Rastafarians begin to codify a unique musical identity. By attracting the best horn players to Wareika Hills to jam at grounations, these Rastafarian drummers played a seminal role in the development of popular Jamaican music. Oh! Carolina, featuring the drums of Rastafari, became the template for what would become Ska and its later derivatives. A cover of this recording catapulted Shaggy to occupy the number one spot on both sides of the Atlantic in the mid-1990s. The Mystic Revelation of Rastafari has lived the 52-year span that reflects the totality of our popular musical evolution.

I wish to thank Dennis Howard, Alvin Campbell, Herbie Miller and Clyde McKenzie for providing me with all the above data.

JARIA is a non-governmental, non-profit organisation which has been conceptualised and registered to unite and further the common interests of all individuals and firms directly and indirectly involved in the music industry of Jamaica; to facilitate access to networking, training, capacity building and financial support opportunities; to be an exemplary global music community for broadly increasing the economic, social and cultural wealth of Jamaica; to lobby government so as to impact industry-related public policies, laws and legislation and the review thereof, where deemed necessary; to establish an international record label- owned by the association- that will promote, distribute and publish music in all continents and regions of the world.

The main objective of this body is to reposition Jamaica at the centre of the global Reggae movement and culture, with the primary aim of commencing the complex process of repatriating our birthright and patrimony.

Email: che.campbell@gmail.com