From Mento To Dancehall

Groundins

By: Charles H.E. Campbell

Last Thursday, April 15, I attended the UWI Department of Government’s symposium announcing the results of the committees work on producing a list of the 100 Best Jamaican Songs, from 1957-2007. The distinguished panel carefully explained their motive, structure, methodology and process; all of which, no doubt, lent objectivity and transparency to the project. I therefore wish to add my congratulations to them for creating an excellent point of reference in the nascent movement towards repatriating ownership of our cultural patrimony.

As the panellists correctly said, for far too long we have allowed foreigners, through their filters and blinkers, to be the sole interpreters and authors of our musical/cultural history and journey; because we do not ourselves – from our unique perspective – analyse, record, preserve and most importantly, publish the context, elements and original products of our artistes’ creativity. This is not to say that we should not also welcome foreigners’ literary contributions- after all, at minimum they reflect the profound impact of our cultural renditions, in influencing and cross-fertilising popular culture all over the world. As Dr. Omar Davies said, “Jamaica is a Superpower in music and culture”.

The main stated objective, was to initiate a public discussion, hopefully leading to a more diverse set of cataloguing and grading of those songs (and tunes) which constitute our musical heritage. This is more than laudable, it is indeed, a long overdue corrective action, and given the tremendous response it has already received, has certainly gone someway towards stimulating its accomplishment.

Having said all the above though, I was a bit put off by some emotional, cavalier responses, mainly by the panellists, to valid critiques which were made via the open mike, provided to attendees, supposedly for that purpose. Were we only expected to sing the usual perfunctory praises to the authors and their results? It seems like a little paternal chauvinism crept in at the session, which has left me grappling with a detected pseudo-intellectualism in that aspect of the exercise. Is it really valid to say (as Leahcim Samaj alluded), that until one has done something similar, we do not qualify to offer criticisms of various aspects of their findings, or what we perceive as shortcomings in their strategy and format?

I hold all the panellists, their sincerity, the rigor of their analytical process, and their intellectual capacity, in very high regard. I am also guilty of never having attempted any research of this magnitude or relevance. I hope therefore, that I will not earn their (or their collaborators’) wrath, in now offering another possible approach to the rating of the impact of our musical works on the lives of Jamaicans in particular. This may even help to provide guidelines for a future project, that may someday join this one in advancing our common cause.

Jamaica has done what no other country in the world has achieved in the 20th century, by successfully promulgating on a sustainable international scale, all of six genres of music. These are commonly known as: Mento, Ska, Rocksteady, Reggae, Dub, and Dancehall. Each one, first chronologically, and now simultaneously, influences (and retain elements of) the others. In order to not short-change the evolutionary process of our popular music, all genres therefore, deserve to be contextualised and given appropriate prominence in any exercise, weighing their relative impact, as Jamaican music, on our lives.

Mento gained worldwide prominence in the 1940’s and 50’s through our emerging tourism industry complimented by Harry Belafonte’s popular adaptations.

Ska, which emerged in 1959, is still epitomised by the music of the Skatalites. It continues to be played (recreated and recorded by local musicians) all over Europe. That continent alone boasts of having over 500 Ska bands. Unfortunately, here at home, we seldom hear the new music being produced by them on public radio, and Jamaican Ska, in general, has been relegated to early ‘jugglings’ at dances, or midnight musical transitions at oldies sessions.

In 1968, the first Rocksteady songs were released. This genre produced some of our most beautiful ballads and love songs, holding sway for about two years, only to be eclipsed by Reggae. Thanks in no small part to enduring hits by Jimmy Cliff, Bob Marley, Peter Tosh, Dennis Brown, Burning Spear, Toots Hibbert, Gregory Issacs, Beres Hammond, Freddie McGregor and so many others, this genre continues to overshadow the others which preceded it while holding its own in competition with other world genres.

Dub tunes came into their own, first in the early 70’s, as the flip side to popular songs, then by 1974, as stand alone instrumentals, buttressed by accomplished musicians/arrangers like Augustus Pablo, Rico Rodriques, Aggravators, Revolutioners, Upsetters, and producers like Sly & Robbie, Karl Pitterson, King Tubby, Striker Lee, Mad Professor, Scientist and Lee ‘Scratch’ Perry (aka Pipecock Jaxxson).

The cultural practice of DJs riding well-known rhythms became so popular at the turn of the 80’s that it eventually gave birth in 1984 to a new genre, classified internationally as Dancehall. Many of us (especially those born before 1970) reject some of its crude lyrical and decadent cultural manifestations. Regardless, we do the younger generation and ourselves a disservice in ignoring its inherent popularity, creativity and potency. Why should dancehall have to wait another 20 years to take its place in an exercise such as this, when, as indicated, the period under review, ended in 2007? Certainly Sleng Teng and others, creatively utilising modern technology, have already been around for more than 20 years. Dancehall has spun off derivatives such as Hip Hop, American Rap and Reggaeton, and has remained popular with the masses throughout all these years.

Email: che.campbell@gmail.com

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History, Self Interest and Freedom of Speech

Groundins

By: Charles H.E. Campbell

Please note that this blog entry is especially important to me, because the printed version in Sunday's Observer (12 April) was totally massacred in their attempt to edit, making complete nonsense of what I intended to say.

From time to time, an issue raised in my commentary strikes a resonant cord with some readers. Oftentimes in continuing the conversation, they express shared views much more sharply and eloquently than I ever could. In response to my last article (Sunday Observer, March 29, 2009), I received the following feedback from St. John Campbell.

“Your article should be read by every Reggae artist in today's entertainment business. I hope the artistes take heed and try to come out with lyrics that raise the political awareness of the listeners and dancers worldwide. Bob Marley's greatness was established by the messages contained in his music, and today there are many fine young adults who learned a lot about the evils of racism, from slavery to modern hardships, from listening and dancing to Bob Marley's songs. U.S. President Barack Obama may have been one of them- which is probably why his wife is having Ziggy perform in the White House later this month, although Ziggy is definitely responsible for his own greatness among Reggae performers.

I hope the singers and song-writers read your article and thought about the subject, and are beginning once again to sing and produce conscious lyrics. They could address burning issues like: reparations for slavery, the importance of Barack Obama's rise to his present position, and many more uplifting subjects relevant to those of us for whom life is a struggle to merely exist. Singers and entertainers should take on the responsibility of educating or otherwise stimulating audiences to sing more "songs of freedom" and "redemption". This way they will have made a strong impact on our future development as a people. By all means they will also earn a good living from increased record sales and concert attendance. Reggae music is still very popular worldwide, and the potential for making worldwide reggae hits should not be put in jeopardy by giving priority to lewdness instead of conscious inspirational lyrics.”

Brother John, I could not have said it better. At the same time, I do not wish to have my views misconstrued to mean that I support any misguided attempt to bridle the legitimate views expressed in the songs of our young artistes.

‘Well pree this, how so much fish deh yah like seh a sea this?’
(Assassin)

Taken on its own, how can anyone have a problem with this line from Assassin’s song? I must admit that I find it quite witty, but then, for the life of me, I am still to spot one word of discrimination, much less promotion of violence against any group or individuals within the society. If he had said "Inna Jamaica so many a wi fat, Nuff time it mek mi skin feel quite hat"- would we take exception to that too? In our national paranoia, this issue has gone from the sublime to the ridiculous. Have we gone off the deep end or something? Come on now, please let rationality reign again. It is ironic, is it not, that the loudest objectors are the very ones usually calling for a more inclusive society. I fully endorse the Jamaica Reggae Industry Association’s stated Position that:

‘JARIA is reminding all sectors within the Jamaican society that tolerance of competing views is the hallmark of a vibrant democracy and artistes have the distinct right to express their views through song within the confines of the law and the canons of decency.’

We will never change people’s views by hitting them over the head with a big stick. The elevation of the present status quo that the enlightened ones amongst us desire, will only come about through reasoned appeals to peoples’ self interests like those expressed in John’s remarks above. After all, what else do you expect of people, from whom you have deliberately kept knowledge of their glorious role in world history, which could give them inspirational thoughts and diverse subjects to write and sing about? During Heritage Week 2008, in an address to 250 primary school children, Grace Kennedy Limited CEO, Douglas Orane said:

"The majority of people in Jamaica are of African ancestry, from places like Ghana, so I think the experience of slavery has actually contributed to the fact that we have such a prevalence of violence in our culture… My feeling is that unless we start to explore the historical reasons for why we behave the way we do, we will not be able to correct them… similar efforts would peak the interest of youth in their African heritage… It needs to be a broad-based exploration of ourselves as a people."

‘Nuff said boss man. While others of us have been advocating this approach to educating our children for decades, the neo-conservatives maintain that teaching cultural history is anachronistic in this globalised world. So, they strip us of our soul, then pray that the psychological scars will not break out in deviant behaviour.

‘Que sera, sera (whatever will be, will be.)’
Jay Livingston and Ray Evans 1956.

That seems to be the guiding Philosophy of our education system today. We are not into building identity and character anymore, but merely good workers and minstrels. It is good therefore that Orane, no rabid radical by any means, has publicly embraced this view. Hopefully the powers that be will be more receptive to the recommendation, coming from him.

During the peak of the decolonization period of the 1960’s and 70’s, Jamaica was a cauldron of activism and social ‘groundings’ about issues like self-identity, war and peace, racial and ethnic equality, human rights and social justice. Any cursory glance at the lyrical content of our popular songs of that time, will demonstrate how closely, art mirrors life. For further proof, just check the lyrics of artistes like Bob Marley and the Wailers, Jimmy Cliff, Bob Andy, at the turn of the decade and compare them to their lyrics from the latter 60’s onwards. Many of our artistes not only participated in, but were inspired by, and in turn motivated these (Intellectual, Liberation, Rastafari, Anti-imperialist, Black Power) movements through their art.

Then, the final solution which had been successfully tested in Harlem in the 60’s, to contain the freedom march of Black Americans, by decimating the capacity and influence of their leadership, was perfected and unleashed on us in the 80’s and 90’s. On top of the entrenched tribalism (installed by gorgons and jinnals), the international hard drugs trans-shipment and trade with its attendant criminality, became a significant feature of our lives. In self fulfilling prophesy, this completed the creation of two new classes; guinea-gogs and gangs of hooligans.

As society retreated they took over, and now run large swaths of our physical and social landscape, and as Marley says, “Babylon system is a vampire, sucking the blood of the sufferers.” It certainly does not thrive on raised consciousness.

The same democratic principle that gives us the right to freedom of expression, also allows us the right to keep our views private, in our own self interest. (So, why am I doing this again? Hmmmm...) Dem coulda haul an’ pull up likkle more, it nah go help yuh international career, at a time when local sales and shows are shrinking. Gwaan Beenie Man, yuh a di smart one. Ask Buju, Sizzla, and the list goes on; while the campaign has intensified, to boycott the entire Reggae genre, as one English station has already done. So now your bunkered approach, a tek food outta anodda man mout’.

Marley was no less anti-gay than current artistes, yet his vast catalogue does not contain one such song. Even the more militant Peter Tosh never dedicated any of his songs to gay bashing. In fact one of his biggest hits was done in collaboration with a then famous bi-sexual. That, followed by an extensive joint tour, came as a fillip at a critical juncture of his career.

There is another obscure piece of the Reggae Sunsplash story that is worth revealing for history’s sake. For the first few years of the USA tour, the organisers had some negative experiences and financial returns working almost exclusively with Caribbean promoters in “ethnic” nightclubs and other venues, covered mainly by ethnic press. It seemed a veritable dead-end. Then a gay, Jewish publicist was hired. He introduced us to William Morris Booking Agency, mainstream promoters, proprietors of larger venues, and he propelled our worldwide profile by orchestrating prominent pre and post-production features in many national (USA) electronic and print media. As they say, the rest is history.

So, I often wonder, how successful would Reggae’s world penetration be today, if it were not for the active support, in more ways than I care to list, of the gay community. I know that to the shallow and myopic, my reasoning may sound compromising, inconsistent or contradictory, but let’s think on these things.

Email: che.campbell@gmail.com

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