Many listeners of reggae music classify it as island music. However, reggae music means a lot to the Jamaican community back home and abroad. Reggae music in particular has influenced the Jamaican expat community in the United States. Non-Jamaicans hear the tunes of Bob Marley and quickly relate the Jamaicans to people who say “No problem Mon” but as outsiders, we truly don’t understand the lyrics. The purpose of this paper is to examine how reggae music has affected the understanding of expat Jamaicans. Jamaicans that have migrated to the United States are sometimes categorized by non-Jamaicans as people who are Barbarians that practice hatred towards homosexuals. Because of hearing lyrics produced by certain dancehall artists such as Vybez Kartel and Buju Banton. However expat Jamaicans believe reggae music has glorified the Jamaican expat community through unification of culture, people, and language.
As I walk the streets of Bob Marley Avenue, also known as Church Avenue in Brooklyn, New York, I am greeted with the smell of jerk chicken. The community is laid out with stone brick buildings, previously occupied by the Jews in the early 1900s. Expats hear the reggae tunes through a huge speaker located on top of the stores that are owned by Jamaican expats. The auditory
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Outsiders see Jamaicans as all Rastafarians. Rastafarianism is a religious and social movement to resist the oppressive political affairs of one country. Rastafarianism created an image of reggae here in America. Outsiders see all reggae musicians and artists as people who have dreadlocks, and say “jA, jA”. Bob Marley has a song, which the lyrics said “ don’t have to be a dread to be a Rasta” the clarification by Bob Marley, to outsiders, that Rastafarianism is not how you dress, speak or walk; it is the belief. It also opened opportunities for non- Jamaicans and Jamaicans in America to have dreads, and not be classified as a
The Caribbean is comprised of a group of island. Jamaica is one of the greatest Antilles. It has a tropical climate. Each country has its own culture, Jamaicans is not an exemption, and they have an assorted and distinctive one. “Their culture is a complex mixture of African, Arabic, European, East Indian, and Chinese roots combining together to create a rich, dynamic heritage” (Gall, 2009).
Although there is a variety of music that could be examined to trace its evolution through time, there is one genre in particular that is quite interesting to examine. Though it differs from other types of music, it will be looked at in conjunction with Reggae music as they have similar ties. Reggae music is quite prominent today in the United States, parts of Africa, and of course Jamaica. Reggae is notoriously known for its most influential artist Bob Marley, and it is not unusual for one to have heard a few, if not many of his songs. Reggae’s popularity is steadily increasing and is doing so through both expansions of the music as well as increasing knowledge on the genre.
“Music of Jamaica’s independence.” BBC, 2 Aug. 2012, sec. Entertainment & Arts. Online. Internet. 6 May 2014. . Available: http://www.bbc.co.uk/news/entertainment-arts-19056515.
Genba reveal how hip-hop’s globalization is neither Westernization nor Japanization, nor the expression of some other such binary but, rather, a nuanced “circular interaction” of artists, fans, producers, and others who are engaged in diverse, shifting, and even contradictory reinterpretations. In his first chapter, Condry addresses the question of Japanese hip-hop’s authenticity by exploring race in hip-hop and criticisms that Japanese hip-hop is an inauthentic or unjustifiable appropriation of African American experience. He notes that while race is dealt with differently in U.S. and Japanese hip-hop, “in both countries ... hip-hop creates a space for questioning race and power by laying bare the constructedness of racial identity” (p. 46). Condry suggests that this, in turn, can lead to greater numbers of Japanese affiliating with people beyond their national boundaries. His second chapter discusses the historical development of Japan’s hip-hop scene and the competitive dynamic that has shaped this history. In a generative process he describes as “battling samurai,” this type of competition has driven a diversification and decentralization of the hip-hop scene. In his third chapter, Condry addresses the cultural influence of hip-hop performance and discusses the relationship between
Even before the party in the Bronx rap music made a mark. Some say it originated in Jamaican under th...
In the words of rapper Busta Rhymes, “hip-hop reflects the truth, and the problem is that hip-hop exposes a lot of the negative truth that society tries to conceal. It’s a platform where we could offer information, but it’s also an escape” Hip-hop is a culture that emerged from the Bronx, New York, during the early 1970s. Hip-Hop was a result of African American and Latino youth redirecting their hardships brought by marginalization from society to creativity in the forms of MCing, DJing, aerosol art, and breakdancing. Hip-hop serves as a vehicle for empowerment while transcending borders, skin color, and age. However, the paper will focus on hip-hop from the Chican@-Latin@ population in the United States. In the face of oppression, the Chican@-Latin@ population utilized hip hop music as a means to voice the community’s various issues, desires, and in the process empower its people.
I have grown up listening to Hip-Hop just as I did listening to my mother’s blaring Bachata and Merengue every Sunday morning and from what I can recall, the artists I primarily listened to were black, or Eminem. The only Spanish rappers I did listen to were Reggaeton artists, meaning I did not listen to many predominately English speaking Latino rappers. This revelation of my early musical tastes begs the question as to why I was not exposed to more Latino rappers during the late nineties and early millennium. In learning about how Latino’s have participated within the realm of Hip-Hop, one learns that allow Latino’s have played a major role in its foundations, the call for a strong identity has emerged due to various group’s rejections of the Latino presence.
I am not going to waste your time by writing exhaustively about how and where Reggae began for three reasons: 1) you definitely know; 2) you have read at least 25 papers before mine with explicit and redundant descriptions of the birth of Reggae; and 3) I don’t think that much else matters for the purpose of this paper besides the reason behind the formation of Reggae culture. Karl Marx once said, “Jamaican history is characteristic of the beastliness of the true Englishman,” which alone designates causation for a raging revolution. Jamaica was stolen, pillaged, exploited, cultivated, massacred, raped, and defecated on by the British empire. With its social darwinistic institutionalized racism ...
Ray Allen, Lois Wilcken. "Island Sounds in the Global City: Caribbean Popular Music and Identity in New York." 1-6. Illinois: University of Illinois Press, 1988.
>. Dixon, Travis L., TaKeshia Brooks. “Rap Music and Rap Audiences: Controversial Themes, Psychological Effects and Political Resistance.” Perspectives. 7 April 2009. .
The Westerner referring most commonly to those that are of European descent see the island of Jamaica, to be exotic, a place of wonder and discovery, which is why they decided to settle in hopes of exploring this unknown territory to find adventure just as Edward Said described in Latent and Manifest Orientalism. To this day modern westerners, tourists, have the same mentality that Said described when they travel to Jamaica, they see it as a place to of adventure, a vacation from the boredom and stress that they have experienced back home. What tourists do not realize is that they are able to experience this adventure at the expense of other people’s hard work and labor, which is the Natives daily life. These people may bask all day in what the tourist thinks they enjoy the...
Music played a very important role in the lives of people is diaspora communities. It served as a reminder for the immigrants of their homeland, which allowed them to proudly express their national and cultural identities. Diaspora refers to an international network of communities linked together by the identification of a common ancestral homeland and culture. People in these communities are no longer living in their homelands, with no guarantee of a return either. (Bakan, 19). Music played a large role in African diaspora communities. This was first started by the slave trades many years ago when slave traders traveled to the coast of West Africa to capture Africans and brought them back to the United States to be slaves on plantations. Slaves were more prone to loose a sense of their own culture because every new aspect of their lives was forced upon them, therefore they were undoubtedly forced to abandon their n...
Marley was born into Jamaica’s poverty and it is where he developed a strong love of reggae and became a Rastafari. Reggae, evolved from another musical style called Ska in the late 1960’s, is considered the voice of the ‘oppressed’ peoples. Many reggae lyrics are politicalised and centre on themes of freedom and fighting for it. (Cooper, 2014)
As one moves past the initial onslaught of rhythmic beats that calypso has to offer, it is difficult to miss the way in which it reverberates with negative and demoralizing images of women to their male counterparts. Whether it is within the lyrics of Sparrow’s “Drunk and Disorderly” or Square One’s “My Ding-a Ling”, an ample number of verses are often dedicated to making lewd comments about the female body and the suggestive body language described through thinly veiled rhymes and puns, can be offensive depending on the listener. The half naked models being displayed on the various album covers of calypso, soca and rap mix tapes further reinforces these negative connotations. This bandwagon has been jumped upon by many, including the rap genre in the last two decades, wanting to capitalize on a marketing strategy that generally purports to flag consumer attention, playing on their sense of eroticism. The sections titled “Music, Sex, Sexism” and “Woman Rising” within Peter Manuel’s text: Caribbean Currents, dive into the many issues surrounding gender within music as well as female portrayal specifically in calypso. Observations can be made simply by reading through the textual comparisons. Many aspects of this subject area allude to the fact that the issue of gender portrayal in music can be construed differently depending on who the critical listener happens to be. With the increased awareness and heightened sensitivity to the way in which females are portrayed in popular media, it is important to reflect on the impact these lyrics have on male-female relationships within the communities who most often enjoy this music genre.
Music has played a role in society since the dawn of man. Said to be the beginning of communication in early civilization, music and dance have influenced how we think, act and treat members of our own society. Song and dance is used in rites of passage ceremonies such as births, weddings and funerals throughout the world. Jamaican and Yoruba cultures have made many contributions to our society. The uses of this music as a vehicle for political issues, values, and beliefs have been used by many musicians from different cultures. I intend to discuss the Contribution of these two contemporary cultures music and their effect on society.