Jazz and Blues Feedback to Jamaica
Music seems to mimic time in a way. As the human race passes through history, the music and its language acts in essence as a speculum of human culture and its path, lavish with its longings, its grief, but always stirring (Santoro, 2). In this paper, I will walk down this path, and show the significance music has played on the Jamaican and American cultures. This paper will illustrate the profound influence that American music, primarily jazz and blues, had on Jamaican reggae, and by breaking down each type of music to a simple rhythm, I will show the relationships between them.
If asked about the origins of Jamaican folk culture, some people might answer that it originated in Africa and remained undisturbed by other cultures (such as Europe). Even though Jamaicans are mostly of African descent, Jamaica’s only language in none other that English (Chang and Chen, 10).
Whether the race or language influenced Jamaica’s culture, has been a question of long debate. Professor Rex Nettleford, a noted social commentator, sees the language of a nation as ‘the primary bearer of social genes.’ Professor Nettleford answers the question by explaining the Jamaican experience:
Africa is indeed tolerated in spurts of sycretised or reinterpreted folk-lore — a little bit of dance, a little bit of music, a little bit of story telling, and a few words lacing the Anglo-Saxon tongue with exotic tones and colour. But our formal education system, our accepted belief system, our art, law and morals, the legitimate customs and so many of our habits and perceived capabilities — all indicate of a so-called cultural sense are dominated by the European heritage (Chang and Chen, 10).
The entire argument is conclusive and evident in most points, except the ‘little bit of [African] music,’ which is questionable. The roots of reggae music has been said to be fixed in slavery. The Rhythms, songs, and dances that survived well into the twentieth century in rural Jamaica are seen as solely African (Davis and Simon, 9).
During the middle of the seventeenth century, Jamaica was basically a giant agricultural factory, used by a few British planters. The plantations worked by slaves imported from Africa made tremendous amounts of money, but the planters gleaned all the profits. Over the next 250 years when slavery was active, about thirty million Africans were brought to the New World, and is known as the largest forced migration in all of human history (Davis and Simon, 9).
RNRA Team, “Supermarkets, Fresh Produce and New Commodity Chains: What Future for the Small Producer?” Hot Topics: February, 2004.
Marcus Garvey once said, “The Black skin is not a badge of shame, but rather a glorious symbol of national greatness,” exemplifying not only that the African blood that flows through our veins is indeed wonderful, but is more a national treasure than a national tragedy. Countries across the world, in some form have been altered by the touch of the African influence whether that is socially and/or culturally. The same fate lies with the islands of the Caribbean, especially the island of Puerto Rico located in the Greater Antilles. Of all the African influential branches, Puerto Rican music would be one social phenomenon to be ultimately shaped and modified by African influence directly. Beginning with the African slaves, this paper covers the musically genres created over time containing West African elements, as well as covering the ways in which the Puerto Rican society influenced the music as well as how the music effected the society. This paper will also include the ways in which African descendants in Puerto Rico [musicians] would rise to fame despite existing in an era of open racism. Ultimately, explaining how the music and the people go hand in hand.
Reggae The Story Of Jamaican Music BBC Documentary. vols., 2012. Online. Internet. 22 Mar. 2014. . Available: http://www.youtube.com/watch?v=wv1Iy26qlLk&feature=youtube_gdata_player.
9. Sherman L., Gottfredson D., MacKenzie D., Eck J., Reuter P., Bushway S. Preventing Crime: What Works, What Doesn't, What's Promising. A Report to the United States Congress. College Park, MD: University of Maryland, Department of Criminology and Criminal Justice, 1997.
...e of the risk for offenders or reducing the attractiveness of potential targets has the great impact on criminal and disorder activities. According to the authors these approaches are part of the interventions of hot spot because they include things like razing abandoned buildings and cleaning up graffiti. However, the increase of misdemeanor arrests of offenders contribute to the crime control in hot spot but not as much situational efforts does (Braga and bond 2008). Authors stated that situational crime prevention strategies are essential for addressing crime in hot spots rather than the aggressive order maintenance of arrests in high disorder places. In other words, if police officers only make arrest in hot spot this will not effectively reduce crime because they need to develop a more complex approach to deal with high crime areas ( Braga & Weisburd , 2010).
Crime control, consisting of many elements of prevention and punishment, is a widely debated and often contentious topic. Myriad agendas occur in government and society, depending upon the kind of organizational or philosophical objective trying to be met. Political differences are present within the criminal justice system that draw upon certain models, techniques, and methods associated with crime prevention. Society functions as another element in crime control, as often an underlying fear creates a pressure to enact programs and laws. The media enters in as a forum to present conservative and liberal opinions to enact and enforce criminal laws and punishment. A debate over crime often strives to define prevention and punishment, in models that make these terms mutually exclusive, versus a view that crime prevention is a result, and punishment only one possible tool for achieving that result. Different forms of punishment will be discussed in relationship to the criminal justice system as well as the purpose the punishment serves, problems relating to the punishment, and an opinion on improvements and solutions.
Last Sunday I went to jazz bar in Manhattan and I listened “Latin Jazz?E Latin jazz is “a fusion of African and indigenous rhythms from the entire Latin American Diaspora with the language of jazz?E It was first known as coop, but you are now familiar with it as afro-Cuban. When talking about afro-Cuban jazz, it is difficult to not mention certain turning points in history that made this music possible. The roots of much, of the music might be traced back to African Cuban slaves. In Cuba itself, music and dance are so essential to national character that you can not disentangle them from the country’s history. “The story of Latin jazz music is thus one of religions and revolutions, power and liberation, the collision of civilization?E In the United States we can never completely understand our own music, without referencing it to Cuban music. There are various characteristics that can define Latin jazz ranging from the savant grade to more popular forms. Some forms of popular music that most people are familiar with would have to be the mambo, salsa, cha-cha, and afro-Cuban jazz. These types of music were originated from north America, but to elaborate further, Latin immigrants can to new York and brought with them distinctive rhythms that blended together. Theses types of music and other music are contagious and an evolutionary process. No one person can take the credit for Latin jazz of any form of music that comes into the united s...
“How Musical is Man?” was published in 1974. This book was written by John Blacking, a musician turned social anthropologist. His goal in writing this ethnography, and several other papers during this same time period, was to compare the experience of music-making that takes place within different cultures and societies throughout the world. In this book, he discusses and describes the musicology of the Venda people in South Africa. Though he does go to Africa to research and learn about the Venda people and their music, he specifically states that his book is “not a scholarly study of human musicality” (ix), but rather it is a summary (written from his point of view), which is both expressive and entertaining, of several different issues and ideas that he has seemingly been contemplating for some time.
...ngs that created Reggae music. This music came out of a struggle between black and white, and the return to Africa reinforces the black nature of the music, almost subjecting the European tradition to a submissive role. In this respect Reggae music is a response to the European traditions that were inflicted onto black slaves in Colonial times in an unjust manner.
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...
Wilson, Basil “The politics & culture of Reggae music” The Caribbean-American Magazine v. 24 N. 1 p. 25, 2/28/2000
Overtime, Hip-Hop artists began to diversify their sounds and rhythms by different influences regarding ethnic backgrounds or creating certain moods for their audiences. Based on the article, “ The Significance of the Relationship Between AFRO-AMERICAN MUSIC AND WEST AFRICAN MUSIC,” the author, Olly Wilson elucidates how African slaves used drumming as a way to call out to one another, for camp singing, and for negro spirituals as well (Wilson, 1974). During the Antebellum Period, African slaves would create beats from drums in which Hip-Hop today uses drums to project beats but at much different paces than in the past. Throughout its history, this genre of music has focused on beats instead of the melody, which is a commonality among African tribal music and today’s contemporary Hip-Hop. Depending on the timeframe and area the beat comes from, shows the impact of how those rhythms will sound. For instance, old school beats have different sound patterns than modern beats. Geographically, countries hear and spread music to each other and different ethnicities pick up their unique beats and rhythmic sounds; creating interrelationships of mixed musical cultures and specializations. In the article, “B-Beats Bombarding Bronx: Mobile DJ Starts Something 41with Oldie R&B Disk” by the author, Robert Ford expresses how the Hip-Hop pioneer, DJ Kool herc rose to fame by introducing assorted rhythm breaks (Ford, 2004). Also, as generations passed, Hip-Hop took a turn away from jazz and snappy blues to contemporary rap and R&B which is considered as “ghetto” or “gangsta music.” White critics have this false misconception of Hip-Hop and rap music and believe that they depict the harsh realities of ghetto life, poverty, and vulgarity. When in reality, it is a big phenomenon and apart of African culture because it conveys how they try to rise above the disorders of pauperism and the
Consumerism has always been a big part of society back in the golden days. In today’s society, the ongoing debate of wants and needs are not justified by an individual’s wealth, but it is rather opinionated by the generalized public. Not only are the consumers getting caught in this mess, but many retailers are being sucked in as well. Retailers, have to stay up to date with the latest trends, to make sure they get their products across. Human identity is no longer determined by how much a person makes an hour, but by the commodities they possess. Consumers are so centralized on the materialistic items, that they forget what is more valuable and important. Unfortunately, the frivolous consumption has taken over the
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.
Jamaican creole is said by Melchers et al (2011:44) to be in the inner circle. Jamaican creole is so widely used in Jamaica that Melchers et al (ibid.) mentions ‘[Jamaican creole’s] status has recently been raised though serious efforts on the part of the Jamaican government to explore language planning and recognition of Jamaican creole as a national language’ The language is derived from a mixture of English and west African language and has become so widely spoken in Jamaica that Sebba (1997:204) even mentions that ‘local variations occur as well as varieties of creole distinctive to particular groups’. I believe this is showing that the Jamaican creole is evolving so in a way that it is being split into different dialects and encouraging the growth of new dialectal