Jamaica to the Bronx:The Phoenix to the Black Diamond

What kills you makes you stronger and what makes you stronger kills you? Perhaps, if you do not change your matrix, the socialized self and your community might. The phoenix fiercely ascends and claims his place on the stage. Thunderous drums and bass summon the ancestral spirits to the revival; for once again, there is victory over social death. His cousin, Black Diamond is draped around his neck and the crucifix, representing their binding social oppressions, lies close to his heart. In their birth, death, and resurrection, that’s what relatives do; in distinct places, they share space and in rhythmic time they mentor, protect, and most importantly provoke discourse. I, the emcee, welcome you to Jamrock, the contentious relationship between Kingston, Jamaica and Bronx, New York. In the analysis of hip hop’s socio-cultural influence on Jamaica, I present the intergenerational dynamics of equity, conflict, mobility, kinship, and identity politics between hip hop and reggae.

The theory of space and place correlates the social phenomena of Bronx and Kingston’s forced displacement both metaphorically and geographically. Murray Forman, author of, “The Hood Comes First: Race, Space and Place in Rap and Hip Hop,” shares some striking views. Forman cites, the power elites (politicians, capitalist, street gangs) and the class systems, subjugate the marginal class to moral, political, and economic oppression (2002; pg18). In 1972, Bronx citizens were geographically and socially ostracized by the erection the Cross Bronx Highway by New York City. Similarly, in 1976, there was an escalation of civil war in Kingston as politicians incited violence for electoral governance (Waters; 1985, pg. 144). Forman’s perspective highlights the paradox of reflexive behavior following cultural diffusion. Mutually, the expatriates of Kingston and the Bronx idealize their spatial experiences and inhabited places. Equivalent to hip hop’s Marcy Project, South Bronx, South Central, and Harlem is reggae’s Gaza, Beirut, Moscow, Trench Town, Reema, Jungle, and Waterhouse. Enunciation of these names requires an inflection of power, courage, riot gear, and an ally on the inside.

As Forman states, these capitalist freedom fighters appropriate the socio-history of these spaces to mobilize their agendas (2002, pg. 19, 20). Forman’s analysis suggests these immortalized ghettos are necessary to preserving the language and symbolic place (2002, pg. 19, 22). It is apparent hip hop and reggae frames their collective mobilization from a functionalist position. Keeping it real requires sacrifice. War, exclusive territory, tragedy, injustice, redemption and sacrifice inspire lyrics… is it record sales?

Hip hop and reggae stem from a neglected urban underclass. A classified group, often geographical based, that are governed by inequitable social systems, such as politics, education, and trade. Similar to an unending labyrinth, citizens are forced to mediate a way to maintain their life. Pioneering musical genres were Bronx and Kingston’s cultural capital, their survival plan. All it would take is one opportunity to make it out of the maze.

Innovation provided the creator the means to escape and the power mobilize social agendas. Though hip hop gained some upward mobility, it largely remains a subjective of social class structures. In relations to Booker T. Washington’s emancipatory politics and W.E.B Dubois identity politics, these genres are entrapped between conformist minstrel behavior and autonomy. There are undefined measurements for self debasement, interracial violence, and sexism. No one has the answer. Therefore artist like Nas, KRS 1, Mos Def, Damian Marley, Beenie Man, Bounty Killer vacillate between nationalism, global unity, social consciousness, and the perpetuation of social injustice. The music business is not a sole enterprise or a public service institution, but an economic and litigious hierarchy. The breadth of “hungry” newcomers and stringent corporate control breeds submission or a social and career death.

Forman suggest nationalism is a key factor in hip hop, but more evident in reggae, particular since the country’s tourism is economical dependent upon its notoriety (King, 2002, pg.96). Jamaican artists are a model of Weber ‘cross cutting social stratification theory. Systematically classified within the reggae genre, several performers seek association with another format. While all sub groups of reggae, soul, pop, and rhythm and blues are constant in Jamaica, pure hip hop and rock is not promoted. Identity politics and a skewed sense of nationalism has suppressed grass root hip hop group as Acmatic underground (The Daily Source, 2012) Here reggae and dancehall have a cultural divide. Hip hop is labeled as the elite and rap is the proletariat. However, hip hop stems from the influence of Kingstonian descendants as Kool Herc and cultural artistry as toasting, the core concept of reggae remains largely rejected by mainstream America.

Akin to a phoenix, the death of Bob Marley in 1981 demanded the music culture to reposition from pioneers in reggae to dancehall. At stake were economic sustainability, tourism, and political exploits. Beyond egoistical agendas, in 1985 to the late 90’s, Yellow Man, Shabba Ranks, Chaka Demus and Pliers, Lady Saw, Sean Paul and Beenie Man once again established Jamaica’s prowess as the conquering lion of world music and culture.

As the origin and contributors to hip hop conjure heated discussion so will my next suggestion that dancehall reggae and presently the accent of techno beats reflects these two genres interdependent relationship. Sean Paul, citing the importance of consumer demands, in 2012, he released a pop genre album, “Tomahawk Technique,” yet Jamaicans viewed him as a sell-out (Jamaica Gleaner, 2012). Yet, the evolution of Paul’s image indicates the interplay of social class. His prior work, apart from sexual topics, rarely speaks of oppression. In actuality, Sean Paul is from the middle class sector of Kingston and he attended university and played water polo (Jamaica Gleaner, 2005). Similarly, the lineage of reggae and hip hop are continuously met with global controversy.

In 2012, Zimbabwe President, Mugabe, urged his constituents to reject male Jamaican cultural attitudes of carousing, marijuana smoking, and inebriation (Jamaica Gleaner, 2012). During this time, Wayne Marshall has adopted DJ Khaled, marketing strategy. Marshall copied the multi star collaborations method and the title of the song, “Go Hard” (Examiner, 2012). Although, there have been numerous partnerships between reggae and hip hop artists. Yet, in my opinion, Nas, and Damian Marley’s album, “Distant Relatives” takes precedence over other collaborations because it engaged an equal marketing representation of both artists in popular media.

Assimilation risks contempt, as noted by my observation. It has become an issue to keep reggae valid in the Americas. Often to the untrained ear, rap is mistaken for dancehall. The habitual sampling of songs is a common practice amid reggae and hip hop artists. However, reggae artists tend to cover current pop songs or resample their own genres (Jamaica Gleaner, 2012). For me this is perplexing because reggae and dancehall artists are ingenious trailblazers. Both genres created their respective game; moreover, they are diehard hustlers, so why take the easy road now? Half the fun is proving they can always be ahead of the game of life.Zen Creatif, AG.