The Influence of Reggae

We talk about the influence of reggae. How has reggae music has affected the whole world?

Influence of reggae 

The Influence of Reggae replay raw.mp3

[00:00:00] Everywhere you are listening right now, thank you for tuning in. We're going to talk about how reggae music has influenced and impacted the world, the influence of reggae music on this episode. So we're going to talk a little bit about the, you know, the history of some foundation stuff. Right, Buzzworthy. We're going to tell you from our own lenses, from our own frame.

[00:00:25] We're going to give you the influence of reggae.

[00:00:27] I mean, we've already had this episode that was in tribute to Bob Marley in February. Right. And on the Bob Marley, we definitely touched on a number of things. Which man? It's like just more and more conversation somehow. But you can't leave out Bob Marley in a conversation about reggae, right?

[00:00:49] No, definitely not for some for a lot of people, that's where it begins.

[00:00:53] Exactly. He's one of the most influential people of our time of the 20th century. The millennium, the Marley estate is the richest, makes the most money. All right. Now, I believe it was always among the top, but, you know, topping the Jacksons and the Beatles and, you know, whoever else. Right. I'll take your word for it. Like I said, you get it from our land.

[00:01:16] So just quote me on that. And if you fact check it and it's wrong, you know, I'm human, so don't you know, I'm saying don't sue me. Were we talking about reggae music? It's the Jonatha music that came out of Jamaica in the late 60s, evolved out of the earlier genres like ska and rocksteady, and was an important form of music for Jamaica from the start. That is correct. The music had always a social impact that was drawn from life in Jamaica but also impacted.

[00:01:48] Life in Jamaica is definitely a national pride around the music, and it was a breakdown of understanding Jamaican lifestyles and Jamaican culture for the rest of the world when people were introduced to Bob Marley or whether it was to send Amato's or Dennis Brown or Black U2 or, you know, maybe Yo, Leroy Smart, whoever it was that they first hear round the world, these guys are giving you the real raw, authentic reggae. So they're giving you a subject that really resonated with people all over the world.

[00:02:25] It's still happening until this day. And we can argue about when was the best time and stuff like that. But I mean, if you want to say I would say that that somehow I don't know. I know this is probably crazy for me to say this, because I thought I was going to say that the 70s was the time that the most people I'm saying got drawn to reggae.

[00:02:46] I mean, would it be safe to say that just because of the time on the timeline that it was, you know what I mean?

[00:02:51] I mean, is is hard to tell, in my opinion.

[00:02:56] You know, every decade since the inception of reggae, there have been new fans outside, I'll say it's a scary time right now because it doesn't seem as it's it's not as prolific, but, you know, 70s, 80s, 90s, you know, a lot of people came to reggae music, you know, whether it be on a conscious level or in the clubs. Right. You know, I'm saying or hearing remixes. You know, I think there are a lot of people who came throughout the decades at different times. Yeah. Right now, I don't know if that that is the case. Yeah.

[00:03:33] You know, you have people that only try and reggae experimenting with pot at college, you know, and maybe they didn't listen to it after that was just for when they were young. The band they remember from back then, or probably more likely they fell in love. They got the bug, they got the virus, you know, and they just became, you know, raving regulative is like like we are.

[00:04:01] Right. I do want to mention to the influence of dub music me as a as a reggae fan, a Caribbean person. I don't necessarily listen to a lot of dub, but a lot of people outside of the Caribbean culture, whether it be Caucasians or know people from Europe, a lot of them, you know, are big fans of dub music, especially producers who produce other genres.

[00:04:26] So I just want to give props to dub music, Yeah man props to music and big to all the electronic music artists and DJs, producers, whatever it may be. You know, specifically that you tidally a thing, you know, you know what I'm saying Shouts out to like DGP to the founder of the wild pitch genre. You know, he's a house music deejay, house music giant producer. Right. And pioneer.

[00:04:57] But yeah, in his club, you know, on the wall he has this nice Miracleman and it starts like on the left all the way over in Jamaica. And that scattered along the way you have.

[00:05:09] So it's Jamaica mentor, reggae, ska, rocksteady, reggae goes on to, you know, to dancehall and dub.

[00:05:18] And, you know, Scott always maintained like a thing from the time that it started, but reggae took over on the larger scale and then dub was a different segment. The dub is what fuzed with the genres and becomes dubstep, the reggae style, that of dancehall with the turntables and the Tostin becomes the hip hop. You have jungle music, you have grime. Now, that's what the kids listen to in the UK now, right. Yep. You the one that knows all that I know. Just know like you know. I know. Rock house, techno drum and bass. But there's all these other, you know, pop garage, even even punk music.

[00:06:01] Lee Scratch, you know, he went over to the UK after he left Jamaica and was a producer. I think that group was the clash. I mean, reggae influenced a lot of the punk counterculture culture and punk influenced, you know, a lot of the jungle and stuff like that. So the reggae has influenced a lot of bands, a lot of the music. You know, if you look at bands like even the Rolling Stones or Pink Floyd, you know, they have some influenced by reggae as well as the soulful and funky sounds of like the American South, you know, in Chicago and stuff like that. But it definitely helped to spawn a lot of stuff all over the world.

[00:06:39] Talking about the rise of reggae. And I read a very interesting piece by an author or blogger that was out of Massachusetts area and talked about the time that he went to see Leroy Smart in nineteen seventy seven perform in Boston, and he described the whole process of obtaining a ticket to the show. And I'm saying like the whole reason they were like why? And it was really all about that. Nineteen seventy seven. You know, the two sevens clash that year when called to drop, you know the two sevens clash. There's so much hype going on about Marcus Garvey's prophecy that nineteen seventy seven, you know, as I like to tell you of the day back in, in Jamaica that whole time was that spiritual, you know, a very Rustaveli God, you know, and all the music, roots and reality and stuff like that. And it's just pouring out, pouring out, pouring out. And it's rose like rose up to like all these white boys all over the world. These guys down in Japan, man, they're like, whoa. Right. And then they're now in the UK. Of course, you already know. You know. Like exodus of people from from all over Jamaica to different parts of the UK, especially London area. So you got a lot of derivatives of reggae.

[00:08:06] We hear about how, you know, the sound system thing was well established in in Britain. In UK, yeah. David Rhatigan. Who how many years. Broadcasting, playing reggae. Thirty five years or something like that. I mean, he's playing from definitely from the 70s. He's on the radio and started to play reggae and that radio for that he was playing was heard all over Europe. Come to find out in places as far away as Poland where you know and Italy and people I'm talking like common, you know, communist times and stuff like that, and people clinging on to the messages in this reggae music. So the influence from the UK is large. You can't you can't not talk about that. A lot of most of them, not most, but a lot of our listeners to the Reggae Lover Podcast, of course, are very up in the U.K., so big up to the whole British crew.

[00:09:00] And a lot of these places where reggae was exported, you know, they have their own industries, you know, that we are not necessarily aware of. I had the opportunity to live in Japan for a while. And the thing about Japan is, you know, I always say this. You know, I've told you this story about when I when I went there and I saw people with reggae flags in their cars, you know, people who their entire lives were just reggae. And of course, they listened to, you know, stuff from Jamaica, stuff from America, stuff from Europe. But then they had their own Japanese reggae artists, you know, and I'm not even talking about Yo because I was there in, you know, the early 2000s from 2001 to 2005. And at the time when I went there, they had veteran Japanese reggae artists. You know, I'm saying from like back in the 80s and 90s and there were a lot of videos that I've seen, like when U2 became a thing. You know, you can see Tensas nitty gritty, nitty gritty Gregory Isaacs videos of, you know, one of the most popular Jova renditions by Augustus Augustus Pablo.

[00:10:14] How early, how early, how early were people going to Japan?

[00:10:19] I've seen oh no.

[00:10:20] I saw I've seen videos from at least the mid eighties and this probably is probably earlier than that.

[00:10:28] Yeah, I think is earlier than that.

[00:10:31] Yeah. You know, even even when Gregory Isaacs was on his way out, he was still touring in Japan, right?

[00:10:38] Yeah. Yeah man know Japan market is huge like ah called a story of conscience. Yeah. I'm saying success involves having an album that was just released in Japan or something like that I believe. Or maybe it just did well in Japan. I don't know what it was, but he was chanting in Japan say like before you have a bus here.

[00:11:00] Yeah. Some of these labels, they have, you know, Japanese divisions. And I remember, man, I'll tell you just a brief story. There was a singer, very beautiful voice. And for Japan, I don't know, I didn't like Japanese singers, you know, but there was a reggae artist push push him. I think her name was. I couldn't understand a word. Some of the most beautiful reggae, you know, I'm saying that I've heard so, yeah, that was my experience over there, man. And, you know, when you talk about the influence of reggae. Yeah. You know, a lot of these countries I know my my stories about Japan, but I definitely know that there are a lot of countries in Europe and Africa that have thriving, you know, reggae, I wouldn't say industries, but reggae scenes, you know, it might be more of a live scene. Yeah. You know, where people are doing shows and they're not necessarily exporting back to other parts of the world, but it's definitely thriving over there.

[00:11:58] Right. I know the last episode we talked, you know, almost exclusively about artists out of Jamaica trying to bust in the business. Right. But now, you know, I'm talking about the influence of reggae, you know, have legitimately been not only sound system exists in sound system, seen in existence, you know, for, you know, 10, 20, 30 years. And some of these places all over the world, I mean, there like massive sound systems, built up it on foundation artists and stuff like that. And then new artists now trying to bust in the business. You know, I mean, this guy icon, you know you know about the icon.

[00:12:39] He's Chinese, right?

[00:12:40] Yeah, yeah, yeah. Probably he's the nephew of Leslie. Can't produce many reggae based on the early days, including the Wailers. So I think the album that I heard from him, man, was from, you know, I think as the 70s, just a sweet reggae music Yo. This is like. All right. Check him out on his own. Iggy, an icon Yeah man like kind of crazy. It was just crazy.

[00:13:07] Like, I think he cut the album. That album got to 77, 78 or 79. I think it was tough guy records to say, my daughter, China Breggin like Fondation sing on song. You know, I in that cibils and an adult and LSD and stuff.

[00:13:29] If we were going to talk about the influence of reggae.

[00:13:34] So we started on Bob and we're going down this general route of, you know, clearly it's affected every part of the globe, you know, in most parts of the globe, shoot Brazil, you know, South America, forget about it. But so I guess my thing is I think there's an elephant in the room. And I know we've had multiple conversations about this, about the influence of reggae music in the birth of hip hop. You know, I know many people hear this story or certain versions of the story and think this is how it went down.

[00:14:12] But like for us who pay attention, it's glaring, really, really glaring. Like Kool was a Kool Herc, right? Yes. So so basically Kool Herc and I don't want to get into a whole hip hop conversation, but we talking about the influence of reggae. So I'm I'm going to go down this list for a brief moment. He's from Jamaica, right? He literally. So it's funny to hear his accounts of how he invented hip hop because he's got conflicting accounts. Yeah. If you listen to him 10, 20 years ago, it's one story and then you listen to him now it's morphed into another story, because to me, what I hear is he was down in Jamaica and obviously Jamaica already had a sound system culture because sound systems were around since the 60s might affect the 50s. Right. Jamaicans, they made like like they say in St. Louis, two turntables mix, right? Yeah. Like that stuff did not exist, mixing between records like that. OK, even when you look at the hip hop revolution, they talk about in the clubs until hip hop came along, even the disco DJs did not blend or mix records. OK, so Kool Herc, who's a Jamaican, came from Jamaica where they had already implemented a system to mix from one record to another to blend it. He comes to New York. Nobody else is doing it at this time. I guess that's the claim seventies, right?

[00:15:50] South Bronx, to be exact, right?

[00:15:52] Yes. And even Yo, there's other documentaries that refute the fact that it started in the South Bronx because we had Caribbean people in Brooklyn, you know, allegedly doing the same thing.

[00:16:07] Caribbean people were all over, apparently even in the south. Right. Miami. Well, yeah, go ahead.

[00:16:14] Yeah. So this dude attributes it to one house party. We I don't know if he's fresh off the plane or whatever.

[00:16:23] And found this technology had two two turntables and a mixer and started mixing between tunes and know catching the breakbeat and all of that, but anyway, Grandmaster Flash, he was the one who perfected that whole scratch thing anyway. But I find it ironic that, like years later, as the story progresses, like the story of Jamaica and reggae, it gets less and less using. And the story of Yo. I came up with this. This is my idea. This is how we went down. Guess more and more, you know. I mean but I just want to go on that little rant about the start of hip hop, because to me, I read in between the lines and then some of the ways that he's told it 10, 20, 20 years ago, you know, it was heavily influenced about by what was going on in Jamaica at the time. So that's my main thing about that.

[00:17:23] And, you know, I always want to just punch in there with a little sound system culture nugget, you know, I'm saying laughs, of course, that the way they used to do the street parties in the South Bronx, where they would take electricity from the city of New York light pole and connect sound equipment to have a party system with deejay turntables set up and sound system. And somebody holding the microphone, the whole thing is sound system and culture.

[00:18:03] From Jamaica.

[00:18:05] I understand, so, like, you can't go wrong. I think that's the start of mobile companies and sound systems around the world.

[00:18:17] And and don't get me wrong, there's other influences, you know, along with hip hop. I mean, people have said that, you know, in America, certain years before, there were certain people that are rhyming over tracks and all that. I'm not even saying like, OK, it's definitely just this. I'm just saying that the influence is is definitely undeniable.

[00:18:40] In addition, when speaking of the influence and AGARD and similarities with the birth of hip hop, you know, I'm saying like it comes from it's a poor people think it's poor people who need to have an outlet that's not a negative outlet, but a positive outlet for that time and energy.

[00:19:00] The music was talking about a ghetto liberty, but even if it wasn't the music that was talking about that, that was the soul of the music. That was the feeling, you know, evoke the emotions that were evoked from the music. But, yeah, coming out of, like, you know, the sidewalk, you them, where a whole of vibes want some music, you know, because there's nothing else. So that's what that's the South Bronx at that time when hip hop was worth, you know, a lot of that influences best believe that they came from Jamaica straight to the state area in New York.

[00:19:39] And then you see later, like in the 90s, then, you know, it's once again a dancehall and hip hop collaboration that's starting to get really popular. Right. The massive B Super Cat remix is Super Cat Bus in New York now after churning through the 80s in the 90s. Now, this hip hop collaboration is now the thing to do. Ever since that was discovered, it's still the same way today.

[00:20:05] If you need a nice hit on your joint, if you need a nice remix to live your boring tracks, you're saying you got to go to Jamaica. Man, if you want to look cool, you got to draw for the red, the gold and the green. Or, you know, I mean, the guy just before maybe Joe to grow the dreadlocks. You know, also you talk about the 90s.

[00:20:31] Every single hip hop deejay had to have a reggae set or else he was considered wack. You know, I'm saying like I used to listen to Red Alert, Hot ninety seven ninety eight point seven kiss.

[00:20:46] Sorry, I remember. I remember red alert. Red alert, Rensin the the slang term rhythm man.

[00:20:52] Yeah. Among others. You know, I'm saying, you know, sorry, all that stuff tax you with an embassy, you know, and you had to have that or else you weren't a real. Yeah. You weren't a real New York deejay man. We're talking the late 80s, early 90s, you know what I mean? And it still goes on throughout this, this, this to this day. That's the message. Hip hop, reggae, like you said to a lot of production nowadays. You know, you've got to have that influence. If you look at Chris Brown, you know, I'm saying you look at Drake, you look at Rihanna, Justin Bieber, you know, the usual suspects. But then, you know, you have other artists now who grew up in the states that, you know, their family was, you know, Jamaican or Caribbean. You know, you have the Tory lanes out there. You know, I'm saying all the other artists that, you know, got to give a nod. You got to you got to give a nod to it. And, you know, it's still sort of disseminating some of the culture throughout, you know, the youth or whatever.

[00:21:53] But, you know, the influence is definitely there and continues to be the you can you can't go around to dance and either, you know, can't leave the dancing out because, you know, that's man, that's just one of the fastest growing things right now.

[00:22:09] It's grown into something that is outside the realm of what happens in Jamaica. You know, the I wouldn't say the corporatization of the dance culture, but what it is, is that so many people love the vibe of dancehall music and they see they've seen the videos. Not now. You have the Internet, right? I know back in the day, you know, growing up in New York, we had the cassette shops and we would, you know, buy our cassettes of the sound systems or sometimes mix tapes.

[00:22:42] But then then the videos came out. Right. So you had videos of parties in Jamaica, videos, a party from all over the states, and now it's the Internet age. So all of that dancing culture is being, you know, transported all throughout the globe. And I think naturally cultures are melding. So with the dancehall dancers in Jamaica. Usually Yo, we're going to go out, have a good time, you know, I'm saying but then all over the world it's like, OK, we got to do this choreography. We got to figure out who was the best this and who was the best that you know, I'm saying even a dance hall queen phenomenon. You know, I'm saying to where you used to have the dance, OK, if those concerns still go on. But I remember the first year, you know, with a with a Japanese girl went to to Jamaica. Yeah. And Wonda Dancing Queen contest. You know, I'm saying that was a major thing. Yeah.

[00:23:37] I remember being kind of surprised to see that in Japan, you know, and the the girls would come with like their knee pads have with their little leg and concrete outfits like Yo. It's about to happen up here.

[00:23:53] Like, you see Yeah man, they took it real serious, you know, matter of fact, OK, we talk about influence. So when other cultures are influenced by this culture, they take it and they take it really serious. You know, I'm saying because to them is almost a challenge to master it, you know, to where you know, where we come from. You know, we grew up in New York. You know, there's certain things with the culture that New York took and made it their own. And there's certain things with the culture that Jamaica, you know, I'm saying bore out themselves. But it's like across the globe, it's like they take it. They're like, yo, I want to feel I want to make this seem like I'm the most authentic person who does this in this area. So they're competing with each other to be the most authentic and the best. So then what's that going to do is going to form krewes and dance in schools. And, you know, I'm saying because they realized they could capitalize on this thing, OK, if I study this thing and I'm a master at it, I'm a teacher, these are the people how to do it.

[00:25:02] You know, I'm saying and now you add the Internet to that and boom and the Internet and I g- I'm saying YouTube and all that. Yeah, YouTube Yeah man.

[00:25:14] So they talk about the influence of reggae music, you know, gave you some history in terms of the foundation. We talked about dub music, we talked about all the derivatives of reggae in terms of musical genres, and we talked about the influence and comparisons and also the birth of hip hop. Right. And then the hip hop culture blues, which started becoming popular in the 90s.

[00:25:39] And today, even still, you know, maybe perhaps the most clear evidence of the influence of reggae today on a world stage globally. You know, I'm saying like.

[00:25:57] I don't know, I think you talk about a collapse.

[00:25:59] Yeah, the collapse or the speed straight up like sampling or jacking, I'm certain sounds certain one drop stuff, you know what I mean?

[00:26:13] Even like Missy did that studio, one joint for Jazmine Sullivan, I mean, even before that pass the dutchie.

[00:26:21] Here's another part of the influence real quick that I find to be amazing. And this is because we usually think I'm I usually think along the lines of hip hop. But the most amazing thing that happened in the late 80s is the Dembo rhythm of the reggaeton.

[00:26:42] So basically from then until like literally two thousand nineteen, this one rhythm has been the basis for an entire musical genre. It's been the same beat pattern, the same rhythm for music. It's like 30 years. That's crazy. So then not only that, that spawned Moombahton know, which is another derivative EDM derivative. And also like a lot of the stuff that's becoming popular again right now, it's all the Dembo rhythm, most of major Lazes production, a lot of it. You know, I'm not saying it's only that was the Dembo rhythm like Yo. It's crazy when you talk about the influence, all of those EDM reggae tracks from 1989 to now Sun. I think that's the year Dembo came out. Know it might have been later than that. But whatever like key. Imagine that. That's I forgot about the impact. But you know me as a producer and a deejay, I'm like, yo, this thing has like legs, man. You know, that's that that's the most I've seen in terms of dancehall influence.

[00:27:59] It's spawned at least three or four different genres and probably doesn't get the credit for all this. But we know what it is. So that's all we're talking about here. So you talk about commercialization. Why restitching them? Take it like a poppy show. True that you know, the influence of Rastafari and culture, it's a major thing. You can't have the conversation without talking about, you know, Selassie and Marcus Garvey and the whole, you know, the Wailers are part of that story. But outside of the Wailers is still the Rasta culture has permeated the world. Just like, you know, along with reggae music. Many people discover reggae music through Rastafari, many for many people, it's the opposite. You know, it has always been that spiritual thing.

[00:28:46] You know, it's not many it's not many genres like hip hop is certainly not like this, where there's a large percentage of songs where the artist is talking to God with American music is literally a line in the sand, is secular in this religious, you know, like, you know, I think like Jacinthe was referring to before in one of our previous podcasts. Yeah. Whereas reggae music does not that it's it's all blurred in the soul.

[00:29:18] It's you know, you can be spiritual or you can be political or you could just be partying and it all fits in and everybody accepts it.

[00:29:28] You know, as far as I know, you know, there's not many genres like that, you know, to where you might have a spiritual hit and not necessarily be just entertaining a religious crowd.

[00:29:45] Not as big as a big point. That's a big point. Real Yeah man one of the commercialization. And then, you know, what about the cultural appropriation? Because it's going it's going on.

[00:29:58] I'm saying it's not something that we're afraid to talk about.

[00:30:02] I mean, capitalism itself is discriminatory, you know, system, but they don't discriminate in the discrimination, you know what I mean? So, you know, especially when it comes to the whole Bob Marley thing. And to me, you know, when you talk about the commercialization of it, it's kind of odd. I know we kind of brought this up in the Bob Marley podcast episode, but it's kind of odd that, you know, for example, the Jamaican government, you know, fights against Rastafarianism in some aspects. They fight against a lot of the ghetto culture, quote unquote. They fight against a lot of that. But yet, you know, when you see a come to Jamaica commercial where the Jamaican tourism board, it's Bob Marley. No, I'm not necessarily mad at the. But it's just interesting, you know what I mean, that, you know, that's where capitalism heads sometimes, you know, some somebody that was a revolutionary, somebody who wasn't necessarily accepted by everybody, you know, all of a sudden becomes this, you know, war cry or not even a war cry, but, you know, a representation of a culture that he was ostracized from, you know, similar things with Muhammad Ali. You know, Muhammad Ali was spat on and all this stuff. And then next thing you know, a couple of generations later, he's a hero by the same people who didn't believe in his message. So I mean, that that to me is like a little bit of a sad story in terms of commercialization to where it's like, you know, these things don't get addressed is just because something sounds good. They use it, you know, to sell product.

[00:31:48] Yeah, that's another show, probably. Yes. Yes. Yeah. We got to go back to that show. We're going to do that show. Yeah. It's a crazy thing, man. You know, we're talking about the influence of reggae here on the Reggae Lover Podcast here, Kahlil Wonda, AGARD, Yeah man and Edgard makes a number of good facts on this show.

[00:32:08] Oh, no, I just have a question because you brought this Rasta thing earlier, and I wonder I never hear, like, white roosters talking about African nationalism. I hear a lot about, you know, peace and love in an Arab. But I don't know. I don't I don't necessarily hear a lot of, you know, white Rasta's butting out, you know, free mama Africa.

[00:32:35] Thing, yeah, that's I don't know. Well, maybe that's some of them has nothing to do with this topic. Oh, I think some of them do that, bro. But the thing is that, you know, at the same time and I've heard some artists say this, you know, that they they would like to you know what I'm saying go. All the way and represent the real thing and everything like that and pay homage, you know, saying to the foundations and all of that stuff, but at the same time, they kind of have to come from talking about what they know about.

[00:33:11] Right. And so that's you know, I don't know.

[00:33:15] You have to be yourself and, you know, I'm saying like, you have these bands from all over the world and different ones have different sounds, you know what I'm saying? Like and what it is.

[00:33:29] And when I say different songs, it's like it's reggae, but one might be reggae with samba and the other one is reggae with electro, and the other one is reggae with rock. And the other one is you know what I'm saying like different fuzes of fusions, different fusion. Yeah. Yeah.

[00:33:49] I hear I'm saying some involve like horn sections, some involve more percussion, some and you know, some have the female lead or you know, in all these different things will change the whole sound of their albums and their live shows have a different feel.

[00:34:08] And you know that it's a beautiful thing.

[00:34:12] I think it's a good thing that, you know, I just found it interesting to just the contrast, you know, but I hear what you're saying and it's right.

[00:34:23] I mean, you got to look at it from different angles, right?

[00:34:26] You know, this is an art form and a form of expression, and it is reggae as a political element you know what I'm saying. And for me, in my experience, it's hard to separate the two. But I can see how somebody who didn't necessarily have the fight that we have, you know, because of the color of our skin, you know, saying choosing to just you know, I guess that's the definition of privilege, their privilege to not have to deal with those aspects of it. And they could just take, you know, a lot more positive things from it.

[00:35:02] I'm not saying they don't understand the plight, but I get what you're saying about, you know, maybe that's not their truth, you know, just being like your true, authentic self.

[00:35:10] That's all I'm saying. Like, you know what I mean? Like, that's why, you know, that's why I don't love, like, the braggadocios kind of, you know, hip hop music that's kind of like so popular now where you just talk about your eyssen like, you know, I got this kind of ice out, that much ice, you know, I got this I got this much money. I spend as much money if I spend more money than you have so much money, you know. So one of the big things is just the link between reggae and the movements of social change as well. Throughout time, you know, talked about the guerilla rebels in Zimbabwe, you know. Yeah. Who use Bob Marley's music to help them defeat and become victorious in their rebellion of the moment. Bob Marley, the plate. You know, I'm saying for the country shirt up in Zimbabwe and I liberate Zimbabwe. That's a big thing. And that's just, you know, I've heard of of others.

[00:36:11] You know, reggae songs have been used as ways of I know in Jamaica specifically. I remember this as a youth at the times of like when hurricanes were like when Gilbert hit the island in nineteen eighty eight and you had that love in their tune while Gilbert that song right there.

[00:36:31] You know, I want you to understand that Gil, if you had a radio that was working like that's what was on that radio is that song I'm talking about the aftermath of a hurricane. There's people still in places where roads are impassable, people with the roof blown off of their house straight up. You know, I'm saying like their whole thing just completely destroyed. And that was like the song that just lifted everybody's spirits.

[00:36:59] Yeah. Yeah. Everybody's laughing and making fun. Yeah. Making fun of the situation. And what else can we do? You know, you laugh and you get and you keep it moving. But you know that music.

[00:37:11] Yeah. Let you know you're not alone.

[00:37:13] I remember another time just talking like personally like, you know, influence of regular. Also in Jamaica in the 80s, you know, it was a time of political violence and the violence had gotten really bad. You know, I'm saying, like madly watching the news was like Yo. They just talking about gunmen, these gunmen that I'm saying and they like showing you stuff as I Yo it was a song I've not been able to find this song Yo the song. I was like the message was Birds of a feather flock together. It may have been like a collabo. I don't remember who I was pretty OK. But the point is that they beat the hell out of this song. You know, they played this song all day, all night. And it was just like the song. The message was peace. And as people coming together and it was like you know what I'm saying. I feel like that was influential in controlling the people, you know, and talking about like. That that's radio, but in the 70s in sound system days, right, what the select is saying on the mic, that's really keeping the U.S. from going out and, you know, performing a heist at that very moment, like Yo, I'd be like selecter.

[00:38:29] Just have to say, you know, you I just Yeah man, you know, just rube Wonda, you know, just hold on the thing, you know.

[00:38:36] Yeah, this is some tune and Yo. So by the government implementing curfews and things like that. Right. Is really just. You know, it's it's a hindrance to the betterment of the society for real.

[00:38:53] What do you think the same level of influence or something close to that still exists today for reggae music? Because, I mean, I'll give you like, you know, you just had a story about in your own life how it influenced you.

[00:39:07] I'm going to tell you from a young age, you know, it's funny because when I reflect, you know, the impact that Bob actually had on my life is kind of profound because I'm a first generation immigrant to this country. Both of us are, you know, but.

[00:39:26] You know, there's two songs in particular, not the not the real popular song, they're not two little birds, the Buffalo Soldier, nothing like that. I remember it was redemption song and war.

[00:39:40] Those two songs helped me to understand my place in the world, you know what I mean? Like like those two songs made me understand No. One, what the world is capable of, you know, on why there's disproportionate like racism and stuff like that. And then who I am in in terms of redemption song, my history, you know, I'm saying so before anything militant was ever I learned anything about Black Panthers, Malcolm and Martin and all this. That was Bob and Bob said Yo. Your ancestors were taken. They were put here. You know, I'm saying and like that song, you know, I'm saying really hit me. And then the other thing about war, you know, that's what civilization throughout history have gone through. And then later learning that that was the actual speech that he made to the U.N. about, you know, the impending, you know, invasion of Ethiopia by Italy. Like, you know, I'm saying those two things really affected me, you know, as a kid, you know what I mean? Like, I'm talking my preteen. So I say all that to see right now in twenty nineteen, you know, saying like outside of that, there's still Bob, you know, I'm saying we have the Internet, these songs still exist.

[00:40:59] Bob Yo a man, you know, like thank you for that.

[00:41:04] But his his the issue though because Bob was packaged like I'm, I'm a kid, I was born in a certain time and you know, for when I was growing up, for when I became a thinking person that was still accessible to me. And I'm not talking about the music being accessible. I'm talking about the message, the way that was packaged. You know, I was able to take it in and it nourished me, you know, I'm saying in a certain way. So there's a kid right now that may be nine, 10, 11 teenager. Bob might sound to him like Moses. You know what I mean, I know that's hard to believe, but is this something right now that to say this kid, hey, this is reggae, this is who I am, and it'll help me to understand my place, you know what I mean? Or my position or what I need to overcome.

[00:42:05] Yeah, is that out there that this is a question that popped into my head?

[00:42:10] No, I think that that's out there in coffee. Who can talk to Neutze right now? Know what I'm saying? I think that's out there. And Janai, are you'll yoga on in these things? No. Dick is out there at Etana. You know, you have your daughters to look up to Etana.

[00:42:33] Yeah. So OK. Yeah, you have that in Kabakov Pyramid. You know, I'm saying you have that in Protegé. You have that in chronics. You know, I'm saying I think there are some others in that lane.

[00:42:45] You know, I'm saying it used to be like for us it was capable Tensas Low Buju Luciano Anthony B I'm saying could have been those artists that got that in those times in the 90s of a 10 blender.

[00:43:00] But nowadays there are those artists that are reaching international ears every day and people are like, yo, you know, either discovery and and into reggae, or maybe it's that song that is that ends up being that song that sticks with you for like what it does for you and reggae for me also. Like, it is always it's been like a a very educational thing for me, for real. And then even when I was in study, you know, listening to reggae music while I study, you know, and the types of messages, you know, just not just motivated me to actually study because like Yo, you know, I mean, I forget the knowledge, you know, training and knowledge of self overall. Something a lot of very important things in terms of Yo in this gender type of type of gender world where, you know, I'm saying you have thirty six different genders now.

[00:44:05] It's the age of identity politics, let's say.

[00:44:09] Yes, you got thirty six genders and you could choose fuzing place. So you know what I mean. It is what it is but. Yeah man, listen to some reggae music, what give you those like, yeah, well, beat out Moses like Yo Yo Man is supposed to do this and a king and queen is do this.

[00:44:36] Yeah, I'm saying like certain principles that have always been passed down, like old parables and, you know, literally scriptures, you know, Garnet silc buju you know, enough scriptures in the lyrics.

[00:44:50] So you're saying that's that's accessible to young people right now. I'm just asking. I don't know if it is or it isn't.

[00:44:57] Yeah. I would have to say so. I would say that it's accessible. But in terms of the United States, I think that, you know, it's a big, massive country. You know, you've got to think, you know, we're over here on the East Coast, but you have also the left coast. You I'm saying the blessed coast out there where there's reggae all up and down the coast.

[00:45:18] There are people who, you know, non Jamaican, you know, I've never been to Jamaica, maybe maybe a lot of them. And they're growing up on reggae, you know.

[00:45:32] Interesting. And you brought that up because the the most unique experience that I've had and I've been listening to reggae music a long time since. I mean, like I said, I was a pre-teen, but Yo when I was out in the Bay Area and like I heard an actual FM station with deejays that were not they didn't have accents. They weren't from any Caribbean country. And. Their job was to play reggae music. That was crazy to me, you know, because even like you said, the East Coast thing all up and down the East Coast, it's like, you know, you got to have some type of connection to the Caribbean somehow. No, I'm saying whether it be Jamaica, Trinidad, Guyana, wherever. And it was amazing. Like, I don't know why that was so like. Ground breaking for me, but it just was it was just like, you know, I didn't feel like Yo this is fake. You know, somebody is trying to take our culture. It was like it felt like appropriate and appreciative. You know, I'm saying as somebody who's a professional disc jockey, you know, in this station that's a station dedicated to this type of music that was built to me because even in New York, when there's like a crazy there's millions of Caribbean people in New York, you know, I'm saying even in a place like New York, you're relegated to like, you know, pirate stations, you're relegated to Internet radio stations.

[00:47:04] You're relegated to like hour too long or two hour long shows to where we don't have, like an actual station right now. That's that's, you know, I'm saying licensed by the FCC. That's 24/7.

[00:47:19] You know, I mean, I think the point is that, yeah, there are radio stations all over the world that have at least regulated jazz, very good time slots, reggae shows, you know, if not dedicated reggae stations, dedicated industries, you know, like Yeah man that, you know, Japan not to keep calling out Japan because there's industries all over.

[00:47:44] Man like seriously, Indonesia, Philippines, Hawaii.

[00:47:50] Yeah, yeah. Talking to Ted Gunung, you know, here on the podcast, you know, he talked about growing up in, you know, between the islands of the Hawaiian Islands and in California. You know, I'm saying like and how reggae was always a thing, always a president thing, you know, is the biggest music on the big island. You understand? So there's many places around the world, you know, where where it's like that, you know, might be like little niches, little micro markets you know what I'm saying all over the place, which are reggae hubs. I'll call them reggae. You know, you got people connected to the web, you know, I'm saying. And it's like Yo.

[00:48:38] They're doing their own brand of reggae that's, you know, you know, my view is usually the cynical view, but thank you for bringing it back to something positive, because I'm you know, when you said Japan, I remember like, for example, a lot of people do not know this because you haven't been out to Japan. But anybody familiar with the sound system, culture and SoundClash in particular knows about Mighty Crown. Right. And to a lot of people, Mighty Crown is just a rich Japanese sound that could cut any dub.

[00:49:17] You know, I'm saying but when you're out there and, you know, you go visit Yokohama, you know, these guys have a clothing line that's reggae inspired. They have a record label, you know, that's a reggae record label. They hold they they promote festivals. You know, I'm saying they do all this stuff in the name of reggae, huh? The sneakers, Yo. Yeah. Sneakers Noontide collaboration's is what 99p? I mean, before they had a collaboration with Nike, they had a collaboration with Clay. I think they do a bunch of different collaboration with with different companies. You know, I'm saying and people on on this side of the hemisphere don't even they're not even aware of that to where you go to to Japan. You know, I'm saying and they're having festivals that are like thousands upon thousands of people. And it's their work, their company, you know, and that's just one entity.

[00:50:18] And the corporate sponsorship, of course, right now I'm saying.

[00:50:22] Yeah.

[00:50:23] And, you know, if if I didn't go out there and I didn't have that perspective, then, you know, I would think this thing is doomed, that it's really not, you know, because a lot of artists that go out there, even though this is the age of social media, you're not seeing a lot of the content when they're going all over the world, they're picking and choosing the content that you see, you know. So I mean, there's there's there's a lot going on, men. And it's you know, unfortunately for fans, it's outside, it's decentralized. It's not you know, no no one company is going to bring you all of this stuff. You've got to go seek it out, you know?

[00:51:04] Right. And, you know, in terms of the young ones, you know, parents just make sure you play Bob Marley in the house and, you know, use some reggae, some while selected reggae songs to teach your kids actually had a request from a listener who wanted to hear a mix that was all songs about children or about parenting and stuff like that.

[00:51:33] You know, reggae music mix, you know, saying so I was like that, you know, I had about like, oh, that's extremely that's just very creative and interesting, you know, I'm saying and a very noble thing as well, because obviously he listens to the podcast with his children, you know, with his family. So, you know, I thought it I mean, I thought it made sense and. Well, how many genres can you really go to where you get all of that, like you don't know, saying, well, yeah, so start your kids off. And some Bob Marley, you know, maybe took some of the Sizzla songs. Make sure you listen to the sizzle song first all the way through it.

[00:52:13] Yeah, just starting off with multiple generations of the and then make it down to the grandchildren and great grandchildren.

[00:52:24] That makes them on Buzzworthy. I don't know what you're talking about.

[00:52:29] Yeah, and then then graduate to Buju.

[00:52:34] Throw a little gun silk in there, a man fellahs different reggae songs or work different on your ladies, you know, I mean, try it out.

[00:52:45] Reggae is always very influential. Yo real quick, man. I was listening to an audio from Jack Ruby. Sound in Jamaica is like eighty seven. I think they just put it up on Medicalizing so you could look for that Jack Ruby audio on hecklers. OK, but it was pinschers was the artist and man I just flash back.

[00:53:09] Not that I was really old enough back then. He seemed to like to have you know what I'm saying like girls and stuff but Yo but it was just had like yeah. Pinschers had one of those moments where it was just like and you don't like his music. It's like automatically I just think like sex like Yo some Galtung, you know what I mean. But that's how he was seen like as you know, loverboy kind of artists of the moment in the late 80s. Big up to pinschers, bad and Yeah man. Thanks for listening to the Reggae Lover Podcast.

[00:53:48] A dedication like vacation to Regulative is worldwide. The boy AGARD over here going through with myself, you know, the the influence of reggae. Let us know how reggae's influence your life, you know, maybe will feature your story, talk about it, you know, if it's cool enough. Haha. No, just kidding. You're all cool. It's Reggae Lover Podcast at Gmail dot com Reggae Lover Podcast. Please subscribe to the podcast from all major podcast platforms now on Spotify climbing the Spotify charts. So please follow, please leave us a review, a comment, a nice rating, you know, I mean and please share the show so some other people can get some content talking about the reggae music that we love word.

[00:54:42] And if we need to get in contact with me, al a guard at Gmail dot com this Yo AGARD. There's AOL AGARD dot com is also a AGARD on Instagram.

During this episode, we touched on the following:

  • Bob Marley was one of the most influential people ever.
  • The many genres that stemmed from Jamaican music including EDM, Reggaeton, and Hip Hop.
  • Many new reggae fans globally in the period from 1960 – 2000.
  • Indigenous reggae markets and sound system scenes globally.
  • Dancehall choreography transported all over the world.
  • Producers and artists sampling and covering reggae/dancehall.
  • Rastafarian culture has permeated the world and been appropriated.
  • Reggae is both the catalyst and the soundtrack for movements of social change. 
  • One of the only genres that can be spiritual, political, and entertaining at the same time. 
  • The important traditions of teaching and empowerment through reggae lyrics.

And there is so much more or as Bob Marley said “So much things to say…”

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