In 1985, the U.S.-based National Academy of Recording Arts and Sciences presented the Reggae category at its annual Gramophone Awards ceremony. The prize was to be awarded to that artist or artists of recording for quality works in the Reggae musical genre for “honoring artistic achievements, technical competence and overall excellence in the record industry, regardless of album sales or position on the charts”. In this sense, the Grammy Award per Best reggae recording was presented to artists for eligible songs or albums. Jamaica’s own Uhuru negre he won that inaugural Grammy in 1985.
JAMAICA GRAMMY SUCCESS
Black Uhuru’s victory was a major success for Jamaican music, as its selection served as a recognition by the American music industry and its associates that Jamaican reggae music belonged. It was a post-epithet appropriate to the bases made by people like Prince Buster, Millie Small, Desmond Dekker, and most importantly, Bob Marley and the Wailers, all of whom had spent most of their adult lives carrying Jamaican music around the world. The Grammy Award also highlighted the creative value of the island capital, Kingston, and the importance of its role in creating world music, even if the music itself was being treated lightly and contemptuously by the owners. of the capital and the creators of economic development policies of the island.
Since Black Uhuru’s victory, several other artists have had similar success over the next 36 years. These include several winners, Ziggy Marley, Damian Junior Gong Marley, Stephen Marley, Bunny Wailer, Toots Hibbert, Jimmy Cliff, The Burning Spear, Steel Pulse, Shabba Ranks, Peter Tosh, Buju Banton, Shaggy, Sly and Robbie, Lee Scratch Perry . , Morgan Heritage, Inner Circle and the only winner Koffee.
It is significant to note that these awards focus on Gender, not country of origin. In addition, their results are largely determined through a “peer review” and are not based on record sales. However, a Grammy nomination (if the artists ‘connections are well connected) could bring positive aspects to the artists’ careers. A Grammy victory would be even more important, as it raises the profile of artists (again, assuming success is carefully managed).
THE GLOBAL INFLUENCE OF JAMAICAN MUSIC
However, the 37-year-old’s success has not been without its problems and grudges, and the Grammys have been criticized for persistent dominance of Marley’s name, among other things. All the same time, Jamaicans at home and abroad have maintained that the quality of the music produced by our artists has been below the standards to which they were accustomed. Jamaican music had for years provided the influence of musicians from all over the world. After all, early 80’s DJ music spawned rap music in the US, reggae spawned reggaeton in the Latin American corridor, and dancehall spawned. Afro-rhythms. The common thread here is that, in all cases, it has been Jamaican music that has moved along different shores to influence sharp-hearted artists and enterprising operators in the music industry in these jurisdictions to incorporate Reggae / Dancehall to their own offerings, creating a newer and more intriguing production while expanding the music audience base. Steel powder is a British Grammy-winning group, and no other non-Jamaican group has done Reggae U-B40it has been done by an all-white British group.
THE VALUE OF REGGAE FOR THE JAMAICAN ECONOMY
From a Jamaican perspective, reggae music has served for decades to attract millions of visitors to the island and I am curious that if this music continues its pace of development on distant shores, there will be enough incentive for potential visitors to make a walk to Jamaica. or to travel to other places where the domain of reggae is being exploited? This is the takeaway I have MILITARY2022 Grammy Reggae Victory. Maybe we created the sound, but did we really do enough to deserve the maintenance of the Jamaican genre? SOJA has conducted numerous recording sessions in Jamaica, providing authenticity for its own production. His victory serves to further expand the audience of Reggae, so it is up to our own musicians, artists and industry interests to take advantage of this exhibition instead of crying over cultural appropriation.
NEED FOR BASE INVESTMENT
In my view, these cultural appropriation arguments are empty and meaningless, as Jamaica has made almost nothing but a verbal investment in the development of the industry. Despite the declared importance of music as an integral part of the island’s cultural offer, there are no dedicated spaces to broadcast live music. There are no reggae music museums or theme parks for visitors and locals to connect with the giants of the music past or to listen to mom’s talent. Add to that the fact that most of our current enthusiasts are unfamiliar with the history of music. It is a music that was born from the bowels of the Kingston ghettos in the 50’s but is still treated with the contempt that high society had for its creators and its production. Jamaica’s music industry is sadly lacking in professional and experienced staff in terms of both management and performance. In the 1960s there were only a handful of producers operating in a space where there were a large number of performers. Sixty years later, there are more record producers than artists capable of producing quality production, as the industry has met the long-term goal of “looking for” more staff, but at the expense of quality.
JAMAICA IS BACK
Artists and management do not have the esteem to be fully connected to the industry, especially in the areas of publishing, copyright, intellectual property, marketing and management. How many artists are registered to vote for the Grammys? Is the Jamaican market, including its diaspora, big enough to support the genre? Are we doing enough to attract more non-Jamaican people to buy our music? Until these areas are addressed, Jamaica’s influence in its own creation will shift to other shores as we continue to complain about cultural appropriation.
Last week we received the news that Billboard he had dropped Reggae and Dancehall. This week is the Virginia base SOYA winning the Grammy Reggae. If that’s not a clear signal that the train is leaving the station, I wonder what it is.
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