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They have three drum and they preach and they tie they hair and they sing. “If you want fun, you have to go out there and listen the street meeting- people playing drum and singing revival songs. Even the Pocomania meetings provided some relief in the quest for melody and beat. Pluggy and his friends would wander day and night in search of music. People coming from work used to see me, Pam Pam, Fish and the rest of little youth them that deh bout there a dance in the evening.” Self-taught dancer Pluggy Satchmo remembers his youth, just after World War II, “We go out to the record store, Hedley Jones, evening time and listen him play jazz and we used to practice dance. In earlier days, before radio and personal stereos, people would stand outside record shops just to hear the new jazz tunes from the U.S. Music was there because people wanted it, and sought it out. Jamaicans, at least in the ghetto areas, lived every day surrounded by music in a way that people in colder climates have never experienced. Jamaicans loved their music, and they liked to adapt anything new that came along as a way of accessing music – like radio, TV, personal record players and tape recorders. Dancehall had arrived and was bringing big changes to the musical landscape. After years of artists vying for foreign exposure, reggae was becoming more purely ‘Jamaican’ than it had even been in its short history. Jamaica was reclaiming its music and bringing back home. But many more new fans flocked to this exhilarating, provocative, bracing new form of entertainment. A large group of former reggae supporters felt abandoned and moved away from the music. It was often sexually suggestive, sensationalist, focused on the excitement of the moment.
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The new music of the ’80s appeared materialistic. The music that replaced roots reggae seemed, to the many disillusioned fans, to be trivial and devoid of deep meaning, lacking the potential to right the wrongs and injustices of society. But, the attempts were fruitless, because by 1981, the music had changed. In an attempt to keep his legacy, and the music, alive, efforts were made to name various bands and individual artists as his heirs to the throne. When Bob Marley, the undisputed king of reggae, died in 1981, many people felt that reggae had ceased to exist – that without Bob, there could be no reggae. Many roots artists seemed to fade into the background as young unknowns arose to take their place. The new decade saw a move away from reggae as reggae fans had known it for almost a decade. It resonated with their ideal of creating a world without war, oppression and commercialism.īut, the mood in Jamaica had changed. Young people around the world felt a firm affinity with this message. Reggae was the music that gave a voice to those who would speak out against a status quo that had traditionally silenced the voices of the poor. Reggae advocated change, overthrowing the colonialist system and lifting the suffering masses out of poverty. As they most people understood it, reggae was music that carried a message. Fans had been comfortable with roots music – Burning Spear, Bob Marley, Yabby You, Augustus Pablo, Culture.
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In the early 1980s, when Dancehall hit the record markets abroad, many long time reggae enthusiasts were disheartened.