REGGAE, RESEARCH AND MEDIA KNOWLEDGE GAPS

To share knowledge, one has to be in the know. Many media outlets try to appear-all-knowing. Then it all falls apart, when the apparent knowledge gaps gets blatantly exposed. And to think that all it could take to make a big difference, is a little reggae-inspired research.

The writer of this article does well in capturing many facets in the evolution of reggae music.

However, there are a few details that would raise credibility concerns, especially among those familiar with this subject matter, like yours truly.

The ban of reggae music in Kenya was much evident after the 1982 coup attempt, and this is linked to the fact that this is the type of music that was being played on air, before the national broadcaster was secured.

It was also widely being mentioned at the time, that this genre of music glorified and promoted the use of proscribed drugs, (of the Jamaican flavour).

Unlike what is reported in the article, reggae made a comeback in the public broadcaster in the later part of the 1980s.

I still remember how refreshing it was to hear from the radio, Burning Spear chanting down Babylon in Mek We Yadd.

And, the Grammy Award for Reggae started a bit earlier than what the article purports.

Again, I should know, because the first recipient was, and still remains my favourite reggae band, Black Uhuru, in 1985, for their phenomenal album, Anthem.

Granted, the press covers a lot of ground to keep its audience informed.

It could be about current affairs, future events or even past occurrences.

Present events could be hard to process correctly and, well, the future can be unpredictable.

But historical facts should not be that hard to relay, if you know where to dig them up from.

That's the beauty of research in journalism. Details from eons ago can easily be woven into modern-day articles, for depth add contextualisation.

For the umpteenth time, the media should not underestimate the capacity of the audience to discern between facts and fictitious accounts.

SOLIDARITY: WHAT WE NEED

The twists and turns in Kenya's prolonged and increasingly agonizing electioneering period, continue to raise tensions in the country. Critical players seem to be tearing the country apart. But what worries the most is not the political or institutional failures.  It's the devaluation of human life, when settling real, perceived or imaginary differences. Solidarity is what we need.

Like Mykal Rose chanted many decades ago, Kenyans need to constantly remind themselves of who the real enemy is, by telling each other:

Look at me I ain't your enemy
We walk on common ground
We don't need to fight each other
What we need, what we need
Solidarity!

Yes. We are all stakeholders in defining the destiny of the country.

No. That does not necessarily mean we have to die so that someone else assumes or retains the presidency.

The liberation struggles cost many lives undoubtedly.

But the liberty gained was to enable us to resolve arising differences without shedding more blood.

Violence, whether from state organs or organized gangs should not feature in conflict resolution.

Again, Black Uhuru's Steven Van Zandt composed lyrics ring so true:

Look at me I ain't your enemy
Don't believe everything you hear
This is not time to fight each other
What we need, What we need...

SOLIDARITY!

FROM JAMAICA TO ETHIOPIA, PROPHESY TO HIS IMPERIAL MAJESTY

"He's the only man in flesh, whom you can't look in the eyes," so crooned Michael Rose, formerly of reggae icons, Black Uhuru. And that aura of mysticism is strongly felt at what used to serve as the palace of Emperor Haile Selassie, in Addis Ababa. The historical connection between Ethiopia and Jamaica comes alive. A prophesy appears fulfilled through His Imperial Majesty.

Visiting the residence of the man at the core of the Rastafarian movement, is a truly fascinating experience, especially if you've grown up listening to reggae music, with abundant references to Haile Selassie, (insert me).

In numerous songs, I've heard of how a prophesy by Jamaican Marcus Garvey in the early 20th century about a black king being crowned in Africa, excited so many down-trodden people, (insert blacks).

A coronation did happen and Ras Tafari Mekonnen became Haile Selassie I, and this supposed fulfilment of Garvey's foresight, gave Rastafarianism a firm foundation.

Ethiopia, apparently holds a special place in the wider schemes of things, and there's even a Biblical verse often quoted by reggae artistes, Psalms 68: 31 which states:

"Princess shall come out of Egypt
Ethiopia shall soon stretch out her hands unto God."

The rule of Haile Selassie was, however, brutally crushed in the mid 1970s, but the belief in his divinity has never waned.

In a documentary I had the rare privilege of watching at the Bob Marley Museum in Kingston, Jamaica, a disbelieving Bob, on hearing of the developments in Ethiopia, penned a very emotive song, emphasizing his and Rastafarians' conviction that 'Jah liveth, ever faithful, ever sure!

Jah Live, Children ye-ah
Jah-Jah Live, Children Ye-ah
Jah Live, Children ye-ah
Jah-Jah Live, Children Ye-ah 

Fools say in their heart,
"Rasta, your god is dead!"
But I'n'I know:
Jah - Jah Dread;
It shall be Dreader Dread

The fierce look of the preserved lion that used to be owned by Emperor Haile Selassie, seems to underline this defiance.

Another reggae legend Bunny Wailer, lyrically cements the continuing link between Marcus Garvey's prophesy, Jamaica and Ethiopia, when he chants:

For it's no use dying in Jamaica,
'Cause we can't afford a burial spot
Remember Marcus Garvey, predicted that day
When all black people shall be going away
To the land of our fore-fathers and our mothers
Right here in Ethiopia

Indeed. the splendour of Haile Selassie's reign is evident in the emperor's private chambers

And as I depart  from this amazing and awe-inspiring country, I marvel at the rich tapestry of spiritualism, the destiny of Africa as defined by Africans, the turbulence of existential struggles and the steadfast belief of an assured emancipation.

I will definitely derive a deeper meaning, the next time I hear Culture's Joseph Hill saying:

There is a land
Far, far away
It's called Addis Ababa

Another reggae living legend Burning Spear aptly captures the reason why The World Should Know about Rasta Business, by making an Appointment with his Majesty and Calling Rastafari to become a Freeman!!!

MY REGGAE INSPIRED JOURNALISM JOURNEY

Jamaican reggae star Tarrus Riley is scheduled to perform in Kenya, this August, alongside songstress Etana. Fact: They're highly accomplished artistes. Fact: I attended a Tarrus concert in London. Fact: I interviewed his father Jimmy Riley in Kingston, Jamaica. Fact, I interviewed Etana in Kingston too. Fact: I met saxophonist and Taruss's producer Dean Frazer, in Trelawny, Jamaica. Fact: I have an unshakable link to reggae music, which has pretty much defined my world view and philosophy of life.

I have carried along my decades old passion for reggae music into my nearly decades old career as a professional journalist. Has this prominently featured in my working life? Yes. I wiggled my way into covering concerts by the likes of Morgan Heritage and Burning Spear, during their tours of Kenya, (not that it was debatable in the NTV newsroom then!).

I'm sure I would have been assigned (or self-assign myself) to cover the concert by my all-time favourite reggae band, Black Uhuru, when they had a concert in Kenya in 2008.

To my utter dismay, I did not even attend the show, it having cruelly coincided with an assignment I had in Germany. I had earlier interviewed the lead vocalist Mykal Roze, when I visited Jamaica in 2007.

That self-sourced journey to the Caribbean island, as part of my TV reporting duties, I readily admit, was very much like a pilgrimage to the birthplace of Bob Marley.

And just like hip-hop, turned reggae artiste, Snoop Dogg, (now Snoop Lion?), professes, there's something almost hypnotic about the Caribbean island of Jamaica, and not necessarily ganja inspired.

But life can be kind and does at times favourable smile on someone. Having missed Black Uhuru's concert in Nairobi, in 2010, I did manage to attend a memorable show by Mykal Roze in London, which also featured the outstanding performances by Andrew Tosh and the Rasites.

So, back to the Tarrus Riley concert, Kenyans have been promised it will be a night to remember and there has been a tremendous buzz already created, in both mainstream and social media, with many bloggers hyping the Jamaican's visit, days ahead of his actual performance.

Sure, the concert has all the ingredients of a fantastic outing. But it just doesn't cut it for me, largely because, well I unfortunately ascribe to what can be accurately described as 'old school reggae.' 

And to be honest, what made me attend Tarrus's concert at Brixton's O2 Academy in East London, in 2010, was purely because he, alongside Capleton, were the opening acts for Bunny Wailer.

Now this is a true reggae legend. His performance was mystical, and as much spiritually uplifting, as it was aesthetically appealing and intellectually engaging.

And as for the Tarrus set then, the only outstanding act I can remember is his cover version of Michael Jackson's 'Human Nature.'

Etana 'the strong one' struck me as a very intelligent and an alluring conscious woman, with an almost overpowering feel of freshness, when I had a one-on-one interview with her, back in 2007 in Kingston.

But of course, I would be lying, if I don't mention her stunning smile and general physical beauty, which perfectly complemented her pure, level-headed reflections about reggae music and life.

Looking back, it's been and will continue to be a fulfilling reggae inspired journalism journey for me.