Surrender to Babylon

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As reggae becomes globalized and fused with other styles, in becomes harder and harder to find reggae artists that use traditional instruments, or are of Afro-Caribbean descent- even harder to find those that believe Rastafari. The more Reggae has intertwined with hip-hop and western music and culture, the less it promotes the message of the Rastafarian faith and the more it becomes part of the western capitalist system, making music to sell to the masses. This not only is denigrating to reggae as a musical style, but to the entire anti-commercialized Rastafarian faith. In the end, reggae has become just another factor in the systemic commercialization of an entire social movement; Rastafarianism has surrendered to Babylon.

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Works Cited:

  1. King, S. A., Bays, B. T., & Foster, P. R.. (2002).Reggae, Rastafari, and the Rhetoric of Social Control. University Press of Mississippi. Retrieved from http://www.jstor.org/stable/j.ctt2tvgj2
  2. David Kapp. (1992). Reggae against Racism… but What about Sexism?.Agenda: Empowering Women for Gender Equity, (14), 68–70. Retrieved from http://www.jstor.org/stable/4547999
  3. Rommen, T.. (2006). Protestant Vibrations? Reggae, Rastafari, and Conscious Evangelicals.Popular Music25(2), 235–263. Retrieved from http://www.jstor.org/stable/3877561
  4. Roots, Rasta, Reggae: Stepping-Stones back to Africa. (1992). Roots, Rasta, Reggae: Stepping-Stones back to Africa. InWest African Pop Roots (pp. 298–304). Temple University Press. Retrieved fromhttp://www.jstor.org/stable/j.ctt14bt5gb.31
  5. Stephens, Gregory.  On Racial Frontiers: The New Culture of Frederick Douglass, Ralph Ellison, and Bob Marley.  Cambridge University Press: Cambridge, United Kingdom, 1999