uju Bantonâs artistic and spiritual journey, from a âslacknessâ DJ to âroots and culture,â chronicles several of the complex negotiations taking place between musical artists and the global record industry. Known as a âconscious vibesâ artist, Buju Bantonâs ascendancy to the top of Jamaican popular music is one of Jamaicaâs untold stories, a story that chronicles the struggle to survive in the marketplace. His is not simply a tale of individual sacriï¬ce but an instance of how artists attempt to use cultural Small Axe 13, March 2003: pp. 95â115 ISSN 0799-0537 value as a means of mediating the hegemonic force of market values in the age of global capitalism. Buju Banton is one of the more successful dancehall-DJs-turned-consciousvibes artists. Bantonâs song âBoom Bye-Byeâ serves as an occasion to explore how market small values inï¬uence the cultural values expressed in Jamaican cultural commodities proaxe duced for âglocalâ consumption.Â¹ e increasing desire for cultural commodities, particularly âdiverseâ or âexoticâ music, clothes, and foods, were part of the market appeal of Jamaican dancehall music for Americans. e song received substantial airplay on the radio and in dance clubs, but when news of its (translated) content hit the airwaves, the song was
Small Axe: A Caribbean Journal of Criticism – Duke University Press
Published: Jan 1, 2003
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