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Jamaican Popular Music Copyright and the Reverberations of Colonial Power

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Published in Rude Citizenship: Jamaican Popular Music Copyright And The Reverberations Of Colonial Power

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Rude Citizenship: Jamaican Popular Music, Copyright, and the Reverberations of Colonial Power

by Larisa Kingston Mann

5 out of 5

Language	:	English
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Jamaican popular music has a long and rich history, stretching back to the early days of the island's colonial period. Over the centuries, Jamaican music has evolved and changed, reflecting the island's complex political, social, and cultural history. One of the most important factors that has shaped the development of Jamaican music is copyright law.

Copyright law is a body of laws that protect the rights of creators of original works, such as music, literature, and art. Copyright law gives creators the exclusive right to reproduce, distribute, and sell their work, and to create derivative works based on their work.

In Jamaica, copyright law was first introduced in the late 19th century, as part of the island's British colonial regime. The purpose of copyright law was to protect the interests of British publishers and record companies, who were concerned about the unauthorized reproduction and distribution of their work in Jamaica.

The of copyright law had a profound impact on the development of Jamaican music. Prior to the of copyright law, Jamaican musicians were able to freely perform and record each other's songs without fear of legal repercussions. However, after the of copyright law, Jamaican musicians were forced to obtain permission from the copyright holders before they could perform or record each other's songs.

This had a number of negative consequences for Jamaican music. It made it more difficult for Jamaican musicians to collaborate with each other, and it stifled the development of new and innovative musical styles. Additionally, it made it more difficult for Jamaican musicians to earn a living from their work, as they were now required to pay royalties to copyright holders.

Despite the negative consequences of copyright law, Jamaican musicians have also found ways to use it to their advantage. In particular, they have used copyright law to challenge the colonial power structure and to promote social change.

For example, in the 1970s, the Jamaican reggae musician Bob Marley used his music to challenge the Jamaican government's oppressive policies. Marley's songs were often critical of the government, and they helped to raise awareness of the social and political issues facing the Jamaican people.

Marley's music also inspired other Jamaican musicians to use their music to address social issues. For example, the reggae musician Peter Tosh wrote songs about poverty, racism, and war. And the reggae musician Bunny Wailer wrote songs about the importance of African liberation.

The music of Bob Marley and other Jamaican musicians helped to raise awareness of social and political issues, and it inspired people to take action to create a more just and equitable world. In this way, Jamaican popular music has been a powerful force for social change.

The history of Jamaican popular music copyright is a complex one, and it reflects the island's complex political, social, and cultural history. Copyright law has been used to control and exploit Jamaican musicians, but it has also been used to challenge the colonial power structure and to promote social change. Jamaican popular music has the potential to be a powerful force for good, and it is important to understand the ways in which copyright law has been used to shape its development.

References

Chang, K. (2005). The Routledge companion to music and copyright. Routledge.
Hesmondhalgh, D. (2007). The cultural industries: A critical . SAGE.
Marshall, P. (2011). Copyright, intellectual property, and the information economy. Routledge.
Nettleford, R. M. (2002). Jamaican popular music: The making of a national identity. Macmillan Caribbean.
Tosh, P. (2013). The lyrics of Peter Tosh. BookBaby.

Rude Citizenship: Jamaican Popular Music, Copyright, and the Reverberations of Colonial Power

by Larisa Kingston Mann

5 out of 5