Robbie Shakespeare (and my percussion)

I am usually not a fan of “thingification”.. A teacher of sociology that taught me once, described this, in Dutch, “verdingelijking” (thingification) with examples like: “I am a lawyer” or “I am a carpenter”. No they’re not: they’re individual persons, who happen to work as lawyer or skilled carpenter. I think we must be always wary of dehumanization, however subtle.

In the same vein, I am not JUST a percussionist. I don't even like the suffix "-ist". Often, such persons who identify as such with strangers (and even non-strangers) try to hide, yet betray, a kind of shyness, insecurity, or even an inferiority complex. Shyness I have a bit, an inferiority complex not so much.

As it goes, I “as a human being” am by now a more advanced percussion player (playing over 8 years now), having experience performing on stage, jamming, in a band, and composing, and between and above all that continuously learning, about all the variety of big and small percussion instruments, and patterns in different musical cultures.

That is a very pleasant and inspiring journey. I had different periods, with emphasis on different instruments: a “scraper” period, a “cabasa” period, a conga period, a talking drum period, and Ashiko (Yoruba type of drum) period, for example. Never exclusive, but concentrated temporarily.

I am a Reggae fan, from way before I took up percussion more intensively, namely around since I was at the age of 11. “Thingification” as “Reggae fan” sounds a bit more okay to me, haha, for some reason.

The recent passing (8 december 2021) of bass player Robbie Shakespeare – half of the well-known Reggae riddim “tandem” Sly and Robbie - saddened me really. This bass player simply played a role in my life, in the sense that it provided a part of the “sound track” of my life: the Reggae groove with many songs I listened to and danced to. In other words: he brought “good things” to my life, and however irrational this may seem: someone who brought “good” to your life dying, means that that “good” dies a bit with it, which essentially is nonsense, but understandable with all emotions.

One senses this strongly, for instance, when a close someone, like a loved mother or brother, or friend, dies. A chapter has been closed, you were not ready to close yet.. But that’s death.

Over time, I learned that “living forever” also means: leaving good memories, and/or a “legacy” of, for instance, timeless artworks. Good artists do this.

You can consider a bass player like Robbie Shakespeare as a good artist, even if an instrumentalist. I know about songwriting, also within Reggae, and the bass is in Reggae a main “chording” instrument, following the chord structure and progression, in most cases derived from another musician, like a singer/songwriter (maybe using guitar or piano), wanting to complete the vocally based song with a full-band. Dependent on the relationship between musicians, the bass player – with its important “chording” function in Reggae -, can help to “shape” the song, or write songs him-/herself. Besides this, he wrote (ofen with Sly) several (mainly instrumental) compositions.

Moreover, Robbie Shakespeare (often along with Sly Dunbar) was also a producer, thus adding to the musical production of Reggae albums, such as the great Gregory Isaacs album Soon Forward (1979), besides playing as session musician on many Reggae records.

TECHNICALITY

Apart from this, one must realize that music is more than cold technicality, even if necessary. It includes art, magic, inspiration, and feelings, and intuition too, even spirituality. Also – importantly – personality. Each instrument player has an own personal style of playing the instrument, derived from their life and personality, their interests and personal traits, and their own learning trajectory.

I return thus to my objections against “thingification”. Also, “being a bass player” is after all such a “thingification”, simplifying and dehumanizing a versatile human being.

There were and are a few well-known, productive bass players in Reggae music, playing on many albums and songs, of many artists. Aston “Familyman” Barrett of Wailers fame, Errol “Flabba” Holt, from the Roots Radics, but also people like Lloyd Parks (We The People Band), George Fullwood, Boris Gardiner (working with Lee Perry), and Leroy Sibbles – while also vocalists –are quite well-known and prolific.

Like with Family Man, Lloyd Parks of others, Robbie Shakespeare chose not to focus too much on “singing”, perhaps unconvinced himself of his timbre and skills, and concentrated on his forte: his good bass playing. Indeed, Flabba and Sibbles have proven they can “sing” as well, so could divide their talents a bit more.

SLY & ROBBIE SOUND

Indeed, when joining with Sly Dunbar, and recording together on many, many songs, even outside of Reggae (with Grace Jones and Bob Dylan, as well-known examples), he put his personality in the bass patterns and energy of Reggae Riddims, characteristic of the “Sly & Robbie sound”.

What is that sound? And what is Robbie’s input therein?

Some say the bass guitar is the most important instrument in Reggae, which is not true. It is the Bass AND the drums, specifically the combination of it. That is the Reggae groove, in which Jamaica is specialized, as its place of birth.

In my personal opinion, the best reggae is still made in Jamaica: the realest, most authentic. Jamaica is where the tradition is from and organically developed, that is hard to copy abroad. It can be approached – even very well – to a “good” level, but reaching the same “authentic” level is near-impossible. This is not a diss to all non-Jamaican Reggae artists: I am actually impressed by how close these (non-Jamaican, even White) Reggae artists are often able to approach the Jamaican standard/benchmark, rendering in any way good music.

It’s not just Reggae. I also think, e.g., that the best Samba can only come from Brazil, the best Flamenco from Spain, and the best Blues from African-Americans in the US: a matter of cultural authenticity.

Sly & Robbie were among those that exemplified that authenticity, but in what way stood Robbie Shakespeare in that tradition of Reggae’s “cultural authenticity”? Well, I can conclude that he had a “key” role, also due to mere proficiency in studio sessions between the 1970s and 1990s, in different periods of Jamaican music.

The first exposure of the “Sly & Robbie sound” was as session players on the great, classic album Right Time by the Mighty Diamonds (1976), at the start of the Rockers era.. The tight, pumping grooves of Sly & Robbie started to show on this album, without the ”digital”, synth feel as would come later.

The same applies to Sly & Robbie’s work and playing on another classic, “sexy” song: Gregory Isaacs’ Soon Forward (1979). Sly & Robbie produced this song, and with it launched their own Taxi label.

Albums and songs that exhibited the strength of the Sly & Robbie Sound, even before Sly & Robbie started experimenting more with “digital” sounds, in the 1980s, and their important role in Reggae’s development.

I did a set as online selecta for a stream with songs on which Robbie played bass, and was fascinated by the variation: from a “deep roots” vibe, to Early Dancehall and Modern Reggae, with a more digital vibe: Robbie played it all. Broad and varied. A musician I know and work with called Robbie’s bass style “the most melodic of the bunch” of Reggae bass players. I think this is true when compared to Flabba of the Roots Radics, whose style was more “rhythmic” and sparse.

The “Sly and Robbie sound” might be best-known because of the work with Ini Kamoze and especially Black Uhuru. By that era, in the 1980s, some modern, digital influences slipped in, partly embraced through e.g. adding electronic drums or synth effects, to the basic drum set. Still a tight groove, with Robbie’s bass shaping it. Some “funk” and even Disco influences slipped in over time too, within the Rockers sound, with the bass drum on the one, and also in own crossover productions Sly and Robbie would make.

Of course, this was also the case in their playing with Grace Jones, and collaborations with other artists (hip-hop, and other ones) as well: funky in a “Sly and Robbie” way, so to speak, always with some “Rub-a-Dub” echo of Reggae and Dancehall, one can say.

Grace Jones’ Pull Up To The Bumper is not really reggae, but it therefore certainly has the recognizable Sly and Robbie sound.

The same applies to Sly & Robbie’s nice hit Boops. A song I liked, even if not quite reggae, due to the quality musicianship and pumping groove.

MELODIC

The bass playing by Robbie is on many songs that he played on, indeed relatively melodic and “full”, compared with others, like Flabba or Lloyd Parks, and even Familyman, more often “playing around the drums” – with pauses - than setting the pace (either way a delicate balance).

I first – and immediately – got impressed with the “pumping” Sly and Robbie sound through Ini Kamoze’s debut album, with songs like Dem Ting Deh, Reggae General, and World-A-Music. The hermetic, tight and groovy sound appealed to me, and the bass melodies/patterns also combining well with certain types of singing, like that of Ini Kamoze, and later Michael Rose, when Sly & Robbie played with Black Uhuru.

I later got into Black Uhuru too, though the 1980s sound – especially when with synth effects – took some adapting. I enjoyed it easily, though. I found the Sly and Robbie sound in this case “groovy” and danceable, but also nicely “atmospheric” and Dubby, on songs like Black Uhuru Anthem, Bull In The Pen, What Is Life, General Penitentiary, Peace and Love in the Ghetto, Shine Eye Gal, etcetera.

I listen to Black Uhuru a lot during certain periods, providing an important part of the “soundtrack” of my life, along with others in the “Rockers period” (Roots Radics and others) and the Channel One period (Mighty Diamonds a.o.). I varied this with earlier One Drop Roots, Studio One Reggae, or even Rocksteady occasionally, but the Late 1970s-Early 1980s - Reggae provided a bit more of the “soundtrack” of my life..

On many songs from that period, Robbie Shakespeare played bass guitar, so in that sense he was influential on my musical tastes.. Sometimes even without knowing it myself.

A difference between the Sly and Robbie Sound and the Roots Radics Sound in Reggae – both great and recognizable, of course - , is that the latter (the Roots Radics sound) seemed less adaptable: it always stood out.

BLENDING IN

When checking on what albums they both played on as session musicians, Sly and Robbie, seemed to “adapt more” to a song or album’s feel, “blend in” more, so to speak. Adapting e.g. well to a very “Rootsy” sound, as on the Abyssinians 1970s album Arise, or when playing with Culture, but equally to later Early Dancehall, or New Roots, such as by Tarrus Riley, Lutan Fyah or I-Wayne. Good and tight, but not immediately recognizable: that is also a quality: letting the songs, music, and groove speak for themselves, still with some own (subtle) accents.

MY PERCUSSION

Did all this influence my later percussion playing?, is then the question (my question anyway). Maybe indirectly. As I add percussion to Bass-trap drum set riddims I listen to the Drums, and to the Bass, and specifically to the “spaces” in the groove: filling it up or playing with it.

The playful style of Sly Dunbar (a bit more than the tighter Roots Radics-drummer Style Scott style) demanded a bit more playfulness from me too, when practicing on it, which was a good lesson. When the bass line becomes more “melodic”, my percussion style too, while needing to put more attention to not “overwhelming” or “disturbing” drum or bass “jokes (variations), but rather helping to emphasize them by playing around or toward them. Not that easy, helping to make my percussion style more flexible and advanced. Good practice to add percussion to note-wise “fuller” riddims/rhythms.

I myself have developed an own style of playing percussion, derived from my personality, my life, and learning trajectory.

My percussion style started out “Afro-Cuban” influenced (learning Conga’s and Bongo, and having been often to Cuba), soon adding an African touch, trying this to fit in Reggae grooves, while listening also to what great Reggae percussionists like Skully, Bongo Herman, do on Reggae, adding “spice” (a metaphor they use for percussion addition in Reggae.. like in cooking).

Underneath you hear me jamming/improvising in Amsterdam in 2016, on bongos, on this lady’s nice interpretation of Amy Winehouse’s Back To Black, around a basic Cuban “martillo” pattern.

Besides different African traditions – both “swinging” and “straight (poly)rhythmic” (Mande-speaking area, Yoruba, or Congo), Afro-Cuban genres, and Reggae and Funk, even some Flamenco influences influenced me, due to my South Spanish roots on my mother's side, especially regarding the rhythmic aspects in Flamenco, and guitar improvisations (e.g. varying tempo).

In time, my personality showed in my percussion style, or I tried to show it, repeating it when working or appreciated.

Other percussion players I know (in Reggae), such as here in the Netherlands, have – interestingly enough - other styles of playing, based on their personalities, background, and life. Someone with a Surinamese or Curaçaoan background might show this in his percussion playing, or with a specific learning trajectory. Also other music genres they like, besides Reggae, can have an influence.

While some percussion instruments we use all, there are some I use less than others, because I come from the "Afro-Cuban school". I do use tambourines less, as they were not commonly used in Cuba and Cuban music, but more common in Soul, Reggae, or Gospel. The kete nyahbinghi drum is standard for Reggae percussionists, and I can play that too, having also played in Nyabinghi sessions.

Within all these shared instruments and standardized patterns, each instrument player expresses one’s own personality, style, and influences. That is what I want to say with this.

CONCLUSION

The same way, Robbie Shakespeare’s own personality, and musical trajectory shaped his own bass playing style. Chroniclers tell how Robbie and Sly started to play together more since they met, because it "clicked” well also musically. They shared a liking and love for US soul and Funk. This might explain the “Black US” or “Funk” influence on the “Sly & Robbie Sound”.

Robbie Shakespeare played, however, with so many different artists within Reggae – in different periods (including with e.g. the Upsetters) – that it seems hard to pinpoint what further influenced him, though Sly & Robbie’s peaking period in the Early 1980s, shaped their “tight Rockers” sound, and also a “funk” James Brown influence is discernible. Indeed, as some other Jamaican musicians said, Sly Dunbar focused more on more modern Black American (African American) examples, like in Funk, while other drummers like Santa Davis or Leroy “Horsemouth” Wallace, tended to use traditional African “folk” rhythms more as examples, as a way to continue African traditions.

As a result, the “Sly and Robbie” sound, especially later in the 1980 when more “digitally” influenced, seemed a bit more “US”- influenced in its funky feel: tighter, and somewhat less “polyrhythmic” as what other drummers like Carlton Barret, Horsemouth, or Santa tried to do. The latter also added some more Afro-Latin influences to their drumming (like I do).

This rawer, tighter sound of Sly & Robbie, had the crucial bass as component by Robbie too, of course, and was, despite these nuances, simply groovy Reggae, with “Africa” always in there, in the rhythm, and with the “straighter rhythms” sometimes even more African, only other parts (Congo, South Ghana and Nigeria know more “straight” rhythms, Mali/Guinee regions more “shuffling” or “swing” rhythms).

That might be the reason that when I practiced some Afro-Cuban-tinged percussion patterns on Sly & Robbie grooves, it seemed to "fit". Afro-Cuban music tends to be also more “straight rhythm” based, due to the Congo and Yoruba musical influence in Cuba.

As a skilled bass player, Robbie could play and adapt to all these different styles, having indeed also played with others than Sly, adding his own personal style: melodic, and with a certain extrovert “attitude”, while remaining playful.

In conclusion and in hindsight, with his bass playing, Robbie Shakespeare certainly added joy to my life, playing a part in my enjoying of Reggae music. Even the occasional “US Black” funk-like influence some note of Sly & Robbie, I did not mind so much, as I also liked James Brown.

As thus not simply a “thingified” or replaceable Reggae bass-player, but in fact a unique and irreplaceable one – as all great musicians – the loss of Robbie Shakespeare, relatively young (by today’s, wealthy standards) at 68, might seem even sadder.

There is however comfort in the legacy he leaves, and moreover: the inspiration he gave others in enjoying and playing music. In their own free way, expressing themselves through music. All that is timeless.

Mannen van Nederland

Het boek ‘De mannen van Nederland: het onverbiddelijke oordeel van buitenlandse vrouwen’, komt uit 2001, en is door Franse journaliste, correspondent in Nederland voor het Franse dagblad Libération, Sophie Perrier. Perrier baseert zich op interviews met verschillende buitenlandse vrouwen over hun relaties met Nederlandse mannen, nu en in het verleden. De betreffende vrouwen zijn Europees, Afrikaans, Aziatisch, Midden-Oosten, en Latijns-Amerikaans.

Ik begreep al snel dat met de “Nederlandse mannen” in kwestie zogenaamde “autochtone” mannen werden bedoeld, en niet mannen in Nederland geboren uit, zeg, Marokkaanse, Italiaanse, of Surinaamse ouders.

HOLANDESES HOLANDESES

Dat is niet in alle gevallen duidelijk, en men kan immers, om dat rare woord maar weer eens te gebruiken: “vernederlandst” zijn. Bij nader lezen betrof het echter, zoals het in het Spaans wel (via “herhaling ter nadruk”) wordt gezegd, “holandeses holandeses”, niet alleen geboren maar ook etnische Nederlanders dus.

Ikzelf ben geboren in Nederland, maar ben geen “etnische Nederlander”, of “holandés holandés”, hoe je het ook noemen wilt: mijn vader is Italiaans, mijn moeder Spaanse. Ik werd in het begin ook vooral Spaanstalig opgevoed, en kreeg dus thuis verschillende culturen mee: van elkaar (hoewel met een “Latijnse” overeenkomst), en van de Nederlandse buitenwereld.

Ik praatte uiteraard met vrouwen van mijn familie, en mijn moeder had veel Spaanstalige vriendinnen (Latijns-Amerikaanse en Spaanse, daarnaast ook wel Italiaanse) waarvan een flink deel met Nederlanders samenwoonden of waren gehuwd. Soms waren gesprekken open, dus die verhalen over cultuurverschillen hoorde ik al in mijn jeugd.

GLOBAAL

Dit boek door Perrier sluit daarop aan, kun je zeggen, maar vond ik daardoor ook interessant. Het verbreedde het perspectief ook voor mij. Tussen de vrouwen met Nederlandse mannen/echtgenoten die Perrier interviewde zaten een Spaanse, een Colombiaanse, een Mexicaanse, een Argentijnse, en een Italiaanse – zoals in mijn moeder’s vriendenkring destijds. Herkenbaar dus.

Er waren echter ook vrouwen bij uit Malawi/Engeland, België, Frankrijk, Duitsland, Denemarken, Zweden, Noorwegen, Frankrijk, en Zwitserland,uit Oost-Europa: een Kroatische, Russische, en Poolse, en meer zuidelijk een Portugese en Griekse. Daarnaast echter ook vrouwen uit Israël, Turkije, en Irak, en nog verder weg, China, Japan, Zuid-Afrika, VS, en Suriname.

Een beetje geconcentreerd op Europa, maar verder een bont, globaal geheel, en het vereist goed schrijverschap om daar iets leesbaars van te maken. Daar slaagt Sophie Perrier zonder meer goed in. Ze haalt goed de algemene lijnen eruit, resulterend in gebalanceerde, redelijke conclusies over de meningen wat betreft cultuurverschillen in man-vrouw verhoudingen. Wat anekdotisch is de opzet wel, maar daar hoeft niets mis mee te zijn. De vrouwen vergelijken hun Nederlandse partners vaak simpelweg met de mannen (“ex-en” ) in hun eigen land – uit hun eigen volk - waar ze eerder intieme relaties mee hadden.

Dit levert allemaal misverstanden op, die Perrier met veel humor opschrijft, maar ook met kennis van de Nederlandse cultuur.

Die “quasi-herkenning” – ook door wat ikzelf al eerder hoorde – maakt het voor mij ook leuk om te lezen, naast de relativerende, “droge” humor van Perrier.

Het was dus zowel prettig leesbaar en informatief gebracht, maar genoeg over de vorm. Het gaat om de inhoud. Wat “herken” ik dan wel over cultuurverschillen? Wat zou kunnen kloppen? Is dat niet te simplistisch of generaliserend, op basis van wat ik weet?

Ik had veel “lachmomenten” in het boek, en door humor leer je vaak toch ook diepere waarheden.

EMANCIPATIE EN CALVINISME

Perrier ziet veel trekken van Nederlandse mannen als het gevolg van zijn relatieve geëmancipeerdheid en sterke geloof in vrouwengelijkwaardigheid, vanwege invloedrijke democratische moderniseringsgolven in Nederland sinds de 1960s. De “usual suspects”: de meer macho Arabieren, Turken, of “Latijnse” mannen, blijven daarbij ook in dit boek achter, maar buiten Scandinavië ook veel andere omliggende landen. Duitse mannen zijn ook trotser en meer macho dan Nederlanders, concludeert de geïnterviewde Duitse vrouw, en de Engelse wees erop dat Britse mannen haast “Italiaans veel” flirten met vreemde vrouwen, in ieder geval meer dan Nederlandse mannen. Zelfs Noorse en Zweedse mannen flirtten meer in het openbaar, stelden Scandinavische vrouwen in Nederland enigszins verbaasd vast.

Andere trekken – en dat vind ik wel grappig – relateert Perrier aan de Calvinistische traditie in Nederland. Dat vind ik grappig, omdat dat weleens onderschat wordt. Het historisch zo sterk aanwezige Protestantisme – specifiek het “sobere” en “strenge” Calvinisme – in Nederland, heeft onmiskenbaar de cultuur beïnvloedt.

Die Calvinistische invloed is vaak onuitgesproken sterk aanwezig in terugkerende waardensystemen, gedrags- en cultuurvormen in Nederland, maar wordt weleens vergeten of onderschat. Iemand van buiten, zoals de Française Perrier, ziet dat wellicht wat helderder, dan als je niets anders kent. Ik ken ook wat anders, maar ben wel in Nederland geboren, dus vergeet weleens hoe Calvinistisch de Nederlandse cultuur in wezen nog is.

Een voorbeeld van een Protestantse/Calvinistische trek? Het grote belang van “taal” in het oplossen van problemen: door er lang over te praten iets oplossen: dat is geen vanzelfsprekendheid in “wispelturiger” andere culturen. De Nederlands/calvinistische focus is er een op ratio, discipline, beheerst en nuchter blijven. Verder: niet teveel emoties en gevoel volgen, kalm praten, verantwoordelijk met tijd en geld omgaan, naast het alles “democratisch” en open bespreken..

Dit alles komen de vrouwen als opvallende verschillen tegen met de mannen die ze eerder hebben gehad uit hun eigen cultuur: deze laatsten waren veelal temperamentvoller en gepassioneerder, of “spannender” dan de Nederlandse mannen, maar ook vaak jaloerser, onverantwoordelijker, en ontrouwer. Het beheerste heeft dus voor- en nadelen.

Dat alles “open en democratisch” bespreken met ook je partner van de Nederlandse man, lijkt niet zozeer uit het Calvinisme te komen (met immers ook een vaste rol voor vrouwen in het huishouden), maar eerder een mooie erfenis van de democratiserende “flower power” en “hippie” tijd, de 1960s en 1970s die in Noord Europa meer invloed had dan in Zuid-Europa. Deel daarvan waren de gemengde “sociale academie” praatgroepen over samenleven, en de vrijere ontwikkeling van vrouwenemancipatie.

Dat alles levert interessante verschillen op, die derhalve representatief zijn voor de bredere cultuur.

FLIRTEN

Volgens Perrier en de Franse geïnterviewde in dit boek neigen Franse mannen net als Italianen meer naar romantiek, passie, maar ook impulsiviteit, en ontrouw, vergeleken met Nederlanders. Flirten op het werk is in Nederland niet erg gangbaar, maar juist de norm in Frankrijk, net als in bijvoorbeeld Italië en Spanje, evenals vaak op straat.

De vrouwen in dit boek, zoals de Franse en “Latijnse”, vielen dan ook op dat flirten – of je nu in een vaste relatie bent of niet - in het openbaar minder sterk is in Nederland, wat ze op het werk of in de winkel meestal wel prettig en rustig vonden. Waar je in Portugal elke dag wel, zoals de Portugese vrouw zich herinnerde, op straat wat mannen had die je aanspraken/lastig vielen met “complimenten”- waar dan ook, single of niet -, was dat in Nederland minder.

Echter op andere, “gepaste” plekken weer té weinig, vonden sommige vrouwen grappig genoeg. Als in een “sociale” bar of een studentenruimte, een daar zittende Nederlandse man zelfs geen oogcontact gunde aan nabij zittende jonge vrouwen, en gewoon geconcentreerd een krant las, werd dat als ongeïnteresseerd en “koud” gezien. Sommige van deze buitenlandse vrouwen – gewend aan aandacht - begonnen daardoor zelfs aan hun uiterlijk te twijfelen. Een ongemakkelijk, maar interessant cultuurverschil. Ook vanuit psychologisch opzicht interessant.

GESTRUCTUREERD

Grappig waren ook andere beschreven verschillen, meer uit binnen de relaties zelf. Het belang van de “agenda” voor de gestructureerde, rationale Nederlandse man lijkt een cliché, die ik ook elders vernam. Het is min of meer het tegenovergestelde van de onberekenbare “passie” die met name zuidelijkere vrouwen missen met Nederlandse mannen.

Zelfs bij het verleidingsspel en heviger verliefd worden op elkaar, aan het prille begin van de relatie. Zo vertelt een vrouw, een Griekse, dat als een Griekse man iets voor een vrouw voelt, hij haar dan ook zo snel mogelijk (vandaag of morgen) wil ontmoeten voor een date. Een vrouw vertelde dat een keer een Nederlandse man die haar blijkbaar ook leuk vond, wel een intiemere date wilde met haar, maar eerst zijn agenda moest checken. Over twee weken had hij ergens tijd, zei hij hierna plechtig..

Ik had hier weer een lachmoment. Ergens had het echter ook iets naars. Mogelijk maakte de liefde van de vrouw haar blind – of hadden ze wie weet al echt tedere, hoopvolle momenten samen gehad – maar zoiets komt mij voor als onwil, een (verhulde) afwijzing. Of als een “diss” in hip-hop taal. Geen passie genoeg om het niet twee weken uit te stellen? Of is hij gewoon voorzichtig? Ik zou ook denken dat hij ook iets met een andere vrouw had, daarnaast, eerlijk gezegd.

TROUW

Dat zou volgens anderen weer teveel wantrouwen zijn, want elders in het boek prijzen de buitenlandse vrouwen hoe relatief trouw aan hun partner Nederlandse mannen zijn: ze gaan minder vreemd.

Het komt voor, met name een kort slippertje met een collega, maar verder veel minder dan onder Zuid-Europeze, Latijnse, of zelfs Engelse mannen, menen de meeste vrouwen. Een Surinaamse vrouw zei dat een Surinaamse man vrijwel nooit trouw is in een relatie, en hetzelfde geldt voor Zuid-Europeze, Zuid-Amerikaanse, en Arabische mannen. Veel vrouwen gaan er in die culturen vanuit dat een man ergens anders ook een vrouw heeft, maar vermijden dat hele thema: als ze het samen maar leuk hebben. Hetzelfde geldt voor een eventueel “tweede man” voor een vrouw, in veel zuidelijke landen toch ook gangbaar.

Zulke complexe “dubbellevens” met maitresses, van o.m. veel Latino mannen (inclusief Fransen) vermijden nuchtere, rationale Nederlanders liever, stelt Perrier. Ze blijven echt trouw, of ze kappen het slippertje met iemand op hun werk resoluut af, of biechten deze zelfs op aan hun vrouw. Wat dat betreft lijken ze dus inderdaad trouwer en eerlijker.

“Elk voordeel heeft zijn nadeel” zei de “vercatalaanste” Nederlandse man Johan Cruyff ooit. Nederlandse mannen deden minder macho of stoer dan mannen uit hun land, vonden de meesten van de vrouwen, waren vaker wat bescheidener, en durfden zich ook zwak te tonen, wat sommige vrouwen prettiger vonden. Ze vergeleken dit met de drang naar stoerdoenerij en machismo bij de “usual suspects” (“Latijnse” en Arabische mannen), maar ook bij Duitse en Zwitserse mannen.

Nederlandse mannen hebben meer geleerd – met name sinds de eerdergenoemde “flower power” praatgroepen (“feminiserend” noemde auteur Stephan Sanders deze) - om vrouwen als gelijkwaardig te behandelen, als medemens. Echter: extra galant en respectvol, of beschermend, voor hun vrouwen zijn ze dan ook niet meer, klaagden sommige vrouwen. Geen extra complimentjes, geen attent de deur open houden, geen afscherming van druk verkeer o.a. Zelfs haar begeleiden in “gevaarlijke buurten” tot ze thuis was, vonden sommige (niet alle) Nederlandse mannen te ver gaan.

TEMPERAMENT

Het gebrek aan temperament bij de Nederlandse man wordt betreurd maar ook geprezen: Nederlandse mannen blijven rustig praten, behouden de kalmte en ratio en controleren daardoor beter de situatie, waar zuiderlingen van het ene uiterste in het andere vallen, en met name door ongemakken drukker worden of hun stem verheffen (en daarmee meestal niets bereiken).

Dit, gecombineerd met het rationeel-nuchtere, en “directe” (onverbloemd, calvinistische) van Nederlandse mannen, kan echter ook verkeerd vallen. Op een rustige, rationele manier kunnen Nederlandse mannen het meest harde of ongevoelige zeggen, alleen omdat hij het waar vindt (voorbeelden: je bent te klein, te dun of dik geworden, te druk, of te onhandig), waardoor het killer overkomt. Een Italiaanse merkte op dat Italiaanse mannen ook wel vileine, valse dingen kunnen zeggen tegen hun vrouw, maar dan als ze tijdens een felle, geagiteerde ruzie al in een woedeaanval zitten. Dat herken ik wel: hetzelfde geldt min of meer voor Spanjaarden (en ook voor Italiaanse en Spaanse vrouwen, trouwens), denk ik.

ROMANTIEK

Romantiek lijkt evenmin het sterke punt van de nuchtere Nederlandse mannen, volgens de vrouwen, samenhangend met het mindere belang van passie. Zuidelijke mannen stuurden als ze verliefd waren gedichten in het holst van de nacht aan hun geliefden, deden erg hun best, en kochten opvallend dure cadeau’s om indruk op haar te maken, zelfs met een gebrekkig inkomen. Dat gold bijvoorbeeld ook voor Arabische en Turkse mannen, zoals de ex-en van een geïnterviewde Irakese in het boek (die ook een tijd in Libanon woonde), en van een Turkse.

Met het risico het cliché van de Nederlandse zuinigheid te bevestigen, was het zo dat Nederlanders zelden dure cadeau’s kochten voor hun partners, maar ook daarbuiten wat minder te buiten gingen aan extravagante “extra” uitingen van liefde, zelfs als gratis.

Geestig ook hoe een Mexicaanse vrouw het verwoordde.. “Hij (mijn Nederlandse man) is beslist attent en toegewijd: mijn man brengt me zonder bezwaar om 5 uur ‘s-ochtend’s naar het vliegveld. Dat is zijn manier om te zeggen “ik hou van je””. Natuurlijk toon je liefde vooral met acties, maar ik vond vooral het “zijn manier” in deze laatste zin veelzeggend..

Maar zijn ze minder of eerder “anders” romantisch? Een lachmoment had ik ook toen de Franse auteur zei dat ze erachter was, wat voor Nederlandse mannen het summum van romantiek is, bevestigd door de meeste geïnterviewde vrouwen: kaarsen. Als hij kaarsen gaat aansteken, vaak met stemmige muziek, dan heeft een Nederlander romantiek in de zin..

Niet grootse, meeslepende gebaren, maar meer dagelijkse details dus, zoals ook zijn zorgen over haar welzijn (genoeg eten bij je?, voel je je prettig?) blijken voorts meer de manier van de Nederlandse man om zijn liefde of verliefdheid te uiten. Zeker niet onsympathiek, maar meerdere vrouwen misten toch wat meer hartstocht en passie. Wat meer “vuur”.

FYSIEK

Een goede brug naar het “fysieke”: onder meer de seksualiteit. Een ander aspect van het fysieke – het uiterlijk van de Nederlandse man – wordt ook wel besproken, maar summierder. Lang, blond en atletisch gebouwd vinden veel vrouwen aantrekkelijk, soms zelfs aantrekkelijker dan harige, meer gedrongen mannen in bijv. Zuid-Europa of Israël, die korter zijn, en bovendien na een bepaalde leeftijd een “buikje” krijgen, vanwege het verankerde lange tafelen in het Mediterraanse gebied.

Niet alle vrouwen vallen bovendien op lange mannen, weet ik: mijn Spaanse moeder vertelde dat ze geen mannen op etnische gronden uitsloot, maar toen ze als twintiger rond 1966 pas in Nederland was (regio Haarlem), en nogal lange Nederlandse mannen wat met haar wilden, vond ze dit juist onaantrekkelijk, en eigenlijk ook absurd en ongepast: een man waarbij ze tot net bij zijn bortskas kwam.. Mijn vader (iets langer dan haar, maar slechts een halve kop) vond ze beter passen, haha.

De vrouwen in dit boek zijn wat wisselend, ligt aan wat je type is (blond of niet), schat ik zo in, maar de meesten zien veel mooie Nederlandse mannen die er ook gezond uitzien. “Elegantie van het hoge noorden”, noemde een Israelische vrouw het zelfs lyrisch. Zij had het over fysieke verschijning. Minder “elegant” wordt de te vaak te informele kleding van Nederlanders gevonden, zelfs in hoge posities, hoewel sommige van de vrouwen die mindere neiging tot “formele kleding”, juist als vrij en onconventioneel waardeerden.

Een van de goede dingen – ik bedoel dit “goede” zonder ironie – van die gemengde “feminiserende” praatgroepen in de democratiserende flower power-tijd, en onderwijs en voorlichting erna, is dat Nederlandse mannen vrouwen als gelijkwaardig gingen zien, en er een taboe kwam op al te zeer aandringen of seks eisen, vaak immers ook een gevolg van een verwachte onderdanigheid. Dat is een mooi iets. Het kan de seks ook mooier maken, denk ik: er lopen nog opvallend veel volwassen mannen rond in deze wereld die niet weten dat een vrouw meer erogene zone’s heeft dan een man. Nog minder zijn er in geïnteresseerd.

Het kan ook doorslaan, leken de vrouwen in dit boek toch te zeggen, zoals de Portugese die vertelde al weken, meerdere dagen per week, met een Nederlandse man te daten, die maar geen toenaderingspoging deed. Ze werd van zoveel aarzeling directer en zei: ik kom naar jouw huis. Het werd wat intiemer sindsdien, maar hij schrok in eerste instantie, vertelde ze.

Naast deze voorzichtige, over-respectvolle geëmancipeerde Nederlandse mannen, zeiden sommige vrouwen – zoals een Mexicaanse – dat er ook juist heel gehaaste en directe Nederlandse mannen zijn, die direct willen zoenen, zonder spel of sensualiteit, en zelfs direct zeggen dat ze seks willen. Dat vonden ze ook weer lelijk en kleurloos.

In andere culturen gaan dingen indirecter, omfloerster, en speelser, met name ook de mogelijke kans op seksualiteit. Of het beter is weet ik niet, maar het vrouwelijke “net doen of ze niet willen” is gangbaarder in andere delen van Europa, soms ook om uit te testen of de man wel echt wil, zoals een Kroatische het uitlegde.

Een Chinese vertelde dat ook bij het daten, en eventuele seks, lang veel onzeker blijft: ja of nee?. Ze vond dat juist plezierig, en noemde die onzekerheid zelfs “zoet”.

SEKS

Over de seks zelf zijn de vrouwen eerder positief dan “onverbiddelijk” zoals in de ondertitel van dit boek staat. Nederlandse mannen willen vaak een vrouw niet dwingen, en proberen zacht, zorgzaam en gelijkwaardig in bed te zijn: zij mag genieten. Ze geven aandacht aan het voorspel en blijven communiceren. Dat is ook positief, en zeker moreel, maar meerdere vrouwen klagen nog wel over het te “ingehouden” zijn, en de rationele, vaak prozaïsche benadering van seks als gewoon en gezond in het moderne Nederland. Te routinematig en gedemystificeerd. Meerdere vrouwen, inclusief Britse en Scandinavische vrouwen, vonden mannen uit hun landen wat experimenteler in bed, mogelijk omdat Nederland inmiddels minder “taboes” heeft te doorbreken. Dat vinden Nederlandse mannen dus niet meer zo “spannend grensverleggend”.

Dat haalt blijkbaar veel romantiek, magie, en gevoel weg, en maakt de seks wel heel “lichamelijk” en plastisch met deze Nederlandse mannen. Met mannen uit hun eigen landen vonden vrouwen de seks vaak “vuriger”, hoewel nogal “male-centered”, wijzend op minder geëmancipeerde mannen in andere culturen. Een Spaanse homo vertelde lyrisch dat Spaanse mensen relatief meer “hart” en passie in de seks leggen, waardoor je mooier samensmelt met je partner. Een Italiaanse ervoer echter dat zulke grotere passie bij Italiaanse mannen, uiteindelijk wel vaak omslaat in macho egoïsme: het gaat toch vooral om hem.

Dit laatste was ook zo in landen waar vrouwen nog als gebruiksvoorwerpen/gedienstig aan de man en diens gerief werden gezien, zoals bij veel – weer zo vooroordeelbevestigend - Arabische en Turkse mannen, maar ook Kroatische en Russische mannen prefereren onderdanige vrouwen, en ook Duitse en Oostenrijkse mannen zijn in bed baziger en minder democratisch dan Nederlandse mannen, zo blijkt uit dit boek. Dat is een plus voor Nederlandse mannen, alleen benaderen Nederlanders seks volgens diezelfde vrouwen wel weer met te weinig gevoel en passie.

Grappig genoeg gaven sommige van de vrouwen toe het juist een leuke uitdaging om toch dat gevoel in die ingehouden Nederlandse man tijdens de seks naar boven te halen, hem passievoller te maken.

STEL

In een ander hoofdstukje behandelt Perrier of Nederlandse mannen jaloers zijn in relaties, toch wat aansluitend het “macho” hoofdstuk. Nederlandse mannen blijken relatief minder jaloers, zo bleek voorspelbaar. In een ander verwant hoofdstukje wordt het stel zelf besproken: doen ze alles samen, of houden ze hun eigen, onafhankelijke leven? Nederlanders laten hun vrouwen relatief vrij, maar willen zelf ook vrij blijven. Niet alles hoeft met haar, en daar schrokken vrouwen van, die het idee van “onszelf samen door het moeilijke leven slaan” juist zo romantisch en liefdevol vonden. “Liefde is samen blut zijn”, rapte de Nederlandse rapper Extince ook ooit mooi.

De romantiek van: “We hebben weinig, maar wel elkaar”, klinkt mooi, maar veel Nederlanders hebben inmiddels genoeg of zelfs veel. Naast de relatieve welvaart kan een sterkere individualisering een rol spelen, denk ik, waardoor dit type romantiek hier wat schaarser is.

Ik kan ook het ergste denken, namelijk dat de Nederlandse man alleen echt “samen strijdt” en “diep gaat” met vrouwen van zijn eigen volk, maar laat ik er vanuit gaan dat hij echt verliefd werd en via de relatie met de buitenlandse ook de crypto-racistische reserves (die er bij veel volkeren zijn) verdwenen. Deze gemengde paren zijn immers al over grenzen gegaan.

VADERSCHAP

Ook – wat korter – wordt er in het ook aandacht geschonken aan wat voor vaders Nederlandse mannen bleken. Sommige van de geïnterviewde vrouwen waren immers al jaren getrouwd met een Nederlander, en hadden kinderen met ze gekregen. Voorspelbaar: de Nederlandse vader is meer van het overleggen met het kind, en het “vrienden willen zijn” met de kinderen, wat in niet alle culturen begrepen wordt. In Zuid-Amerika – zo stelden sommige vrouwen – is een ouder niet een “vriend”, maar een disciplinerende of grenzenstellende factor, en iets soortgelijk (en afstandelijke, wat autoritaire vaderfiguur) is er in andere culturen. Tot niet zo lang geleden ook nog in Zuid-Europa.

Wederom, een onbegrepen, maar niet onsympathieke, democratische trek van geëmancipeerde Nederlandse mannen.

REFLECTIE

Ik betrapte mijzelf erop om mijzelf te vergelijken met de besproken Nederlandse mannen. Mogelijk ben ik “vernederlandster” dan ik wil geloven, ondanks mijn Italiaans-Spaanse achtergrond en wortels. Ik leerde veel van mijn ouders en heb fantastische vakanties in Italië en Spanje gehad, met familie, maar ben toch geboren en opgegroeid in Nederland.

Cultureel en psychologisch interessant, maar ik ben er nog niet uit. In vrouwenemancipatie geloof ik meer dan de generatie van mijn vader, en ben wat dat betreft progressief en internationaal. Overigens uit persoonlijk principe, omdat ik oprecht meen dat de wereld niet vrij kan zijn, als vrouwen dat niet ook zijn. Dat principe is bij mij zelfs sterker dan persoonlijk slechte ervaringen met individuele vrouwen (harde of voorbarige afwijzingen, gekwetste gevoelens.. “I’ve been there”..).

Dat geëmancipeerde deel ik dus wel met progressieve Nederlandse mannen. Ik heb daarentegen geen Calvinistische inborst, en neig eerder naar speelsheid en het flamboyante van de Latino’s. Dat is soms een moeilijke balans, maar ik ben nu eenmaal ook een vrijdenkende kunstenaar.

Een Nederlandse vrouwelijke collega, met wie ik goed kon praten en me beter leerde kennen, zei ooit grappend over mij (met anderen erbij) dat ik weliswaar Italiaans-Spaans was, maar niet heel erg “macho”.. “een klein beetje maar”, voegde ze eraan toe. Ik nam het maar op als compliment.. Een beetje is genoeg.

Dit alles kwam door mijn achtergrond, maar mogelijk ook beïnvloedt door intieme relaties die ik zelf heb gehad. Mijn ouders gaven mij immers nooit seksuele voorlichting (zal een cultureel ding zijn), pas na mijn puberjaren praatte ik met mijn ouders, of broers (of neven) over dat soort dingen, en ook maar deels.

Ik heb intieme relaties met vrouwen uit verschillende culturen gehad, dus snap dat de vrouwen het leuk vinden om erover te praten, zoals in dit boek. Ik val op geëmancipeerde vrouwen, dus vrouwen bleven zichzelf bij mij, wat ik leuk en leerzaam vond. Zwarte Caraïbische vrouwen bleven zich “zwart” (inclusief bijv. kritiek op arrogante blanken) gedragen met mij, wat wij ook samen deden, en hetzelfde geldt voor Afrikaanse, Antilliaanse, Surinaamse, Italiaanse, Spaanse, Arabische, en Nederlandse (zelfs Friese) vrouwen, waar ik ooit iets mee had. Ik had zelden relaties waarin we elkaar probeerden te “veranderen”.. Ik merkte ook veel verschillen, zoals in de passie, en de omgang met seks.

Ik kon al die verschillen eigenlijk wel waarderen, om dezelfde reden dat ik van cultuur en van sterke persoonlijkheden houd. Als wij twee maar een goede relatie hadden, en elkaar begrepen. Het hielp mijn leven leuker en spannender te maken.

Dat soort intieme relaties zijn immers ook meestal leuk en spannend. Een thema als dit moet ook absoluut niet te zwaar gemaakt worden. Er zijn al genoeg zware dingen in de wereld..

Cultuur is leuk, dus cultuurverschil (uiteindelijk) ook. De ruimte krijgen dat te verkennen met andere mensen is vrijheid. Daardoor je te laten beïnvloeden ook, en overnemen wat je aanspreekt, achterlaten (ook uit je eigen erfenis) wat je niet aanspreekt. Zo probeer je de mooie dingen van elke cultuur te behouden, om je leven te verrijken. Zo komen culturen tot elkaar..

CONCLUSIE

Dit boek is lezenswaardig en vermakelijk. Ook wel leerzaam, maar ook herkenbaar, en met leuke humor. Sophie Perrier kan zeker schrijven en leuke citaten selecteren.

Een van mijn onderzoeksvragen was of het te generaliserend was. Dat is denk ik onvermijdelijk vanwege de anekdotische opzet. De geïnterviewde vrouwen noemden voorbeelden uit hun verleden, en noemden begrijpelijkerwijs terugkerende dingen uit hun ervaring. Ongetwijfeld zijn er ook niet-ingehouden Nederlandse mannen met gevoel voor romantiek, zoals er inmiddels ook wel Arabische, Italiaanse, of Kroatische mannen zijn die vrouwen wel als gelijkwaardig willen behandelen in bed. Ook zal niet elke Spanjaard zo “vurig” in bed zijn, als hun algemene imago, om nog maar wat te noemen, of zal niet elke Fransman zoveel aandacht geven aan zoveel mogelijk flirten en maitresses zoeken.

Hoe “onverbiddelijk” was dit oordeel van buitenlandse vrouwen over Nederlandse mannen, zoals de ondertitel luidt?

Dat valt al met al best mee, maar niet zonder kritiek op de - nogmaals: algemeen gesteld - nuchtere, beheerste, verstandelijke, passieloze benadering van relaties door de Nederlandse man. De pluspunten hiervan (serieus, gedisciplineerd wanneer nodig) worden echter ook veelvuldig genoemd, dus het beeld is genuanceerd.

Dat sommige vrouwen het in dit boek als een uitdaging zien de “koude” Nederlander wat warmer, gepassioneerder te maken, is ergens ook wel schattig. Het zou zelfs bijna ontroerend mooi zijn als zij dat als beloning ziet voor zijn geëmancipeerde consideratie/respect voor haar wensen.. That’s love, baby..

Die historisch onstane cultuurverschillen per land heb ik altijd al een interessant thema gevonden: mogelijk omdat ik geboren ben uit ouders uit twee verschillende landen, in weer een ander land. Ik hoorde daar opgroeiend ook veel over. Zo zei mijn moeder ooit stellig: “Italianen zijn jaloerser dan wij Spanjaarden, vaak over onzin”.. Ik moest daar toch over nadenken: was dat op mijn vader gebaseerd of (ook) op andere Italianen die zij heeft gekend? Ik ken namelijk ook veel Nederlanders die “jaloers zijn over onzin”, in de vorm van “misgunnen”.

Dit alles toont, in ieder geval, in dit dystopische “corona” tijdsgewricht – met politiek opgelegde lockdowns en isolatie – hoe mooi het is als je vrij je medemens kunt “verkennen”, zonder restricties. Je gewoon vrij kunt bewegen in openbare ruimten, mensen spontaan leren kennen, verliefd kunt worden, langzaam steeds nader tot elkaar komt, al flirtend. In vrijheid en in gelijkheid. Elkaar – en daarmee andere culturen – open leren kennen, desgewenst ook intiem.

Vrijheid is hierbij nodig, maar nu dus verstoord door het coronabeleid. Ik zei in Maart 2020 al overtuigd, en dat herhaal ik stellig: “lockdowns zijn iets van dictaturen”. Veel van het ermee samenhangende beleid, was even vernederend of erg, en nog erger: van vrijheidsbeneming tot vaccinatie-/injectiedrang,en nu apartheid tegen en discriminatie van gestigmatiseerde ongevaccineerden.

Ik ben het niet eens met dit draconische/totalitaire beleid aangaande een immers toch relatief mild griepvirus, dat moge duidelijk zijn. Een leuk thema om het lang over te hebben vind ik het echter ook niet.

Dit prettig geschreven boek (uit 2001) met interviews door Sophie Perrier, geeft inzicht in een veel leukere wereld, waar je vrolijker van wordt, zelfs met wat ongemakken. Tegelijkertijd maakt dat mij wat nostalgisch: ze herinneren mij aan vrijere tijden, toen je nog spontaan mensen kon ontmoeten, jezelf daarmee ook leerde kennen in relatie tot anderen. Ubuntu, of “mens door andere mensen”, zoals ze in Bantoe-gebieden in Afrika zeggen.

De spanning van mogelijk verliefd worden, een speelse flirt, of zelfs alleen maar grappige of boeiende gesprekken met mensen die je mogelijk zelfs net ontmoet had. Met andere woorden: het echte leven. Het natuurlijke menselijke leven.

Dat kon ooit zonder al die verdachtmaking en angstpropaganda onzin rond afstand, besmettingsrisico etc., die nu teveel in onze hoofden zitten, sinds dat coronabeleid.

Mensen zijn potentiële liefdes-, vriendschaps-, of zelfs inspiratiebronnen – of juist niet, maar daar leer je weer van -, maar in ieder geval veel en veel meer dan potentiële “ziektebronnen” die nu van ons gemaakt worden..

Dit boek toont dat mede aan. Al met al een aanrader. Goed leesbaar, en vol met leerzame, geestige anekdotes.

‘De Mannen van Nederland : het onverbiddelijke oordeel van buitenlandse vrouwen’ . – Sophie Perrier (Uitgeverij Plataan, 2001). 120 pag..

Detachment

I guess “detachment” is a welcome concept at the time of writing, amid a “corona crisis”, that many see as an elite’s pLandemic.

These corona policies resulted in gradually normalized, yet still “surreal”, measures like global lockdowns and curfews, trampling of people’s rights and liberties, increasing inequality, divide and conquer, segregation, and recently even discrimination and “medical apartheid”. Something like “covid passports” in several countries, including France, Germany, Italy, and recently also the Netherlands, where I live, is now required for simple entry into free public life (bars, restaurants), and hacks at the roots of liberal democracy as we know it.

A sad and disturbing period, also because the “infection risk of a severe and deadly virus” narrative of the international governments, seems to be believed widely, or at least upheld as accepted fiction.

Many say these governments are elite-driven, negative forces “against the people”. They assume mass control goals by a wealthy elite, with a hyped-up virus/pandemic as excuse, or pretext.

Others (at least in their public statements) believe such strict, undemocratic measures might be unprecedented in liberal democracies since Fascism and Communism, but are necessary to deal with a pandemic and the dangerous Covid 19 virus. Simply said: some think it is about power and/or money, some think it actually is about health.

I am not going to walk that well-trodden path of these hopelessly opposed stances – even if involving reality or true facts (with few “true” facts on the side of those who think it is about health, and more plausible, yet difficult to prove, facts on those who think it is about power).

In reality, if it is just a control plan based on lies, it can be considered “too much honour” to dignify it by having it become the main subject of conversation: “cold” and tense themes like disease effects, virus infection, infectiousness, IC capacity, and so on.

More important I consider now the attack on and limiting of democratic values through corona policies in once liberal democracies like the Netherlands or France. These were built after all successfully, though with imperfections, since WWII, and these changes in them touch us individually, our way of life, how we move in our societies. It changes our lives, whether we want to or not.

The gradual nature of all these policies are suspect, but also obscure that by now we must conclude: since March 2020 we have lost control over our lives vis-à-vis the state and politicians, due to this corona crisis. This cannot be denied. Most harshly and humiliating for those not submissive enough to take the experimental "vaccine", but requiring "a pass" to go to e.g. a bar, restaurant, or museum, should be questioned also by the now newly privileged vaccinated, even if their ego is caressed.

Gathering freely as humans, travelling freely, even going out to a restaurant or bar (requiring covid passes/codes in some countries).. all has been made problematic, through some kind of “commandment politics” by “tough” politicians, giving their statements suddenly - in tone and content - as “closed” and “final say”, as in Fascist or other dictatorships.

GLOBAL POLICY MONSTER

In a sense, it made us as individual humans feel more powerless, especially as this Fascist “final say” and "definite" tone political leaders use nowadays in once democratic countries – from Macron in France, to Rutte in the Netherlands, Merkel in Germany, Trudeau in Canada, and Biden in the US -, seems part of a big “global policy monster” which for individual citizens seems impossible to fight. Or even leave out of one’s life.

Yet.. I argue it only seems impossible. I return therefore to the first sentence of this post and the word “detachment” for a philosophical concept. There must be a spiritual way to detach oneself from this – in essence – psychological war - , and I think this detachment is necessary.

The totalitarian nature of the policies, show especially in the “behavior” ordinances for citizens that oddly became commonly accepted: when to gather, how many people in your house, where to work, how to go out. Using “fear from infection” worked apparently wonders, even in “free” societies.

The gradual nature of this corona hype, hid from plain sight that the focus is always negative: both tone and content. Commandment/ordinnances rather that consolation, threats rather than advise, division rather than unity.

Against this seemingly unbeatable foe of negative energy, I think a spiritual approach, or rather spiritual “detachment” or disconnection can help us humans maintain balance and positive purpose. Especially because of much of it is “fear-based”, thus irrational.

First of all: how can detachment be defined?

DETACHMENT

In its philosophical sense, the Wikipedia article on Detachment, contains some interesting things , but is too limited in scope. It restricts philosophical “detachment” to Eastern religions in Asia, notably India, China, and Persia (Buddism, Hinduism, Bahai, a.o.), and Christianity, but excludes e.g. Africa, and the Americas.

Detachment might be best known in its Zen Buddhist meaning: being detached (unstained) by one’s thoughts: not to be harmed mentally and emotionally by them.

Also interesting is Detachment in Hindu thinking as “living in the moment” (focusing on the task at hand). Both in parts of Buddhism and Judaism, Christianity, and Islam, Detachment is connected to being “free from lust or passions”, being available solely to God, related to the lambasting of “temptation” in the Bible and Quran.

These are mentioned in that Wikipedia article, but ignore therewith many other equally interesting faiths and spiritual beliefs in this world, such as in Africa, among Amerindians, or African American ones, like Rastafari, or Vodou.

AFRICA

Focussing on belief systems in some African cultures one can find Detachment in this philosophical sense in some way, but indirectly through “spirits”.

The Igbo in Nigeria know the concept of “Chi”, a spirit/godliness belonging to an individual. While connected to a higher encompassing spirit or deity, “almighty creator”, the “Chi” itself is individual, and therefore represents one’s own godly, spiritual essence and destiny. It is an initiating and animating force. The detachment lies in its independence from all else: the material world, and societal demands, while indirectly connected to higher deities, or ancestral spirits.

Similar personalized spirits among other (higher) spirits can be found in other African peoples as well, such as the Akan in Ghana, the Yoruba, and the Bantu. All have this implied “agency” for each individual human, which also can be understood as “rising above”, disconnection form worldly affairs, as well as an “inner strength” or “fire”. Or indeed Detachment.

Even the concept of “cool” in the African aesthetic – to which I devoted an earlier blog post – is related to this detachment.

RASTAFARI

This African type of “detachment” found its way into the African Jamaican spiritual movement Rastafari, originating in the 1930s, now well known through Reggae music.

The “Livity” spiritual concept – of which there is also a Wikipedia article – is certainly relevant here.

Livity is according to that Wikipedia article:

“Its essence is the realization that an energy or life-force, conferred by Almighty Jah (God), exists within, and flows through, all people and all living things. This is seen as the presence of Jah living within humans, and is often expressed in Rastafari vocabulary as "I and I", where the first "I" refers to the Almighty, the second "I" for oneself.”

Later on:

“In Rastafari philosophy, Livity can be enhanced by intense prayer and meditation (often enhanced by sacramental cannabis use), adherence to an Ital diet, and perhaps most importantly, loving behavior toward others.”

The remarkable similarities with the mentioned Igbo concept of “Chi” (and similar notions among the Akan and Bantu people) shows that this must be an African retention, mixed with Christian/Biblical influences.

It also shows an idea of “detachment”.

Spirit possession cults and beliefs in Africa and the African Diaspora, such as those in Vodou, Santería, Kumina, or Winti, are ways to connect with ancestors for sure, but their very “possession-like” or “trance-like” character – often through rhythm and drums - forms an escape or detachment by itself.

RECONNECTION

It is, then, a reconnection with one’s spirits within – or ancestral ones -, but when “reconnecting” one apparently felt disconnected before. Too attached to the worldly and material. To "the system".

Since the drastic and ineffective “lockdown policies” were stubbornly chosen internationally since 2020, this also meant a limitation of culture and the hospitality sector, and an increased focus on home life, avoiding people, especially by those very afraid.

This increased loneliness and mental problems among many groups, largely due to the lack of “outlet” or stress relief, or even the togetherness and consolation of other people with similar lots.

In this confrontation with oneself, in such a tense time, I think a positive and spiritual detachment is crucial.

Power politics and fear are negative, yet strong, invasive and polluting forces that can take over minds, limiting a clear view on things.

The detachment in all senses seems necessary, whether from Zen Buddhism, the idea of “living in the moment”, to African, and other ones, simply to escape monotonous, tense themes like viruses, infections, and such – “hyped up” –, and related politics and power games.

Then to look within oneself: at first detached from passions and worries (as in Buddhist and Christian interpretations), then finding what really makes you tick, what are your unique needs and qualities (as in African interpretations).

Here, the “African” concept of an individual “inner spirit” or “inner divinity” – yet connected with ancestors – really can be helpful in maintaining own pride and agency. Detachment with a purpose.

Labi Siffre sang about it in the fine song “Something Inside So Strong”, while African American author James Baldwin in an interview interestingly said that however oppressed and limited – and damaged - by historical White power structures: these will “never have ME”..

The world needs this individual pride and agency. This also in light of cultural differences. Chinese culture developed through time as collectivistic, rather than individualistic, making a “social credit” system, probably not loved, but accepted there more easily.

CONDITIONS

The corona policies, especially the digital “covid passports” made many fear similar plans in Western democracies, as it introduced external conditional aspects to one’s behavior. Conditions by other forces, beyond our control.

In my opinion, history can largely be seen as wealthy elites, fearing - and therefore controlling and restricting - the poorer majority, and their possible rise or rebellion. A "control state" seems only a more totalitarian "solution" to this long-held "fear of the masses".

This very idea of another party being able to place “conditions” on your behavior as free individual, would seem absurd and morally unacceptable – as it should be considered – when you know that inner, “divine” strength, your right to agency. Living and not being lived. Ruling your own destiny. To say it with a cliché: “believing in yourself”.

The long-upheld Christian and Islamic idea of a “God in the sky”, apart from humans, limits human agency, also toward such unprecedented political “control” goals, and therefore seems less helpful in maintaining one’s own strength. The same applies to a quite naïve "blind" trust in authorities, that is still common, though not universal.

We need to “detach” from that entire system through our own energy and agency, I think, before the “control state” and patronizing, demeaning “social credits” systems goes any further than it already has, and then “roll it back”, toward true humanity.

This is best done by having faith in one’s own spirit of capacity, of self-study, intelligent thought, despite outside pressure, “shaming”, or “fear-mongering”. Independent self-confidence. True independence requires courage.

In short: this type of detachment helps in my opinion in “opening one’s third eye”, realizing the self-ridiculing absurdity of the undemocratic, rights-trampling policies, and also in presenting an alternative.

This alternative is an individuality detached from - in the "Zen" sense - materialism, including all man-made oppressive/freedom-taking structures, but also aligned to all living beings and nature (and natural immunity!), and the ancestors, - as in the African and Rastafari senses, or in the Bantu concept of Ubuntu: human through other humans.

A good way to deal with trauma, and revive culture, togetherness, and social living, as a way out of this dystopia..

Reggae music lovers (in the Netherlands): Hobbol Backawall

How people got to be reggae music lovers or fans has always fascinated me. Maybe partly because reggae still is off/outside the mainstream, also in the Netherlands. It is not found that easily, let’s just say. It requires (to a degree) an extraordinary life path: that is, different from copying the masses, or simply following what’s commonly on television or the radio.

Reggae has of course since decades gone international and widened its fan base, but I have known individually quite different reggae fans within the Netherlands. Black and white (and Asian, or mixed etc.). Males and females. Old and young. Some with little education, some highly educated. Of different class backgrounds. Some combine liking reggae quite equally with other genres (e.g.: some with African, funk, soul, some with hip-hop, some even with non-black music genres), while others on the other hand adhere almost “strictly” to reggae music, and do not get into much else. Some like roots reggae more than dancehall or vice versa. There are even reggae fans – believe it or not - who do not smoke the “ganja herb”.

Furthermore, some have an interest or sympathy for the related subject of Rastafari, some do not, or even despise it. The latter, despise, I find somewhat odd since Rastafari is not the same as reggae, but is nonetheless connected to it.

These differences (and similarities) between and among reggae fans/lovers intrigue me, also in relation to personal backgrounds. That’s the reason why I would like to interview specific individuals who love reggae.

Before this I have interviewed 10 persons – reggae lovers I know, “breddas” (meaning “brothers”, or "friends" in Jamaican parlance) of mine – here in the Netherlands.

I started the series on this blog with a post of June 2012, when I interviewed Abenet. In April of 2013 I interviewed Bill. After this I interviewed Manjah Fyah, in May 2014. For my blog post of August 2015, I interviewed, somewhat more extensively, (DJ) Rowstone (Rowald). In August 2016, then, I interviewed Vega Selecta. In October 2017, I interviewed DJ Ewa. Then, for my post of September 2018, I interviewed for the first time a woman, namely Empress Messenjah or Empress Donna Lee. In August 2019 I interviewed another woman, namely Sound Cista. For my blog post of September 2020 I interviewed another Reggae-loving woman, French but living in the Netherlands, Selectress Aur'El.

HOBBOL BACKAWALL

This time, I interview a “bloke” again (I mean, a man: just wanted to use the word bloke), whom I encountered in the Reggae scene in Amsterdam. I saw him in several places in (roughly) the decade 2010-2020, but mainly at events of the (Michelle van Boekhout Solinge-led) Black Star Foundation, organizing Reggae festivals/concerts and selecta/dj sets in and around Amsterdam. People like Johnny Osbourne, Lone Ranger, as well as "new school" artists like Exile Di Brave, performed then in the Netherlands.

At some events Hobbol Backawall was “selecta” or deejay, playing mostly Roots Reggae – strictly from vinyl. He even “doubled” at times as Dee-jay (vocalist) in the Jamaican sense, “toasting” vocally over Riddims, to nice effect. I liked the flow and overall style, but also his selection of Reggae songs, not dissimilar to my tastes.. some “overlap” let’s say, alongside – interesting – differences.

I soon found out his real name was Remi, but that he was known also under the nickname “Hobbol”. The name of his "sound" was/is "Back-a-wall movement”. That name seems to refer to a former part of the downtown ghettoes in Kingston, Jamaica, known colloquially as “back-o-wall”. It was since the 1950s known as a poor, neglected slum in downtown Kingston, inhabited by Rastafari adherents, at the place of where is now Tivoli Gardens, which in turn was built after 1963 (I have visited it: now with - decaying - apartment buildings, but still a poor ghetto). Interesting reference, anyway.

Over time I got to speak more with Hobbol, about where he lived, what he did, etcetera. He told me he lived in Medemblik, a small town, about 60 km north of Amsterdam in the North Holland province (a part known as “West Frisia”).

Rurally, and outside the urban hustle and bustle, but Hobbol seems to travel around, also as selecta.

Also because I usually enjoyed his selecta sets, I find it interesting to get to know more about Hobbol Backawall as a person, and his Reggae tastes and journey.

QUESTIONS

Where were you born and did you grow up?

I was born in Utrecht, and after many wanderings ended up living in Medemblik.

Since when (age) do you listen Reggae music?

More or less since my 13th year, Bob Marley died, and was played a lot on the radio. I immediately got pleasantly addicted. Doe Maar played a part as well, but also UB40 and Revelation Time.

What attracted you to it, then?

That music.. lovely!. Felt as if I was coming home. Until that time, I only listened to the radio, and to records that my parents or older brother had.

What other music genres did you listen to?

On the radio you mostly heard Pop music, and my parents mainly conveyed to me Protest singers, and 1960s music. Through my brother, I got to know Queen, as well as the Stones and the Beatles.

Has there been a change in your musical preferences since then?

I almost entirely listen to Reggae and related, and in the time that I deejayed/selected I interchanged New Roots with classics, nowadays I listen more to Roots Reggae and older.

Do you have any preferences within the broad Reggae genre? Does, e.g., Digital Dancehall appeal to you as much as Roots Reggae?

There is undoubtedly good Digital Dancehall out there, but it is not “my thing”. I love Roots Reggae very much, not just its Rockers sound, but love also tunes that are about something, and have a positive message. I further also like Rocksteady and Ska from the 1960s-Early 1970s.

Since when are you a Reggae selecta/dee-jay?

Since I went for the very first time with a crate of albums/LPs to a camping site, to spin Reggae songs that evening. I liked that so much, that I immediately went to the nearby community centre with a mixtape (on cassette tape). This was after all more than 30 years ago..

Why the selecta name Hobbol Backawall?

I always played/spinned as Back-a-wall movement, and Hobbol is my nickname. The name Hobbol Backawall came to be, because Facebook required a surname or Last Name. That thus became Backawall.

Any special experiences or encounters over the years (e.g. with producers or artists?)

Too many to mention. I still enjoy meeting artists whose records I have in my collection. If I have to mention one thing, I can recall a car ride with Johnny Osbourne. That day we came terribly close to a car crash, only because I hung on Johnny’s lips so much, that I forgot to pay attention to Amsterdam’s busy traffic .

Are you active in other ways within the Reggae scene as well? E.g. radio, organizing events, design, or otherwise?

At the moment I am not doing much. I am still partly involved with Shamba Lion sound system, and gladly help out at events of the Black Star Foundation.

Do you play any musical instruments?

Unfortunately, no. I tried to master the guitar for a period, but unsuccessfully.

Do you have a preference for Vinyl or Digital/CD? As listener, and as selecta?

I myself only play Vinyl, and have never done otherwise. I never even connected my CD player.

Does the Rastafari message in much of Reggae appeal to you? How does this relate to your own background, or beliefs?

The message I get out of it, is “love”, and that appeals to me a lot. Thanks to the lyrics of Bob Marley, but also especially Brigadier Jerry and many others, I delved into and studied history, religion, spirituality, and Rastafari. I call myself a convinced Rasta, but if others call me that I still feel a bit “labelled”.

What kind of music (reggae) do you prefer to listen to now – at this moment -, what specific artists? Any new “discoveries” you would like to mention?

At home I mainly listen to Early Reggae, Rocksteady and Ska. If I’d had to mention one name now, it will be Slim Smith, but that might be because I just acquired a wonderful gem of his. He is known longer, besides that.

Inside of the Netherlands, I am a fan of Rapha Pico and of Lyrical Benjie, both great singers. I also appreciate the band Bagjuice, because they know how to “swing” and “rock’n groove”. I could mention many more, since there is quite some talent in the Netherlands, both singers as bands, and don’t forget the Sound Systems: more and more groups of friends build speakers together, and that’s great.

What is, you think, the effect of the long-lasting “corona crisis” on culture in general, and Reggae in particular?

The Netherlands are right now being ruined and run to a wreck, so also culture suffers. Even: especially culture. What surprises me most is that most people seem to accept all those “covid” measures, and still listen to those (proven) liars at the top. I specifically refer to the Reggae scene, with the same people singing along with Alpha Blondy’s song Apartheid is Nazism in a dancehall, not seeming bothered by the fact that others are not allowed entry into that same dancehall.

I am still optimistic, though, and think that in time things will improve. At one point, the people won’t take it anymore, and will rebel, or organize things for themselves.

Last summer, I could spin/select almost every weekend, in various places. No big festivals, but enjoyable, nonetheless.

Anything else you want to mention?

Cool that you invited me to appear in your blog. One love.

REFLECTION AND COMPARISON

I got to know more about Hobbol Backawall, and notice there are some similarities with my tastes in Reggae, but of course also own accents and differences. He seems to focus - qua tastes - more on the 1960s and (Early) 1970s - including Ska and Rocksteady -, I myself a bit more on the period 1974-1983, though I appreciate some older Rocksteady as well.

Hobbol, as selecta, played/spinned however from various periods, old and new. Indeed, I remember him playing New Roots (Capleton, Sizzla, Tarrus Riley, etcetera), even some (Reggae) “club hits”, alongside older tunes (like Roots). More importantly, the songs he selected were mostly good and groovy. I rocked my body line!

Also similarities with me, in Hobbol’s route toward Rastafari, through Reggae lyrics, along with self-study, seeming gradual and organic, like in my case.

Hobbol got into Reggae around his 13th year (early 1980s), I around my 11th year (since 1985). The Dutch Reggae- and Ska-influenced band Doe Maar – not the “realest”, but nice and adequate - I only got to know years later, but UB40 I knew then. I guess that after Bob Marley and Peter Tosh, I soon got further into the Jamaican “real thing” (Wailing Souls, Gregory Isaacs, Don Carlos, Ijahman, etc.). Only after that I encountered bands like Revelation Time, but I always listened to it openly, not as an uber-critical "Reggae snob".

Apparently, Hobbol made a similar musical journey, with different accents: I did and do not listen very much of Brigadier Jerry or Slim Smith, only a few songs, but mainly because of time constraints.

We also have in common – as selecta’s – that we focus on vinyl, and that we vocalize (toast or sing) over instrumental/dubs. I also use percussion intruments. So, well versatile, haha..

Corona

The “corona policies” have become to me what the jailhouse is in Gregory Isaacs’s song Out Deh, wherein Isaacs sings: “I was tired of the jailhouse, but the jailhouse wasn’t tired of me”. I am tired of them, - it's probably all deceptive nonsense -, but the policies won’t go away, with all those powerful "Babylon" forces behind them. Not easily, anyway.

Hobbol neither agrees with the lockdowns and other corona policies, as he stated openly elsewhere too, doubting like other skeptics - like myself - whether these really have to do with health, or rather with elite “control” or economic gain. He also fears a "medical apartheid" related to the promoted/marketed "vaccines"/gentech injections, to which he referred in one of his answers.

Besides the probably realistic - but depressing - question of who benefits from such a “hyped-up virus” under false pretenses – my educated guess: the 2% wealthiest people of the world – and in what way, these international lockdown-based corona policies since March 2020 were especially negative and detrimental for “culturally active” people. Especially those in "culture" for culture itself, and not for the money.

Those culturally active, after all, love live music, actual parties and gatherings with human company, and “creating/making culture” (music, events, dances etc.). Under the lockdown regimes (with NO proven efficacy against the virus, by the way), live concerts were mostly impossible, or made unpleasant (having to stay seated at Reggae concerts?), for reasons that were a lot, but definitely not based on science or even health/infection risk

Anyway, both Hobbol and I were indeed “culturally active” in the Reggae scene years ago, organizing, or as selecta, and I also as musician performing at times. That all was largely disrupted due to the lockdown policies.

Many of us, though, have found - out of necessity - creative ways to continue - and share! - our passions or express our talents: live shows forbidden or molested by “Babylon”?, then musicians redirect energies toward more studio work - and some to "spectacular", party-like video clips, haha -, sometimes with others, continuing to create and compose. Of course, online deejay/selecta sets “exploded” on the Internet since those lockdowns, also in the Reggae scene, thus continuing selecting/mixing, and somehow interacting with an audience.

Rent-A-Selectah

Hobbol also came with the good idea to operate as a type of mobile selecta, calling it "rent-a-selectah", travelling toward people with turntables and records, for small-scale or private parties, as selecta and “sound”.. a bit closer to the “real thing” – one can say – than another online/Internet set. He also "toasts" on such occasions, sometimes together with others, such as Black Star Foundation associate (and good toaster/chatter) Jahforth.

A good substitution, such "pop-up", mobile sound systems, and perhaps even an added remaining possibility.

Yet, above all, I personally hope that all those nonsensical, non-scientific government restrictions on free culture and human gathering will end as soon as possible, to enjoy “sound systems” - or “live music” by musicians - as they are meant to be enjoyed and lived: totally free, and with your whole body and essence: whether private, small parties or public, big ones with many people, and if desired deep into the night..

In other words: as Reggae parties have always been, up to those lockdowns/curfews. Parties/shows at which I could easily meet people like Hobbol Backawall, and many more bredren and sistren over the years.

Bodiliy integrity: control and autonomy

What really is “bodily integrity”? That is a question I ask myself not only for this post, but it is in fact something I asked myself during a large part of my life, subconsciously, later consciously.

It is a good and necessary question for human beings, consisting in essence of an elaboration of our own innate survival sense (“spirit”, “soul”).

It goes beyond the body, and that is where it gets tricky, and connected with all manmade corruptions and wickedness. Violence, rape and molestation, enslavement, confinement, are all sensed bodily, yet reflect overall power differences, the lack of an “own input” or “say” in it, so to speak, to whatever is done to our body. Therefore to us.

Crucially, in human rights discourses, the “freedom of movement” is often seen as part of this “bodily integrity”, not as a distinct, separate “right”. This makes perfect sense, yet in practice is still separated by higher authorities, with manmade boundaries, and border control. Recently with imposed curfews, supposedly in relation to a pandemic (some say plandemic). Bodily integrity, as long as you don’t move or travel too much or freely..

This corruption and confusion is so strong and even taken for granted to some degree.

As Bob Marley – as so often – put it simply yet eloquently in his lyrics for the song Rebel Music: “Why can’t we roam this open country? Why can’t we be what we want to be? We want to be free..” .

GYPSY IDEAL

There exists something of a “gypsy ideal”. The feel of total disconnect with responsibilities, living by the day, no steady place, while travelling free. As modern societies became sedentary, the echoes of the “nomadic” human forebears, were both feared and missed.

That gipsy romanticism is found in parts of Europe with relatively many actual “Gypsies”, now more known as Roma or Romani. Roma people – most probably originally from North Western India (Rajasthan) – got known as “calé” (from their own language) in Spain. In Western Europe, Spain is the country with historically relatively most Roma (Gypsies) inhabitants, while in Eastern Europe, Bulgaria and Romania have relatively most Roma “gypsies” , and quite some also in some other countries in the Balkan region.

Music and songs made by Gypsies in Spain, and in Eastern Europe, often convey that “nomad” or “gypsy” spirit of freedom and roaming, against confinements and obstacles from the sedentary surroundings (discrimination, limitations, persecutions, etc.).

The genres are different, as many Gypsies are active in South Spanish Flamenco music, which is exactly that: South Spanish music in origin, with different historical influences in that region (inc. Moorish ones, local ones, a.o.), but with later added Gypsy/Roma influences.

Flamenco is thus not “Romani/Gypsy music” as some think, as such, but South Spanish music, later indeed influenced by Romani.. Many Flamenco artists are however Roma/Gypsies, so through this best-known Spanish music genre, Roma/Spanish gypsies certainly contributed to Spanish culture internationally, even its image.

The Romani people of Bulgaria, Rumania, and the Balkan also were influential musically. They mostly, likewise, picked up mixed international influences from other cultures – with their travelling – adding their own style, such as what is known as Tallava in the Balkan countries (Bosnia, Albania a.o.). Due to their nomadic living, the Romani could not preserve fully original instrumental genres of themselves, only some vocal songs, and more general recurring characteristics they add from their culture to other genres found along the way, in music (e.g. hand-clapping) and dancing.. This is noticeable also in Flamenco.

In Europe and the entire Western world, most Romani now also settled/became sedentary, and the “nomadic” lifestyle became essentially outlawed, and strongly discouraged.

Maybe there is some symbolism in the fact that one of the few persons of Romani descent that obtained a high political position was Juscelino Kubischek, the founder of Brazil’s new inland capital Brasilia (his mother was of Czech and Romani descent).

The “freedom of movement” is therefore in itself framed and limited even on a local level, while crossing a national border can in none of these controlled societies be really done unnoticed, only relatively.

Looking at “bodily integrity” as such, there is much more of this systemic corruption slipping in these modern societies. Partly this is connected to medical care, but also to uniform school systems, required presence and obedience.

Also, for adults: going through life without working yet still eating every day, and having a place to rest one’s head, is impossible, unless depending on someone else. Humans are thus forced to participate in this (money-based) system, which of course in itself conjures questions of “bodily integrity”.

In the strictest sense: the right for your body not to be touched, chained, violated, or penetrated by others, without permission, seems in the recent century a bit more accepted by authorities. When you think about it, though, not fully. In judicial and police spheres there are legal exceptions, and in the medical field, with so-called emergencies.

This last aspect I would like to discuss in the remainder of this post, along the way reflecting on the current times.

COVID 19

There is a lyric by another great Reggae artist, Gregory Isaacs, about his time in prison (for gun possession, they say, some say cocaine), a song called Out Deh: “I was tired of the jailhouse, but the jailhouse wasn’t tired of me”..

That is how I feel right now about this lasting, frankly dystopic, “corona/covid 19 crisis”. I came – after careful studying - to the conclusion that it is a hyped-up virus, and that this is about elite economics and control, and not about health. I wrote some songs about it myself, heard insightful and convincing explanations and counterarguments by many intelligent people and true scholars. I also wrote about it before on this blog.

I guess that after this, my saturation point is reached – let’s face it: viruses had sometimes my interest but never was my passion..why would it? I find that theme not that interesting, as a person. I know by now well what there is to know – and what is wrong – about the plandemic. I prefer to look to better alternatives: reviving and retrieving the freedom and culture we lost. To show with my life how freedom and culture are the essence of being human. Despite even opposition, giving the example. After screaming what’s wrong, comes showing what’s right.

I maintain my same stance, however: this “corona crisis” (I prefer to call it “lockdown policy” or “pLandemic”) is about control, not about health. This brings us back to “bodily integrity”.

The quite sudden “urge” to control of authorities was somehow – successfully - camouflaged by the pandemic threat and disease “emergency” thrown into the world. Internationally coordinated policies against this supposed virus threat, included some new policy measures, including “lockdowns”, quite unknown in democratic societies, yet presented as necessary.

They were neither necessary nor effective (against viruses) those “lockdowns”, yet the basic human rights “bodily integrity” and “ freedom of movement” were corrupted again. The Covid 19 virus is not severe enough: now at an Infection Fatality Rate even under the 0,20%, with moreover specific vulnerable groups.. but like I said: this is not about health.

Curfews were unknown in the Netherlands, where I live, since the German Nazi occupation (1940-45), and the curfew imposition reminded citizens in other countries of former dictatorships (of Franco, Mussolini, Ceaucescu, Honecker a.o.) too.

Being punishable when walking out your own front door. Huh, how did that become illegal? Only propaganda and fear-mongering could make this acceptable without mass rebellion (safe in a few countries where authorities dared not to impose mass curfews). Of course a far cry from the “free, nomadic spirit” still somewhere in us humans.

More unacceptable restrictions became acceptable with these ever-expanding or prolonged corona policies, absurdly supported by most people. “Supported” is perhaps often a big word: some people “support” such limitations (having some interested goals, or for ideological reasons), while some “accept” it, like many accept taxation, paying the rent, or having to work: a necessary, inevitable evil. What can you do about it?

It is here where a danger lies. Governments deciding if private businesses can open and at what hours is absurd, but became only accepted because of a fabricated “emergency”, which is actually a hype, as it is a health problem that could be solved, well, medically, without lockdowns, as countless actual medical experts and professors have already said (often more or less censored).

Testing and vaccine requirements (even obligations!) touch most directly “bodily integrity”. Nonsensical (you can only infect others when really sick, vaccine/gene therapy not fully tested, potential side-effects, little effective and – just as important – not urgent or necessary). Nonsensical, and therefore even more violating “bodily integrity” rights.

This bodily integrity is important to keep in mind, as boundaries that are pushed by this plandemic should be pushed back. When you are not sick with symptoms, you should be able to go where and when you want, how you want, uncontrolled: no test or vaccine proof (private matter anyway), no required face-mask, no forced distance when interacting. You know why? Because you are not ill with symptoms, you cannot infect others more than usually. You are no danger or disturbance. You’re just a human being living naturally, further like always of course keeping in mind things like legality, and not bothering/respecting others, etcetera.

We are far from that now in many countries worldwide, during this absurd, totalitarian plandemic.

As could be expected, this extra corona legislation in many countries, provide more excuses for discrimination of specific groups, hitherto “difficult to control”. The mentioned Romani or Gypsies were before (and partly still) one of those “difficult-to-control” groups/minorities. This is – in my opinion – probably one of the goals of the plandemic – controlling the relatively less-controllable, but others may have another analysis or opinion about this.

Culture and free gathering are limited and affected most strongly, and connected “night life”. Curfews in “festive” countries with rich musical cultures like Jamaica, Cuba, or Brazil were very impactful and, well, destructive, and demoralizing. Luckily not fully. Again, accepted because many people do not know the virus is not so severe (comparable to the flu, now). Propaganda worked well. Instilling fear works.

So there it is: people are conditioned, even many in “defiant” countries (with rebellious histories), to (self-)control, with an added “annoying cop” in their heads, judging their own formerly natural behavior, like freely moving about, gathering/socializing, distance when interacting with others.. moving and doing, thus “bodily integrity”. For no good reason: there is no extraordinary emergency in a medical sense.

Just as bad that authorities and big business want this control (for money and power), is the popular acceptance. Not universally, but broadly. Apparently people who get by financially, and do not consider “doing outdoor cultural things” that important for their happiness. They have after all loved ones at home, a tv, and an internet connection, but also people simply “feared and terrorized” accepted it, and “stayed home”.

TRIMMED FOCIBLY

I see a parallel with a recent case in Jamaica, certainly concerning “bodily integrity”. That of a 19-years old Jamaican woman, Nzinga King, recently “trimmed” – i.e. her natural dreadlocks were cut off forcibly in a police station after arrest (for, they say, “disorderly conduct”). There is no good reason for this. It has no justification, rationally or morally.

Yet it was common practice in Jamaican history, in the first decades after the Rastafari movement arose, during the 1930s, following the coronation of Haile Selassie in 1930. Even up to the 1970s. Reggae singer Max Romeo explained that even into the 1970s, Rastafari people with dreadlocks had to “hide” to several degrees in Jamaican society.. At first beards were grown among early Rastas – and some copied Haile Selassie’s Afro-like hairdo - , later (in the course of the 1940s and 1950s) “dreadlocks” became more common, some say in imitation of Kenyan Mau Mau warriors against British colonizers.

Jamaican conservative authorities feared the Rastafari movement for their anticolonial, anti-authority stances. They had own, free communities - and outlawed income sources - the state had difficulty controlling.

HYPED UP

There is the parallel: the danger of Rastafari in Jamaica was: “hyped up”, exaggerated through propaganda, as it disturbed the social order. Like now, a mass hysteria or psychosis of sorts was stimulated around this among common folk too. This narrative was accepted by a part of the conservative Jamaicans (mostly Protestant Christians), more accepting of authority and the (neo-) colonial order.. Some out of conviction, some out of necessity: again: a necessary, inevitable evil for functioning in society..

There was never a real, extraordinary danger from Rastafari people in Jamaica: they were no criminal organization targeting other people. Their outlawed activity was marijuana cultivation: after all a plant being called (unjustly) a “drug”..

Still there was perceived or fabricated “danger”, legitimizing harsh treatment of state forces, against Rastafari groups, often - as elsewhere often too - with some invented pretext or excuse (supposed crime,even rape or murder). This in turn triggered police’s unlawful arrest, physical violence against Rastas, and, yes, the trimming of the dreadlocks, cutting this hair by force.

I consider natural hair as intrinsically part of the body, so that is part of the physical violence against persons, and thus the violating of “bodily integrity”. Likewise, being discriminated for your looks, goes against “freedom of choice”, but also“freedom of movement”: sure, you can walk and move about, just expect to be bothered and insulted. It still tramples that right.

Rastafari gained more and more acceptance in Jamaica over time, especially since Bob Marley’s rise to fame, and the connection of many Rastafari to successfully internationalized Reggae music, as known Jamaican export. Further insights and “civilizing” developments toward human and cultural rights recognition, also made that “forcibly trimming dreadlocks” by now seemed mostly over, and a thing of a grim Jamaican past, up to at most the 1970s.

That explains the just outrage among the Rastafari community in Jamaica (and internationally), as the dreadlocked hair has a “religious” or “spiritual” significance. Even without that “religious” meaning, cutting off someone’s hair (if e.g. too long) for a minor arrest is of course absurd and immoral by itself, but with Rastas extra disrespectful toward their cultural and religious rights.

Some of the fiercer critics of the corona/covid 19 “lockdowns” and measures in countries, call these measures a “war against individual autonomy”, and, relatedly, a “war against culture” (also a name of a song by me), or even “joy” as such. It seems like it, anyway..

The trimming of Rasta’s dreadlocks has unfortunately a longer history –as explained – in Jamaica (and elsewhere in the Caribbean, in Africa, and Latin America), from way before this corona crisis. Also the documentary Bad Friday : Rastafari After Coral Gardens (2011), relating events of violence against Rastas and dreadlocks trimming in 1963, documents this.

The essence is remarkably similar, though: a hyped-up emergency to legitimize violation/abuse of human rights, of bodily integrity, and with the underlying goal to “control” dissident, difficult-to-control groups in society - like once in some countries the Romani/Gypsies, or the Jews for that matter - , not fitting well in the elite’s wider economic plan. Especially a “culturally” (i.e. Afrocentric) dissident group like the Rastafari – in a pro-European, (neo)colonial context - was seen as a nuisance or danger for authorities and their societal control.

CLEVER PLAN

Using “health” and an “infectious disease”, as powers that be/authorities/”Babylon” does now, proved a clever plan for this control goal, perhaps more clever and effective than “public order” or (supposed) “criminality” as was used before to oppress people. Poor people did not like disorder, and even less crime, but could understand, grasp it, as very human and contextual. A virtually unknown, infectious and dangerous/”deadly” virus is another story.

Against this new clever plan of “Babylon”, as the Rastas call the “powers that be” or authorities (including the wealthiest 2% in this world, Bilderberg group, WEF, etcetera), Rastafari should hold firm to its principles of “cultural autonomy”, human and bodily integrity, and “(individual) freedom” against the prevailing, repressive, “streamlining” system. It did so since its start in the 1930s, and inspired even several resistance movements worldwide, alongside other Black Power and Human Rights organization.

On a personal note, as I listened and liked a lot of Roots Reggae lyrics since my teens in the 1980s, and even got into the Rastafari Livity definitely and more fully in 2010 (before that I sympathized), this Rastafari wisdom of rebellion against a powerful system, autonomy, freedom from mental slavery, cultural self-respect, and essential human freedom, helped me to “prepare” for even this totalitarian covid 19 nonsense, Babylon now came with.

“Just the same old Babylon, trying to run things to a wreck”, as summarized well in Richie Spice’s song Righteous Youths, but many Reggae lyrics more or less predicted this totalitarian “Babylon control”, against popular (poor people’s) freedoms and rights. It is in the historical line since conquest, colonialism, enslavement, capitalist exploitation, cultural repression, poor people’s oppression, so common in many countries in the world, mostly started or stimulated by Western powers, and a wealthy few.

That is one way to push those boundaries of violating bodily integrity and freedom back: the Rastafari sense of cultural and human autonomy. Even if it is against all odds, as it is necessary. We should not make acceptable what is not..

That 19 year old Jamaican young woman, Nzinga, whose dreadlocks got trimmed by a police officer, was arrested for disorderly conduct, a minor offence if any, but the initial reason (or excuse) of her arrest was in reality one of those Covid 19 rules: she did not wear a mask (on her own face, without symptoms, masks that besides do not protect well, etc.). It all interrelates..

Apart from this regrettable incident, I fear that – and in fact notice it already – that Rastafari culture will be repressed with “covid measures” as welcome pretexts/excuses” for this. In Jamaica and elsewhere. Apart from just the dreadlocks as symbol, the attack and war on the people and their culture, by outlawing cultural gatherings, concerts - “live” culture let’s say - along with increased censorship in the online context people are relegated to.. All this seems all too welcome for people who do not want Rastafari’s message to be spread too openly and freely among people, as it goes against their interests and power base.