This cartoon is a play on Banton’s 2006 hit single ‘Driver A’, which ironically makes references to a hypothetical secret ganja (marijuana) smuggling operation in the U.S. Taken from Dancehall Mobi's website.
"I know there are those that deny that Buju still performs the song, but I’ve seen him tease it, freestyle it, and rile up an audience with it more than once — most memorably in 2006, at Best of the Best in Miami. I turned and left that Buju concert because of that switch in his personality, from incredible entertainer to hatemonger at the drop of a beat..."
I found myself leaving the following response. My thoughts on all this are really developing in response to the opinions i come across on the subject in blogs and other online fora. i've added and edited my original response a bit here:
I too find the argument that Boom Bye Bye is such an old song, Buju doesn't do it anymore etc, specious because at almost every concert he is required by the audience to at least gesture towards it in the way that you've mentioned, if not actually perform it. I've always believed that Jamaica's anti-homosexual rhetoric especially as expressed in the music is much more than merely an exhortation of violence against homosexuals.
This one song Boom Bye Bye probably captures many of the varying targets for public disapproval in Ja in its seemingly straightforward lyrics originally written to protest the rape and kiling of a male child by, presumably, homosexuals. From targeting one particular homosexual rapist and murderer, the song went on to become an anthem targeting all such predators. The problem is that in Jamaica (as in many other places) male homosexuals are invariably seen as predatory and the proscription against predatory homosexuals then becomes one against all homosexuals.
Unfortunately matters have now got to the point where in addition to this conflation the figure of the homosexual has also become conflated with the evils of globalization in Jamaica. It is in effect as if the culture believes it is being raped by the outside world (as my Facebook friend Paul Anthony Vaughn would say: Violation!), and one of the manifestations of this is the demand by developed nations that homosexuality should be legalized or de-criminalized; another is the addition of programming on American/UK cable tv with central characters who are unabashedly homosexual; and of course there is the recent direct, concentrated pressure from international gay rights organizations on Jamaican musicians. I believe that when Buju's audiences demand that he sing Boom Bye Bye and he playfully gives them the intro, wheels etc and appears to perform it or actually performs it it is an affirmation of Jamaica's resistance to the onslaughts of globalization and not so much any longer a mere call to rid the nation of homosexuals. The audience's response is one of jubilation at their mutual refusal to back down in the face of 'unreasonable' and arbitrary demands to change the culture from the outside.
anyway, that's my take on all this. For me it's actions, not so much lyrics, that count and Buju lost his stature in my eyes when he was accused of actually breaking into the house of and beating up some homosexuals so severely that they needed to be hospitalized. that's when i stopped listening to his music as i used to before.
So in summing up, just as you and Sarah Manley have pointed out the good and bad sides of Buju, presenting a more nuanced portrait of this conflicted figure it's necessary also to nuance what homosexuality represents in cultures such as Jamaica, that homosexuality too has its good and bad sides, to differentiate between predatory homosexuality and just being a homosexual...because its the latter that we want to defend not the former. And people do have a right to protest the former.
So in effect Boom Bye Bye has what in academic parlance is called 'multivalence'. It is a multivalent allegory or text, meaning simply that it has multiple meanings. I now await the wrath of Long Bench and various anonymous friends. Please be gentle.
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