The Queer War Against Reggae Music

During the last three years, Gay organizations worldwide have banded together to rally against reggae musicians who they claim create, inspire and promote “murder” music. 

But what is murder music? 

The definition by the Gay and Lesbian Alliance against Discrimination states that murder music is “music which promotes the killing and abuse of homosexual people”. 

But have they taken into account the cultural moral values of the society from which this music originates? 

To me it seems as though the Gay movement in its zest to gain outward social acceptance within the Caribbean region has used Reggae as a scapegoat in a quest to quell the cultural constitute that homosexuality is wrong. 

In the predominately black community of Jamaica, the Christian religious philosophy is a powerful influence on the moral views of the people, whether they are practicing Christians or not. The family values and attitudes are based on the bible and its laws. Even the Rastafarian principles are guided by the good book. The biblical interpretation of sexual guidelines state that homosexuality must not be practiced or preached, and it is this rule which is the core dispute in the current gay onslaught of reggae music. 

But let the fact be known. Homosexuals have always existed within the Jamaican community; they have been contributing members to the social development of this country and have been accepted and respected by their peers. But their sexuality was never flaunted; it was never revered or praised. If you gay in Jamaica, it was always understated and quiet. Suspired, but never evident. 

In North America and Europe throughout the course of history, homosexuals were always a flamboyant presence in social circles. As the world became smaller and more global the urge for outward social presence in colonial regions were forced upon the lower social class in very crude ways. The physiological impression that has been left on this society because of the forceful nature of expatriate homosexuals created the surge that instilled the aggressiveness towards homosexuals.  

But not just any homosexual. The flaunty and flamboyant. The expressive effeminate, and the down and dirty bisexual. The ones who are recognized as the “converters”. The sexual deviant, who lures your son and daughter, who tempt the underprivileged. The sexual criminal.  

It is this stark contrast that GLAAD and other organization of its kind fail to perceive. The music is not targeting the positive influences, but the negative elements amongst them. Yet they fail to recognize this.

Until they do, The War Will Continue.

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Gibbi Geraz
Senior Correspondent