Back (pt. 1) Critical Review (Set 2, #3)

After an amazingly vague first section packed with loads of pretentious academic jargon-spouting, this article moves on to establish that exclusive, racist policies of white leisure activities created non-exclusive, but autonomous black leisure circles.  At last, in the third section, the author kindly lets us know what type of music he is talking about (reggae/dub/dancehall), and explains some key terms, operational principles, and values of the scene.  He then explores the difference in lyrical styles ("slackness" vs. "culture lyrics"), addresses their non-exclusive nature despite black origins, and emphasizes the mixing of pleasure and politics within the genre.  Finally, he discusses the proactive role of female performers in the scene, stressing the point that they "chat" from their own perspectives, rather than simply react to what male performers are doing.

Discussion Question:  Where do you think this scene ranks in comparison to others in terms of female participation?  What do you make of the lack of emphasis on females as selectors/operators/co-owners of sound systems?