For me personally, selling books is nowhere near as enjoyable as writing them. Writing them is where the fun is. Once they’re out in the world and I can’t touch them, I don’t have the same attachment. Feedback from readers is rewarding, I’m honoured that someone parted with their money and gave me that much time let alone felt like they benefitted from the information provided. But writing books for a niche market is always going to be a labour of love more than anything. And the challenge is that much harder when influential people who can help you reach that audience act like they’re blind.
For whatever their reasons, I feel like the more information about the music and culture we love, made by the people who treat it with the care we do, the better for all of us. We’ve spent far too long being mad at the way it has been represented and spoken about that we finally have the chance to correct the records.
In my book for example, I took the time to address a lot of the accusations and lazy stereotypes thrown at reggae and dancehall, especially in the 2000s, to give a perspective directly from the people involved and effected. That’s important for understanding the nuances associated with a non-westernised culture. Agree or disagree there are different devices and drivers that dictate the way the communities see the world. We don’t all read from the same script. That’s the beauty of the world and the reason we can have different viewpoints and in this case different music.
But again, it’s important that people understand the why. The why is why I wrote the book. Representation matters when it’s the correct information from accurate voices not just when the face fits.
My books are one of one: none before, none to come. It’s highly unlikely that anyone else can get the testimonies from as many of the biggest artists and genre shaping producers to give a better insight into what happened and why. I was fortunate to be in a position to write the dancehall bible that covers a period that probably won’t be written about in such detail. It’s currently the only source for anyone who is interested in reggae and dancehall to read about when Vybz Kartel was the provocative king of dancehall before prison, what Di Genius felt about the heat he received for changing the sound (or “killing dancehall” to some), or what Popcaan was like just as his start began to ascend on the back of “Clarks” and “Dream” in 2010. I explored Jah Cure’s presence and charges with him, speaking truth to power as a female with Queen Ifrica, and the Reggae Revival with Chronixx, Kabaka Pyramid and Damian Marley.
Going back to the 90s book, understanding what dancehall was like before the digital/computerised revolution with George Phang, why Rasta restored the balance a decade after Bob Marley’s passing with Anthony B, the role of women according to the Queen of dancehall Lady Saw before she committed to God and how drummer/drum programmer Clevie inadvertently created reggaeton in the year of Drake’s One Dance following Justin Bieber’s “Sorry” where he said he would be happy if he received money from the recordings. This was recorded 5 years prior to the lawsuit that is currently underway. All of that and so much more from the people involved in creating this music we cherish.
To quote the greatest reggae broadcaster to ever exist, “Fully loaded with amazing detail and anecdotes surrounding the biggest riddims and top producers and artists of the 2000s ... I have to say I am in awe of Mr. Sparks’s devotion to detail, his unswerving passion to document a whole genre of music stretching across one decade. Nuff respect, I salute him.” - David Rodigan MBE OD, esteemed radio broadcaster, sound clash champion and reggae historian. (source)
And for my first book: "This account is as insightful and revelatory as its title suggests, shining light on a wildly creative, volatile and occasionally hugely controversial genre and the culture that surrounds it. You’re left wondering why no one has written this book before, and why Sparks had to publish it himself." - The Guardian, Best Music Books of 2021 (source)
Why won’t I print anymore? Self publishing is difficult especially when working with a book that’s bigger than your time and resources. Reaching the potential readers involves paying for advertising and PR, doing interviews in media publications and such who aren’t necessarily interested in a controversial niche genre. But also fulfilling the purchases. In order to sell product, the stock must be available which means having boxes stacked in my yard. There’s a limited amount of space for that and if they were to sell by the box load, I have to fulfil that which is difficult around a job. But either way, if you ask most creators they will tell you making the work is better than talking about the work. Selling the idea isn’t always our strength, that’s why people work in sales and marketing. But that costs time and money.
So for me, I close this chapter with a full heart. The main purpose was to spread the word about a period of music that hasn’t been covered and is dear to my heart. It informed my life growing up and hearing particular riddims still take me back to a time and place hence why I was able to write about 30 riddims in such detail, discussing what was happening in real life and explaining the significance that lends to why it resonated. Another objective was preserve the words of the heroes I was fortunate enough to have time speaking to. A book idea had floated around my head for a couple years, but it became one I had to commit to after I spoke to serial hit-making producer Tony Kelly (Up Close and Personal, Bookshelf and Buy Out riddims were spotlighted) during lockdown in 2020. I knew I couldn’t put an interview that was over an hour into written format anywhere (no major media publication would find that interesting), nor did I want to commit to starting a podcast again. I had to finally follow through on my idea, and restore all the interviews that had been removed from media websites who didn’t deem them valuable enough to survive.
Where we go from here? I’ve already started writing some ideas. One may turn into a book eventually but don’t be surprised if I don’t write another book. It’s funny because only a few people suggested I write one before I did (big up Angus Taylor), now it’s all people ask: “when’s the next book?” or “what’s the next book about?” But we’ll see what happens.
For now, I want to thank everyone who supported; whether you bought it, told someone about it or offered me an opportunity to speak about it. I thanked as many of you as I can in my book, so I won’t do that again here. You all helped my dream come true. I’ve been recognised by people who are my heroes in this ting, made my parents proud and proved myself right — I am capable of bringing an idea to life and my ideas have a purpose.
The answer is probably not. Not dancehall in Jamaica anyway.
I just want to be a fan again. Over and out.
(Run the Riddim 90s and Run the Riddim 2K.)
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