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This essay traces the author's intellectual trajectory as a Road Scholar translating academic discourse into the language of the street. Cooper acknowledges the trademarks by which she has come to be known: cultural critic, language-rights activist, feminist scholar, incisive newspaper columnist, television talk show host. These trademarks represent the interwoven strands of the ideas she elaborates in her academic work and her interventions in the media, both local and international. Her brand is an assemblage of identities sharing a common ideological core: contesting many of the "givens" she inherited as a Black girl growing up in the 1950s when institutional racism and class prejudice defined the appropriate place for African Jamaicans. On the periphery! As a public intellectual, Cooper interrogates the fictive national motto—"Out of many, one people"—that reinscribes the diminution of the "many." She locates the culture of the African Jamaican majority at the very center of national consciousness.

The cantankerous public discourse generated by the author's bilingual newspaper columns published in the Jamaica Observer (May 1993 to January 1998) and the Jamaica Gleaner (March 2013 to the present) illustrates the conservative, neocolonial language ideology that still prevails in Jamaica. The essay demonstrates how contestations around national identity are articulated in a repressive language of moral authority. Speakers of "good" (English) and "bad" (Jamaican) language varieties become embattled in a struggle for the control of public terrain. The essay concludes that the "bilingual" model of Jamaican/English language identity has very little currency in a society that still privileges the "command" of English as a sign of the intellectual abilities of its habitual speakers/writers and that disparages competence in Jamaican as a marker of intellectual deficiency. Nevertheless, the author sees hopeful signs that the Jamaican language is gradually gaining national prominence.

Rebel Music", from the 1974 Natty Dread album, is a classic articulation of Marley's liberatory politics. Though the album credits state that the song was written by Aston Barrett and Hugh Peart, the vision is unquestionably Marley's. "Rebel Music" both roadblock and curfew become symbols of a larger system of brutality with its roots in plantation slavery. ; "Rebel Music", del álbum de 1974 Natty Dread, es un clásico de la articulación política liberadora de Marley. Aunque los créditos del álbum afirman que la canción fue escrita por Aston Barrett y Hugh Peart, la visión es, sin duda, de Marley. En "Rebel Music" los toques de queda y las restricciones de movilidad se convierten en símbolos de un sistema más amplio de brutalidad con sus raíces en la esclavitud en las plantaciones.

Rebel Music", from the 1974 Natty Dread album, is a classic articulation of Marley's liberatory politics. Though the album credits state that the song was written by Aston Barrett and Hugh Peart, the vision is unquestionably Marley's. "Rebel Music" both roadblock and curfew become symbols of a larger system of brutality with its roots in plantation slavery.