REGGAE and dancehall music continues to have a profound global impact. One of the latest examples is the book Clarks in Jamaica, written by British writer, DJ and designer Al Newman, better known in British entertainment circles as DJ Al Fingers.

His 192-page, 119-photograph self-published work, released just this month, traces the popularity of the Clarks brand here in Jamaica from as far back as the 1950s.

It delves into the historical links between Jamaica and the United Kingdom.

But what was it that initially sparked Newman’s interest in the Jamaica/Clarks connection?

The answer came in two words: “Vybz Kartel”.

“I had just finished a book, which looked at the album cover artwork put out by Greensleeves Records, when Pierre Bost of the independent reggae label Special Delivery and I had the idea. Kartel had just-released Clarks (dancehall song) and that was the catalyst. But I had already known that Clarks was big in Jamaica, especially among entertainers as I had heard mention of Clarks in many reggae tracks,” Newman told Splash in a telephone interview from his UK base.

He says he was drawn to the project as it was virgin territory and he immediately began his reasearch.

In September 2011, Newman, Bost and photographer Mark Read set out on a 10-day trip to Jamaica to conduct interviews and capture as many images as possible of Clarks.

“I had a list as long as my arm of dancehall and reggae artistes I wanted to interview during the trip,” he recalled.

His wish list included foundation reggae acts Jah Thomas, Trinity and Jah Stitch as well as the then-incarcerated Ninjaman. Along the way they happened on musician Ansel Collins, met with Fantan Mojah, photographed Little John and were introduced to newcomer Chronixx.

However, Newman and his team were unable to contact the inspiration behind the project Vybz Kartel, or his protégé Popcaan who appeared on Kartel’s hit song.

“We tried so hard to meet with Kartel and Popcaan, but it was not possible and we only had 10 days in Jamaica. Ironically, two days after we left Jamaica, Kartel was arrested.”

However, images of Kartel and Popcaan have made it into the book as a result of contact made since returning to England. Armed with the interviews and images Newman sat down to produce the work, and one year later, it is on bookshelves.

For him, the obsession with the Clarks brand in Jamaica was an eye-opener.

“Trinity told me that he had his first pair of Clarks for five years, and when the soles finally fell off, he held a funeral for them and buried them.”

Newman relates how Jah Thomas recalled going to England for shows with cardboard cut-outs of the feet of friends and family members and coming back to Jamaica with 100s of pairs.

These artistes also travelled over England to find the cheapest pair of the prized footwear.

“Some of them even visited Street in Somerset — home of the Clarks brand… they saw it as a kind of pilgrimage to see where Clarks is made,” he tells Splash.

Newman adds the story of a Jamaican who was able to obtain an authentic Clarks wooden last (the wooden form used to mold the shoe). He returned to Jamaica and began making his own version of ‘Clarks’.

But why is the brand so popular with Jamaicans? Splash asks Newman.

“It goes back to that connection between Jamaica and Britain. Those first Jamaicans who came to England on the Windrush (ship carrying West Indian immigrants) in 1948 put down roots and were able to send parcels and barrels with the well-made, comfortable British brand of shoes. That started a tradition.”

As to the connection with rude boys and entertainers, Newman feels the versatility of the popular Desert boot and Wallabee is the attraction.

“These shoes are so masculine, rugged and versatile, they can be worn with a pair of shorts or a suit. In addition, in the ’60s and ’70s they were very expensive so they became loved by musicians who travelled widely and were able to access them”.