A bomboclaat boy is a Jamaican slang term that refers to a rude boy or gangster. The word “bomboclaat” itself is a Patois profanity that roughly translates to “motherf****r.” So a bomboclaat boy is a rough, street-smart young man who often engages in petty crime and anti-establishment behavior. The bomboclaat boy identity originated in the ska and early reggae eras of the 1960s and 70s in Kingston, Jamaica.
Origins of the Bomboclaat Boy
In the 1960s, Jamaica was going through significant social upheaval. The country had only gained independence from Britain in 1962, and its citizens were questioning colonial norms and seeking to forge a new national identity. In the capital city of Kingston, impoverished youths with little opportunity formed loosely organized street gangs known as “rude boys.” These rude boys engaged in vandalism, violence, marijuana use, and petty crimes as a form of rebellion against the ruling class.
By the late 1960s, many rude boys were drawn into the growing Rastafarian movement. Rastafarianism gave the disaffected youth a sense of identity and empowerment. At the same time, reggae music was emerging out of ska and rocksteady. Reggae gave voice to the struggles of Jamaica’s poor and became an expression of Rastafarian beliefs.
The pioneers of reggae music were once rude boys themselves. Artists like Bob Marley, Peter Tosh, and Jimmy Cliff became known as “bomboclaat boys” due to their street-tough image and rebellious lyrics. Their music spoke to the injustices of Babylon (corrupt society) and promoted black empowerment and a return to Africa.
Characteristics of the Bomboclaat Boy
So what distinguished the bomboclaat boy from his rude boy predecessor? While the rude boy was associated more with random acts of violence and crimes, the bomboclaat boy channeled his frustration into a conscious rejection of colonial mentality and systems of oppression. The bomboclaat boy was part of a larger movement for social justice.
Here are some typical characteristics of the bomboclaat boy:
- Poor, working-class background
- Rebellious attitude toward authority
- Street smarts
- Involvement in petty crime and hustling to get by
- Ganja use
- Skanking to reggae music
- Rastafarian beliefs and practices
- Afros or dreadlocks hairstyles
- Distinctive fashion like pork pie hats
Visually, the bomboclaat boy had a recognizable street look. His style was heavily inspired by Rude Boy fashion and Black Power movements in the US. He often wore sharp suits with narrow trousers known as “drainpipes.” He accessorized with dark sunglasses, leather jackets, Clarks boots, and tam-style pork pie hats.
Bomboclaat Talk: Lingo of the Jamaican Underworld
An essential part of the bomboclaat boy identity was using authentic Jamaican slang from the streets. Bomboclaat boys incorporated words and phrases from:
- Rastafarian vocabulary – e.g. Babylon, Irie
- Jamaican Patois – e.g. yaad, gyal
- Rude boy slang – e.g. informer, police-and-thief
Here are some examples of typical bomboclaat boy slang:
| Bredda or Brethren | Brother, friend |
| Babylon | Corrupt society and institutions |
| Batty bwoy | Derogatory term for a gay person |
| Bomboclaat | Profanity equivalent to “motherf****r” |
| Irie | Positive, good, high on ganja |
| Pon di corner | Hanging out on the street |
| Rassclaat | Curse word, similar to “bomboclaat” |
| Yardie | Term for a Jamaican gangster or ruffian |
By adopting street slang in their lyrics, reggae musicians like Bob Marley brought authentic bomberclaat boy language to the mainstream. Their music spoke to Jamaican youth and expressed realities of “sufferation” in the ghetto.
Why Bomboclaat is Taboo in Jamaican Culture
The word “bomboclaat” itself has an interesting history. In Jamaican Patois, it is one of the most offensive curse words. But why is this word so taboo in Jamaican culture?
Bomboclaat comes from the British slur “bumboclaat.” Bumbo refers to the rectum, while claat is the Patois word for cloth or cloth rag. So bomboclaat literally means “menstrual rag” – a highly unclean item in Jamaican culture. When Jamaicans started using bomboclaat as profanity in the 20th century, it was equivalent to saying “bloody tampon” or “f**** pad.” So from its origins, the word bomboclaat was meant to shock and offend.
In most contexts, bomboclaat is still considered very vulgar. It is usually censored on Jamaican radio and TV. Some moderate Rastafarians disapprove of the word as crude. However, bomboclaat became acceptable within the subculture of the bomboclaat boy. By constantly using taboo terms like bomboclaat, the rude boys asserted their disregard for mainstream manners and morals.
The Evolution of the Rude Boy Identity
By the early 1970s, the original iteration of the bomboclaat boy had faded away. However, the rude boy identity lived on in different forms over the decades:
Dancehall Rudies
In the late 70s, the dancehall scene gained popularity in Jamaica. The slower roots reggae of Rastafarians was replaced with a more uptempo and aggressive electronic sound. Dancehall rude boys rejected Rastafarian ideals and expressed more hedonistic values. Artists like Yellowman and General Echo represented this new generation.
Raggamuffins
As dancehall evolved into raggamuffin music in the 1980s, another wave of rude boys appropriated the style. Raggamuffin artists like Super Cat and Buju Banton sported gangster aesthetics like bling jewelry and gun talk. However, some maintained the social consciousness of earlier rude boys.
Gangsta Rappers
Jamaican rude boy culture had a significant impact on early gangsta rap in America. Many rappers adopted the style and attitude as well as the Jamaican patois slang. Notable examples include Shabba Ranks and Grandmaster Flash. Later crossover collaborations between raggamuffin deejays and hip hop artists reinforced this connection.
Modern Dancehall Artists
In contemporary dancehall, artists continue to play up their street credibility in lyrics and fashion. Vybz Kartel, Mavado, and Popcaan carry on the provocative rudie tradition and remain popular both in Jamaica and abroad.
The Enduring Rude Boy Identity
While the original 1960s iteration faded out, the bomboclaat/rude boy concept continues to influence Jamaican culture and style. This speaks to how compelling this identity remains as a symbol of youthful rebellion and power.
For impoverished Jamaican youth today, the appeal is much the same as it was decades ago. As one Kingston teenager put it, “The ghetto youths see the gangsters living good, driving fancy cars and getting all the pretty gals. They don’t see nothing good coming from going to school and working hard. So they wanna be bad like the Dons before them.”
However, the negativity surrounding rude boy culture persists. Critics argue the fixation on criminal role models perpetuates social problems in poor communities. They say rude boy identity leads youths to embrace violence, guns, materialism, and hypermasculinity.
At the same time, the provocative style and message of rude boys continue to influence culture globally. As long as youth feel marginalized and powerless, the appeal of rudie rebellion and provocation will remain strong.
Conclusion
The origins of the bomboclaat boy identity reveal the deep social and economic divisions that still afflict Jamaican society. For poor black youth coming of age in the 1960s, rude boy culture gave voice to real frustrations with the system. While often misguided, these youths challenged established mores and hierarchies using style, music and language. This atmosphere gave birth to roots reggae and helped propel it onto the world stage.
Today, rude boy style may seem like pure fronting or posturing to some. However, beneath the surface machismo and aggression lie systemic failures and lack of opportunity. The answer does not lie in condemnation, but addressing the root causes behind this alienation. With more youth outreach and social programs, the next generation of Jamaican youth can build identities focused on positive change and community upliftment.