It often featured some not so well known actors and showed in various small playhouses away from mainstream theatre houses such as Ward Theatre and the Little Theatre. It was also very evident that the actors that appeared in Roots plays did not appear in Mainstream productions and vice versa. I dare to say that to some Roots actors were not considered ‘real’ actors.

Lately I have noticed a few of  what I would call mainstream actors such as Volier Johnson and Michael Nicholson  appearing in some Roots plays sparking discussion.

I over heard one person saying that she felt that it was a step down for the actors who have clearly lowered their standards by being in Roots productions. Another friend of mine said, it may is the money in the field that pulled them to it, as roots plays have increased in popularity in recent years with many travelling around the island and even overseas for many months at a time.

I wonder what to make of this trend. Maybe this is the first step in helping Roots plays and actors get the respect that it has sought. I wonder if the theatre world is finally becoming unified recognising talent across all lines. I personally would love to see unity as this can only encourage the growth and development of theatre in Jamaica.

Should Roots  and mainstream actors mix? Was it a good move for the actors careers for them to become involved in Roots theatre? Should other mainstream actors follow suit? Can Jamaica eventually have one unified theatre industry or will there continue to be a divide?

By Queen

Recently it was reported that four deejays and one selector had their visas, both visiting and working, to the United States of America cancelled.

This follows after reports also surfaced that a deejay popularly known to be flossing was held after allegedly illegally trying to enter the United States in a boat.

There was also more bad news earlier of popular dj, Buju Banton being locked up in the US and now  awaiting trial for possession and alleged trafficking of cocaine.

Recently yet another door was shut in the face of the music when Vbyz Kartel and Mavado were banned from going to Barbados because the authorities there said the artistes promoted violence.

Promoters overseas are worried and say the potential to market dancehall music overseas has fallen significantly with the travel of some key artistes now curtailed. Those who lost their visas now join a number of artistes who already could not travel to the US such as Busy Signal and Kartel.

It is sad what has been happening and it seems all these things are nails now being drilled into the coffin of dancehall.

Dancehall music is clearly going through some serious times. But are these challenges or just retribution for a controversial expression, which has been blamed for violence and over exposing the society,  particularly the youth to sex?

Has the lack of standards and guidelines helped to cause these problems, which now threaten to end dancehall music as we know it?

Is dancehall dying? what are your thoughts?

By Queen

I often wonder if the continuous release of sex tapes, music videos and naked pictures featuring artistes are attempts to stay in the spotlight that have gone too far.

I am especially ashamed of the bunch whose names have been making the rounds because this activity. Their talent is not what is making them the hot topic, it is instead the act. They are now being critiqued for their talent as porn stars rather than as entertainers.

I wonder if they are so desperate to make it, that they have chosen to lower themselves in the eyes of the public. Let us face it, artistes are admired as role models by many children and adults and what they are caught doing on these tapes and videos is disgraceful and leaves a lot to be desired.

Their fellow artistes, who keep quiet and allow this rotten few to misrepresent the industry are no better as they do not recognize that because of their silence, they are allowing themselves to be judged equally with them.

I know the entertainers could not be doing this if the society was not accepting of it. The widespread acceptance and interest in these pictures and videos only emphasizes how far gone we are as a society.

When we will get up and say enough is enough and yes the media in some cases has been the avenue putting it out there, but if you do not consume it, they will not do it. So it is full time that everybody recognize that they have a responsibility to play.

Becoming an adult does not only mean, you can do what you want when you want. It also means you need to be responsible, you need to have self respect, you need to put a value on your life and determine what you are willing to do to maintain this value.

Based on the low standards of some artistes by their actions in the business, I am beginning to feel that some entertainers have got it twisted and are selling themselves cheap to make money. There is a funny thing about cheap things though, they seldom last long.

By Queen

And, I must say I commend the Marley’s for their move.  Lest we forget, Vybz Kartel and Mavado’s image were being exploited in a way in which neither were publicly pleased about recently. And while the use of their image in that particular fashion was not something they were proud of, it only shows how much money local artistes lose through exploitation daily.

While many of us will think the Marley’s are reacting unnecessarily, it is time that we as Jamaicans start understanding that an artiste is a brand and his product goes beyond his music. In other words gaining a number one hit should not be viewed as ‘dem bussing’ alone. Instead, as soon as the artiste achieves the feat of a number one record anywhere on the planet he or she should start taking steps to protect their rights and image.

For too long, Jamaican artistes have allowed their photos and images to be used without thinking that they are losing out on potential revenue. If the product that their image endorses becomes popular, the artiste loses out because he or she did not secure their rights.

You see, an artiste protecting is or her rights should not be viewed as a ‘fight ‘gainst poor people’. Instead it should be viewed as the artistes securing their pension. For too long many of our artistes have spent their last years living modestly or in poverty for one reason or another. And, some of the very same people who exploited them (whether it be their images or through piracy) are the same ones who belittle them. And if that’s not bad enough these artistes are sometimes dependent on public assistance for help. While it can be argued that some artistes waste their resources in the ‘good times’, we must acknowledge that they are exploited by some of the same people who say they are fans.

Hence, I commend the Marley’s actions. While many of our dancehall celebrities are not on that level yet, it is certainly an act they can follow. For too long, the fans and also the dancehall acts have viewed such exploitation as publicity and not for what it is – full blooded exploitation.

So I say to the Marley’s hats off to you and well done!

Nowadays one of the hottest and most disturbing topics in the streets is the ‘mashing up’ of the local music industry. Every member of our fading business seems to have his or her own reasoning behind this crisis but no one is taking the time out to look at themselves as a possible factor. Who is to be blamed though?

It could be the selectors and disc jocks for playing biased and following whatever one disc jocks plays instead of actually listening to the millions of good songs out there dying for a run, and playing only seven artistes at every single party and in whatever segment.

It could be the producers for putting out lame productions and sixty new rhythms every week with the same artistes clearly indicating that production to them is about the artiste and not the ‘the song’.

It could be the new artistes for our poor work ethics, low regard for the roots and reputation of our music, the sidelining of our actual talent and special individual characteristics in an attempt to follow whatever is in to get a fast play.

It could  also be the elder artistes for forgetting what they had to go through for music and allowing themselves to be sucked into this new age short hand trend where an artiste with 20 years under his or her belt is now toe-to-toe with an artiste with a few months to his credit.

It could also be the governing bodies for selling out and fighting out so many important aspects of dancehall culture and it could also be the ‘fans’, yes the general public.  We the fans could also be a factor, we go to every session but we don’t really support. We want to go to the 300 parties on every night and we want to leave home at 10 o’clock and cram it all in an hour so there’s no early juggling for reggae music and vibing and visiting the bar and dem nice ting deh.

Its just twenty minutes to see what everybody else is wearing, bus two blank fi di really hot songs that are gonna be the same ones played at the next party anyway.

The fact of the matter is we all play a part in the killing of our music culture and business and until we stop pointing the finger and start addressing a solution, better we get out our funeral gear!

By Konshens

To be fair, toasting over a rhythm about firing an M16 rifle is one thing and singing about his suffering and travails on the gully side is another. But his song House Cleaning is nothing short of nonsensical, ridiculous, misogynistic and chauvinist to put it mildly.

In House Cleaning, Mavado extols the virtues of being a bad man who does no house cleaning.  In fact, the lines go:
“Yuh mus be dreaming
How gal have badman a do house cleaning
How gal fi have man a clean from floor to ceiling?”

After reading and listening to the lines of this song I am wondering if Mavado’s woman is ill who will clean his house. Or if she is tired who will clean it? I am also wondering doesn’t he help his woman in household chores?

You see I am all for art reflecting society and your social origins. In fact, music, whether we want to accept it or not, is an effective medium of communication. And, maybe Mavado is just communicating his beliefs. But, some things ought to be left in the mind. And House Cleaning is a good example of a song that should not have taken up valuable resources such as electricity, money and internet broadband to be distributed on YouTube, Facebook or any other form of media, but be left in the mind.

Mavado has talent and only a fool will say otherwise. But unfortunately some of the most talented people sometimes settle for mediocrity and in Mavado’s case, House Cleaning is as mediocre as songs get.

You see Mavado’s bar is higher than Vybz kartel, Bounty Killer or Beenie Man because he has the potential of all four to go furthest.  In fact, Bounty Killer was on the brink but didn’t crossover for a variety of reasons although he could have. Beenie Man has had limited success in that area despite all his posturing and Vybz kartel seems content in being ‘big a yard’. But Mavado is different. He has melody- something that had been missing from dancehall for a while and in all fairness the gangster image has worked for him.  And, from the mere fact that he has had minimal crossover success, it is an indication that with better lyrics he will get there.

But, House Cleaning unfortunately is not the song that is going to take him to international stardom and I will sacrifice my god status for a year if it ever goes above 50 on the Billboard Hot 100. You see, the song may suit Jamaican men who are wannabe macho men but in the global context it is bound to offend many by assuming that a man who helps his woman with her chores is less than a man.

Although his sympathizers may argue that he is speaking of a man who is weak willed and hence his woman has decided to bully him, the fact is it doesn’t come across that way. And also, for one who has done songs such as Overcome, I’m on the Rock, and a slew of other good songs, House Cleaning is as backward as they come.

But, then dancehall is not always about quality but what is popular or what will appeal to a few of the artiste’s friends and followers. In this case Mavado has certainly struck a positive note with friends and followers.

For Olorun fumed and regretted about the day he ever gave Addie such talent and cementing his place in history as one of dancehall’s best lyricists.

“Why does Addie waste his talent and confine himself solely to music for the Jamaican market? Although it is important to have home support one must always prepare himself to win over audiences from faraway lands. Instead, he has relegated himself to doing music which only appeals to local audiences. And now, he has decided to lead a pack of people where only one has talent called Portmore Empire or Gaza. This is really a waste of talent,” Olorun said.

And I Kwoth the omnipresent god replied: “ye he has talent. But his pushing of this Gaza agenda is a real disappointment. I Kwoth smiled when he collaborated with Wayne the son of the Marshall in the early days to do New Millennium. I Kwoth also smiled when he was touted as the next big thing from our shores. And you great Olorun was also pleased when scribes and kings likened him to a wordsmith, a ‘lyrics factory’ and the best griot since Spragga of the brand called Benz, and Sizzla who took on the name Kalonji.  But alas, oh Olorun, it is involvement with this Gaza agenda that has brought me here to plead forgiveness on his behalf because he knows not what he may have done.”

And Olorun replied; “for sure he knows what he has done because almost all walls in Jamaica bears graffiti marked Gaza. Only the narcissistic, enigmatic, dimwit, L.A. the Lewis has more markings on walls.  Even the world’s fastest man Usain the son of Bolt and the pencil thin one who has appointed himself King of the dancehall  – Moses the Beenie Man doth proclaim allegiance to Gaza.  It is so bad that to be anything else may get one attacked. For sure, even the Twin jesters have made mention of it as they entertained the Orishas. This Gaza Gully division must stop now or someone will ultimately be killed.”

I Kwoth answered and said: “Addie does not encourage violence from his fans to anyone who does not follow him or his music. Ye, he has said this many times. He has said Gaza means strong and that his music give strength to all. But, his fans have misinterpreted this meaning and have taken it to mean physical strength. I pray Olorun punish not this griot as he maybe suffering from youthful exuberance. “

But Olorun was still displeased and replied: “He has given exposure to other acts who would not have got attention otherwise. Although some of the members of his Gaza empire are talent free and have names that are more comical than cartoon characters, he has blessed us with Jah Vinci. Although he has denounced violence, that is not enough because such actions have never been put in songs and poems. This is why I shall judge him because he has failed to live up to his abilities. Because of his actions, at a time convenient to me, I will take away his creative ability and he shall be confined to shows of the vintage kind. And all his fans will abandon him and some will deny him even as the Americans have denied him. At that time, although his place in dancehall history will be guaranteed he shall be seen as one who underachieved on a global level. ”

Next Week : Mavado’s judgement

Now, I Kwoth, am a god who is likened to a coin in a chair that is there but will never be found – a fly on the wall an apparition in the midst of men, a dweller in the air and sky.

I Kwoth came to earth as an immortal to dwell among mere mortals, a being of perfection to live among imperfection. And I looked upon the state of dancehall and was much displeased with what I saw. Ye, even the other gods, Olorun and the rest of the Orishas were greatly displeased.

And they said unto me: “why is there a feud between this Gully and Gaza? Are the leaders of the feud, Mavado the one from the  Brooks, and the Vybz in the Kartel also known as Addi the teacher not from the same tribe called the Alliance? Are they not sons of the griot Bounty the Killer?”

“ Based on this, they should not be feuding. Instead, they should be living in harmony and taking dancehall to a higher realm like its son hip hop. This feud is unlike any other rivalry in the business which we have seen since the emergence of the Jamaican music industry. Ye, it is so bad that the ‘academians’ Herbert the son of Gayle and Donna from the tribe of Hope have labeled it as occurring because of a deeper social issue.  It is bad because unlike feuds of the last 20 years, this involves physical altercations. We the gods of the Orishas have never seen this before. For even as the Man Ninja and the rankin’ Shabba warred, their tiff was restricted to record.  There is little to suggest it ever became physical between the supporters of both sides. Ye, even when Bounty the Killer and Moses the Beenie man did war, there was little physical confrontation between their followers.”

And I Kwoth the precious immortal, the coin in the chair that can never be found, the omnipresent one replied: “ye, this so because some mortals are even comparing to political wars of the past. I too am displeased about the Gully and Gaza division in dancehall.”

“ Before you Olorun had banished the megalomaniac Idi Amin to far away barren lines to live amongst the heathens, he had questioned why  anyone would want to be associated with a place called Gaza, a place that is bombed constantly and is inhospitable.”

“Now, I Kwoth is wondering why two talented artiste are literally warring with each other when there are more important things affecting dancehall than grafitti on walls and who has more fans.”

“I too is curious to find out how does waging a quasi-civil war enhance dancehall internationally? How does this pointless war give the music a voice and strength to lobby and fight against forces spreading propaganda against Jamaica and its artistes?

“I Kwoth believe this trivial feud does more harm to our international reputation than good. I also believe that both artistes are limiting themselves by assigning names that literally drag them through the quagmire and I as a god am displeased.

I  will rain judgement on the warring tribes. And my wrath will be felt through my words and my pen and I will bring vengeance on the warriors until this poor excuse for a rivalry ends. Next week I shall judge Addi the Teacher, the Vybz in the Kartel, leader of the Gaza.

By Kwoth

The omnipresent one!

In all of this, when I got the email I smiled because I thought both were kings in their own right but to compare them was a bit unfair to both. And, while it was a good twist to the whole Jackson saga as well as something we should be happy for as Jamaicans and I am happy, I still maintain that to compare them is unfair to both.

Firstly, lest we forget both were loved by white audiences and both are legends. Both also have the adoration of non-white audiences too.

Bob Marley is the King of reggae. His appeal is universal and his music inspired and still inspires millions. He blazed a trail for others to follow and only began to receive most of his accolades in death – an unfortunate occurrence for a man whose work was a rallying cry for the Zimbabwe independence movement.

Similarly, Michael Jackson was the king of pop. He too had universal appeal and he inspired and still inspires millions. He raised the bar in many areas including music videos and broke down barriers where others before him could not.

So, to compare their popularity in my opinion is to compare apples and oranges. You see, I don’t think it is a fair comparison because to do so is overshadow the efforts that both worked to achieve. And, while the world tends to laud the efforts of both men, we should not forget that both had their flaws.

Bob Marley was a womaniser and up until his death did not live in Jamaica. Michael Jackson, well, he was accused of being a paedophile (and note I said accused because he was NEVER convicted) and was thought to have bleached his skin.

Nevertheless, both men should not be compared for more reasons than one. Their popularity, lifestyles and works are different and both will have works outlasting their years.

By Idi Amin

Dear Bounty Killer,

I hope this letter finds you in the angriest of moods.

I have been reading about your recent travails i.e. your brushes with the law and I must admit I am extremely disappointed. You may remember that in my last blog I spoke of how I like Beenie Man. But my admiration of him in a purely platonic way did not stop me from pointing out his flaws.

Bounty Killer, I like you in pretty much the same manner. After all, I grew up listening to music from both of you and I think you, Bounty, have some songs that are timeless. If you and other readers of this letter disbelieve me, listen to the lyrics of Look, Anytime and Cyaan Believe Mi Eyes and you will see that they are still relevant a decade later and will be long after you have left the earth.

Anyway, enough of the adulation, time for the chastisement.

Bounty Killer, you like your nemesis Beenie Man have the opportunity to become icons and legends in dancehall history. You, like your nemesis should be elder statesmen in dancehall. You should be producing younger artistes who will take dancehall to the top of BillBoard, the BBC Top 40 and the Canadian charts regularly. I’m not talking about exposing young artistes, allowing them to produce substandard work, then becoming involved in petty squabbles, which hold both them and the music back.

What I’m talking about is putting a young artiste in the international limelight and keeping him or her there by using your experience and knowledge. After all, you have had some international success and you have boasted about giving the world Elephant Man (and Scare Dem), Vybz Kartel as well as Mavado. So, why not use that to your advantage in the form of a studio and management company? Also, why not use this experience to lobby for dancehall to be given the respect it deserves as a legitimate art form, which reflects the voice of the people instead of the noise that some people perceive it to be?

Instead, Bounty Killer you have been finding yourself before the courts too regularly for my liking. I have never looked up to you as a role model neither have I ever looked up to Beenie Man or any other dancehall act for that matter. You see I don’t idolise people. But, I’m sure people look up to you as a role model. I don’t know if you see yourself as a role model but your visits to her majesty’s courts is not something I would imagine you would not want youngsters to follow.

While I’m on the subject of youngsters, why can’t you get your sons Vybz Kartel the seemingly talented but wayward writer who left your household three years ago and your equally gifted singjay Mavado to stop going at each other’s throats. Aren’t you afraid that they may literally cause harm to each other. Why can’t you as the father intervene? Why not let them come together, sit down combine their talents and produce a memorable GLOBAL HIT – not a local one, or one that’s going to just peak at 65 on Billboard Hot 100 and then be forgotten. Instead get them to do one which will be as catchy and popular as Shaggy’s ‘It Wasn’t Me’.

So Bounty, please, I beg of you, can we at least see a new cross, angry miserable man using his bad attitude to take dancehall to the top? Please?

Thank you for reading my letter.

Yours truly,

Idi Amin

PS: Hey you could even appear in the video of the global hit song done by Vybz Kartel and Mavado. But then it wouldn’t be your first time!