Singalong for a VISA #BountyKiller

1 year ago
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Despite the “Clickbait” social media headline, this article is a constructive read and made some valid points about the state of “Jamaican” music in the World stage.

 

This headline posted on Social Media has provoked some “side-eye” just on the strength of the wording carefully chosen by the staff. But the real title on Rolling Stones, for those who took time to read it at all, is as well written and researched as the article: “Why Isn’t Jamaican Dancehall Bigger in the U.S.? – by Elias Leight“.

Jamaican music means according to this article:
<<

  • “There’s one Jamaican record every two to three years,” explains the producer Jaxx (Kranium, Jada Kingdom) …
  • Singles like these often become popular when the weather begins to warm in the Northeast U.S., but when fall approaches, American gatekeepers promptly abandon Jamaican music.
  • the Jamaican market’s lack of robust infrastructure for international distribution.
  • There are also often constraints on the travel of dancehall artists themselves, who may face complicated border control measures when attempting to enter the U.S.
  • Reaching the rest of the country is harder, in part because of the strict formats imposed by terrestrial radio stations >>. You can read all the article here: Why Isn’t Jamaican Dancehall Bigger in the U.S.?

Dancehall is the version of Jamaican music that never made it as big as Reggae music like with Bob Marley. In the media. Not in real life and as per rich lists of Jamaican (or Jamaican like) Artists.
Dancehall is also, like Hip Hop, a medium where all aggressive opinions and raw feedbacks about society are expressed on a catchy “Riddim”. If American Hip Hop “beats” get catchier, the lyrics from USA do not get cuter. The freedom to be dirtier with rap songs is even extended, and not limited, to ambiguous celebrities. With the popularity of the Rainbow movement and all the rights attached to it, “coming out” as straight is the new Black (borderline “tacky” or very “cishet”). Dancehall is not enjoying such great freedom if it aims to collect more than Jamaican dollars.

How positive it is for a stronger Government to help the tragic state of another sovereign Country by using “aids”, “visa” and any other tools to save its population. Homophobia as defined by the dictionary (dislike of or prejudice against homosexual people) is rampant in Caribbean and African countries. The violence against LGBTQ individuals is often normalised. So taming Jamaican Artists who use to drop lyrics such as “Battiman fi dead” is undoubtedly a constructive step. But how far the Dancehall culture has to go to “be the next genre to break globally”?

Bounty Killer was interviewed in September 2017 by the equivalent of the “Breakfast Club” in Jamaica, the Nightly Fix:

Bounty Killer on: Ishawna vs Danielle D.I, Kartel, Mavado, Beenie Man, history w/ women & more (PT2)

<< Our thing is International but it’s immoral. So the “corporate” stay far from it. That is why the Sponsors come and say “We do not want you to do this. We do not want you to do that”. Because we are not putting any standards in that. So they have to use their money and do it. They HAVE TO. It’s right (…) I used to use cursing words … Sponsorship made me turn into some censorship. It’s a better thing. You find more creative ways to express yourself >> explains Bounty Killer in this interview.

A sentiment from this video that was already expressed by DMX on DEF Jam comedy in a slam poetry: << The Industry>>. He also answered a  casual interview in the 90’s on the street stating: <<The industry is full of D* sucking, D* riding, bending over the desk N* … they have these new breed of rappers>>.

Unfortunately this serious question, how far the Dancehall culture has to go to “be the next genre to break globally” , is skilfully diluted once these following words are involved in conversations:

  • Gay agenda
  • iLLuminati
  • The Jews
  • (…)



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