More responsibility and care must be practiced by dancehall artistes

It seems as if the violence perpetrated by dancehall reggae artists through the violet lyrics of their songs is once again catching up with them. Just last week two prominent Jamaican dancehall singers/DJs were shot and injured by gunmen in Jamaica.


On Monday May 10, O’Neil Edwards from the group Voicemail was shot several times about the body and is listed as being in a critical condition with severe gunshot wounds to the head. Two days later veteran dancehall DJ, Ewart Brown aka Mad Cobra was also shot three times in his shoulder and was admitted to hospital. And on Thursday night (May 13) ‘Rado’, the CEO of Armz House Records, had been shot and seriously injured in Spanish Town. Armz House Records is noted for several recent releases including the hard hitting Night Vision Riddim.

On the evening of May 17th Cobra’s house was riddled with bullets even as he was inside recovering from his injuries.

I wonder if these events will have any serious impact of the other singers and DJs who seem to think gruesome violence and inhumane cruelty are worthy musical themes to be recorded and exalted.

Presently the US Department of Justice is investigating Kilamanjaro’s Selector Ricky Trooper after he was featured, proudly boasting on YouTube about his accomplishments and his United States visas, and insulting several popular figures in the dancehall/reggae industry; all while waving a gun and telling the cameraman to “PUT IT PON YOUTUBE”. Days later, his US visas were revoked he alleged that the gun he was waving is a toy.

For too long some dancehall artistes seem to be bent on peddling ideas of gun violence in their music. The excuse about them singing about happenings in their society is pure nonsense. The personification of the bad man image must stop. Many of these very artistes who voice violent lyrics have never been shot. Yet they encourage the impressionable youth to emulate the gangster and gunman images.

Through the decades since its establishment dancehall reggae music has lost quite a number of artistes to the gun. The Jamaican observer recently documented many of these killings. Because of the limitations of space I will only provide a few of the artistes of notable repute:

• Errol Robinson, aka General Echo, was shot and killed in Kingston on November 22, 1980 along with two members of his Echo Tone HiFi Sound System Flux and Big John. General Echo was best known for his very popular single Arleen.

• Major Worries was shot and killed in Spanish Town in August 1987 by a security guard.

• Peter Tosh and Jeff Dixon (Free I) were shot and killed on September 11, 1987, inside Tosh's home in Kingston

• Carlton Barrett (Carly), brother of Aston "Family Man" Barrett and a drummer and percussion player met his demise when he was shot by his ex-wife's boyfriend in Jamaica 1987.

• At the peak of his career Clive Bright aka Tenor Saw was found dead at a roadside in Texas in August 1988. Tenor Saw recorded hits such as Ring the Alarm, Pumpkin Belly and No Work on Sunday.

• Anthony Johnson aka Panhead was shot dead as he left a dance in Spanish Town in October 1993. He recorded songs such as Respect Gunman and Gunman Tune.

• Patrick Thompson aka (Dirtsman) -- Papa San's brother was robbed and killed on December 21, 1993 in Spanish Town. He is best known for the single Hot Dis Year.

• Mikey Wallace, who was a member of Third World band, was shot and killed near his home in Kingston in 1999

• Gerald Levy aka Bogle was shot at a gas station in Kingston on January 20, 2005.


http://www.jamaicaobserver.com/entertainment/Guns-out-in-the-DANCEHALL_7616976

More responsibility and care must be practiced by dancehall artistes when it comes to their lyrical content. Consumers of dancehall reggae music also have a part to play in curtaining this musical tragedy. We as an audience need to ensure we do not let that happen. If there is no demand for violence in dancehall music there certainly will be no supply.

Dancehall reggae artistes need to be ambassadors of the ghettos they claim to represent. Some artistes have chosen to internationalize the genre. However there are many who seem to stifle the growth and positive development of the music.