Dancehall reggae came on the scene in the 80’s around the same time hip hop was gaining popularity in New York City. This art form was seen as an upstart deviation from years of roots and culture music. The term “dancehall” was used because the crude or “slack” lyrics were not permitted on the Jamaican radio airwaves; consequently the only place where the music got its exposure was in the dance.
Poet Mutabaruka states that “if reggae was red, gold, and green then dancehall was greed and gold”. One of dancehall reggae early notable artists was Yellowman who was famous for lyrics that challenged what was acceptable to say on a record. Like hip hop dancehall reggae was promoted by the “soundman” the “selekta” a.k.a. the DJ, who would spin ’45 records at street parties in Jamaica. Furthermore, one hip hops pioneers Kool Herc, came from the Jamaican DJ scene.
This raw and uncut genre represents the poor, those who come from the slum, the ghetto, the gully. Artist such as Bounty Killer “the poor people’s governor” and Mavado “the real McCoy” “Mr. Casava Peace”remind listeners of the plight of the yut dem weh come from outta dih guttah.
Many individuals focus on the negative aspects of the art form. Critics reference excessively sexual lyrics, homophobic lyrics, and the glorification of the gangster lifestyle as reasons for banning or censoring dancehall music. Although those against dancehall are right about its some of its hatefull natures, dancehall continues to be the voice of many unheard individual and it bridges the gap between the uptown folk and the downtown folk.
I have always had a love and fascination with dancehall reggae, which could be compared to the love for hip hop expressed in the movie “Brown Sugar”. When thinking of music from my middle school and high school I can tend to get a little nostalgic. I remember dancing the peppa seed, the skettel riddim while singing “gyal from yuh born yuh nuh walk wid nuh moli arm wen yuh go walk di street yuh always smellin sweet”. I remember every Beenieman song being a hit, “ol dawg like we, we hafi have dem inna twos and threes”. Who can forget “gimme dih gyal weh got di wickedest slam di kinda gyal weh kno fi luv up she man”.
I cant talk about dancehall without showing love to the real stars of it all the DJ’s. Big ups to Fire Linxx, Stone Love, Tony Matterhorn, Renaissance sound, Adonai, Chinese Assassin, Black Chiney, Mighty Crown “the far east ruler”. Dancehall goes from the streets of Kingston to Flatbush NY to GA Ave in DC (bug up Crossroads, big up Red Gyal Prod. Big up Frenchie from the Setting and the Etheopians outside Citibank across from PG Plaza who sell CD’s), to Miami, Belize City, Panama City (big up Rio Abajo, Juan Diaz and SuperQ radio) to Africa , Japan, UK, Sweden, Toronto. Dancehall is everywhere. I love reggae in its rawest form. There’s nothing that compare to being in Mandeville Jamaica and asking the “cassette man” if he got last weeks dance. Who know maybe next time I’m in Jamaica me and the “cassette man” will light up a spliff and chill to the sounds of Capleton singing ganja! Ganja! Ganja! Ganja! That alone mi se mi want pon mi varanda ganja! Ganja! Ganja! Ganja! spring and summa and autumn and winta… kaboom…. BOMBOCLAAT STAR!!!!
