Beenie Man says dancehall too dependent on jailed Vybz Karte

[Lazie]

Beenie Man says dancehall too dependent on jailed Vybz Kartel!

“Who say dem a run the place, nah run the place. And the man who ah run the place, caan really run the place. You have to represent musically and visually,” Beenie Man said.


http://jamaicatakeout.com/entertainm...tel-must-read/


Says a lot about the man, who has been behind bars since 2009 but still have the best song on most of the riddims? Listening to FAME FM whenever they play a 30 minutes dancehall segment, chances are you hear more Kartel than any other artiste. At what point is he going to become irrelevant in dancehall?

[Historian]

The Silence is Deafening!

Beenie Man says dancehall too dependent on jailed Vybz Kartel!

Says a lot about the man, who has been behind bars since 2009 but still have the best song on most of the riddims? Listening to FAME FM whenever they play a 30 minutes dancehall segment, chances are you hear more Kartel than any other artiste.

It actually says more about the state of dancehall in the 21st century than about the creativity of any single artist!! Looking at mainstream reggae, for instance, even when the great Bob Marley was at his height, we had numerous other genuinely talented Jamaican men, women and bands writing, recording and performing stuff that easily rivaled Marley! Check out the immense catalogue of music of the 1970s and you’ll see what I mean!

As far as this thread is concerned, I was waiting patiently to see if anyone was going to comment on this unfortunate piece of reality. In the past many years when I’ve tried to point out that present-day dancehall was more of a destructive force than a genuinely musical one, and that we need to get real musicians and talented songwriters and arrangers back to the forefront, I was maligned every step of the way.

I even recall once praising Shabba Ranks (who I genuinely think is very good), only to be called a hypocrite. This is despite the fact that I have ALWAYS pointed out that there is absolutely nothing wrong with dancehall as a genre! The problem, as I always emphasized, is that dancehall TODAY, just like American rap, is lacking in genuine creative talent. But then again, what should one expect when an entire genre is created on computers and synthesizers by (sometimes musically illiterate) dudes who proudly call themselves record producers, and by no-talent “haffi eat a food” guys who call themselves recording artists?

[Rudi]

100% Agree.

[Peter R]

I am not a big fan of Dancehall simply because SO MANY of the "songs" produced are auditory pornography. The same with rap; the gross, IMO, OVERUSE of foul language, misogyny, homophobia, and graphic description of the sex act in dancehall has turned me off from the genre. They are simply way too one-dimensional and predictable in lyrical content. And of course, everyone "rides a riddim" so the creativity, becomes limited. Some songs I can tolerate but by and large, I avoid it. Whenever my son, now 16, plays some of these tracks, whether dancehall or rap, I always point out to him the shallowness, IMO, of the lyrical content. I can't stop him from listening to them but, I can at least try to influence him from my perspective.

"Old school" reggae "carry de swing" for me. And BTW, I notice my son is playing a lot of Bob Marley these days, maybe there is hope...

[Reggaedoc]

I am not a big fan of Dancehall simply because SO MANY of the "songs" produced are auditory pornography. The same with rap; the gross, IMO, OVERUSE of foul language, misogyny, homophobia, and graphic description of the sex act in dancehall has turned me off from the genre. They are simply way too one-dimensional and predictable in lyrical content. And of course, everyone "rides a riddim" so the creativity, becomes limited. Some songs I can tolerate but by and large, I avoid it. Whenever my son, now 16, plays some of these tracks, whether dancehall or rap, I always point out to him the shallowness, IMO, of the lyrical content. I can't stop him from listening to them but, I can at least try to influence him from my perspective.

"Old school" reggae "carry de swing" for me. And BTW, I notice my son is playing a lot of Bob Marley these days, maybe there is hope...

Give me ska any day

[Rockman]

The handful of elitist among us distinguish themselves by having an affinity for Opra,Golf and lawn tennis,the ascribing elitist mimics..
For me,it was Jaro,stone live,stur grav etc that had me violate my curfew..,I hate the type of dancehall that is being highlighted.. but make no mistake about it,I LOVEL dancehall!!

[Historian]

Reggaedoc

Give me ska any day

Reggaedoc, this is personal: Welcome back to the forum, my friend . As you probably saw from the one or two times I mentioned your name, I missed your very insightful comments!

Like you and TDowl and X in particular, I absolutely love ska! My past arguments with poster X about ska had largely surrounded one obvious fact: Nobody forced Jamaican musicians and listeners to abandon ska! This was a decision made SOLELY by Jamaican musicians and record producers who, for whatever reasons, made the clear decision to slow down the music sometime in the mid-1960s to what became known as rocksteady.

So, the fact is that Jamaican musicians simply stopped playing ska. We cannot blame the music consumers or the government for this one.

But, like you, I truly love ska (for example, early this morning I was playing “Bonanza Ska” by Carlos Malcolm and the Afro Jamaican Rhythms and “Never You Change” by Toots and the Maytals).

[Assasin]

The consumer is part of the problem. they buy the music, the radio jock as I told you is one as they play for payola and their friends. If Ska was been sold in Jamaica, it would still be going well. The odd updated ska might get a little airplay but most don't until somebody a foreign start play it.

[Sir X]

Historian I will just say our disagreement about Ska was a misunderstanding, I always thought we disagreed about the significance and quality of Ska,I said it was on par with Jazz,as for how it died in Jamaica, I really never debated that.The significance of its value beyond our shores was my highlights.

[Historian]

'Sass, You Are Wrong On This One!

The consumer is part of the problem. they buy the music, the radio jock as I told you is one as they play for payola and their friends. If Ska was been sold in Jamaica, it would still be going well. The odd updated ska might get a little airplay but most don't until somebody a foreign start play it.

‘Sass, I almost always agree with you (you make a lot of sense with your comments), except for this post! The consumers and the radio stations are NOT to be blamed, because what we had up to 1965 was ska, and it was very, very popular among Jamaican record buyers and the radio stations!

Nobody knew about rocksteady until Hopeton Lewis or Toots and the Maytals (or whomever else you want to believe made the so-called first rocksteady recording) released their first rocksteady record. No radio station or record-buying public even suggested this change!!! The musicians ARE the ones to be blamed (not the consumers or radio stations) as they are the practitioners who got tired of playing the fast rhythm known as ska!

If the popular singers of the time, like Delroy Wilson, Toots and the Maytals, the Jamaicans, the Paragons, Desmond Dekker & the Aces, etc. are following the dictates of their record producers and arrangers and thereby recording really good songs on a new rhythm (rocksteady), what do you expect the radio stations and music consumers to do????

[Historian]

A Major Error I Made Above

Nobody knew about rocksteady until Hopeton Lewis or Toots and the Maytals (or whomever else you want to believe made the so-called first rocksteady recording) released their first rocksteady record.

I made a huge mistake in my post above! I just had a chance to read that post, and I immediately realized that I had somehow confused (in the haste of typing and posting) the evolution of rocksteady and reggae!!

The specific artists I named, Hopeton Lewis and Toots and the Maytals, are among the couple of people credited with the origin of reggae (in particular, the noun, “reggae”) and NOT rocksteady!

Please accept my apology for this error.

[Rockman]

Its the beer I swear!

[Historian]

Lol

Its the beer I swear!

Lol Rockman. No, it wasn’t beer this time, boss.

[Assasin]

I will differ from you. I understand that the wave of Rock Steady was overwhelming but what you found was not only the musicians but the radio jocks and consumers then threw out the water and the bath pan.

Ska is still good and still selling, as you see artist like Shaggy, Plyers and Chakka Demus and now Omi using it. Not to mention other overseas group.
These songs hit overseas then become popular in Jamaica. We have a tendency to not even look at anything over 10 years old.

The problem is, if the genre is not selling and not been played on the air the artists is inclined to not waste their studio time to create new music. I understand there will always be the hip new music but that shouldn't stop a steady stream of good music been played.

I remember when Sean Paul and Ele was hitting and talking to a music distributor and he wanted nothing but 100 BPM dancehall music, he didn't care how good it is, now fast forward today and that is not the case, but I have seen how the sudden change affect musicians and artists, sometimes it is change or death for them.

Also a good DJ can play anything within reason say a ET and Winston Williams caliber radio personnel.

[Jangle]

Nobody knew about rocksteady until Hopeton Lewis or Toots and the Maytals (or whomever else you want to believe made the so-called first rocksteady recording) released their first rocksteady record. No radio station or record-buying public even suggested this change!!! The musicians ARE the ones to be blamed (not the consumers or radio stations) as they are the practitioners who got tired of playing the fast rhythm known as ska!

Historian, you cannot fight change and evolution. Ska did its time. Albeit a very short one, but it spawned Rock Steady/Reggae which went on to put Jamaica firmly on the international map. Without the slow down of the music, the world would have never been blessed with Bob, Dennis, Third World and many others. In 1985 Paul Blake and The Bloodfire Posse introduced computerized sound to reggae which changed the music again. This change gave new life to the music and spawned Shabba, Stitchie, Admiral Bailey and then later on Buju, Bounty, Beenie Man and now the incarcerated King of Dancehall, Vybz kartel. When a little "foreigner" (because nobody can tell me that he's not African, despite him saying that he's Jamaican) like Omni can conquer the music charts across different continents and introducing new and younger audiences to reggae and dancehall music, then it can't be a bad thing.