Join the Western Jamaican Consciousness Music Revival... #Antwain young upcoming Artiste captures the ear with his new song and wonderfully shot video!
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Thursday, June 02, 2016
Antwain
Join the Western Jamaican Consciousness Music Revival... #Antwain young upcoming Artiste captures the ear with his new song and wonderfully shot video!
Friday, April 15, 2016
Monday, March 28, 2016
Sunday, February 14, 2016
An Open Letter to Bounty Killer
Greetings to Jamaica and the Five Star General Rodney Basil Pryce in particular,
I remember somewhere back in 1993, I had held this notion that Reggae was the God and Dancehall was the bastard demi-god who had inane chatter gibberish and nonsensical if not simply whimsical lyrics and rhyme schemes like "zungy zungy a zunga zeng"! ABC 123... nothing too intellectually challenging or vocabulary expanding... zeen come again, wah di clock inna London name big ben, missa chin money name yen! Shabba and Super Cat weren't so bad but Dancehall as genre lacked definition and umph! Then comes PEEEEEEEEEEEOPLE DEAD! A man who would become the archetype of what a DJ and social commentator in the Dancehall should be.
I remember in 9th grade at the esteemed Cornwall College in 9-1 to be "pre-xact" every session a teacher missed was an opportunity for aspiring musicians. Long before the age of rising star, the class would be a riot of drummers banging desks and chairs as we cued up the main acts, those days the class was divided in two, the school of Beenie-ites, and the House of Bounty. The best representatives from the competing sides the likes of class mates named Clive Lawrence, Romaine McIntosh, Winston Brown... they would represent the factions and vocalize the discographies of Bounty which would be pitted against the catalogue of Beenie ballads. I happened to be in the Bounty camp.
Why some may ask? At the time I was a comic book junkie, whose favourite hero was Spider-man, but in terms of social development and coping with the teen world, and the Jamaican social context... well "with great power comes great responsibility" as a mantra wasn't cutting it all the way. And Spider-man a teen with superpowers and a horrendous social life and the guy that everybody hated wasn't gonna save my psyche through to 10 grade. So when you need a local Superhero, and a most verbose character, fearless, Jamaican, garbed in all black like Blade, Punisher or the Black Panther... A man the people dubbed "the poor people's governor" "the ghetto gladiator"... Titles not unlike "The Uncanny X-men" or "The Spectacular Spiderman." Bounty Killer became to me the very first Jamaican Super Hero, equipped with grand titles, monikers and mantras, secret identity Rodney Pryce, with his Justice League or Avengers, known as The Alliance. "Yeah Yeah Yeah" "Huh!" Bounty was the Jamaican icon from he became one of the local champions of that Patrick Ewing 33 sneaker, Jamaicans at home supporting Jamaicans abroad!
It is no coincidence then that his 1996 album My Xperience impacted fans at home and abroad spending six months on the Billboard reggae chart. Personally that was my favourite album, and I didn't even realize it till one day when a friend of mine Gavin Carey called me at home... yeah back in the land line era... and when he called he said... "my yute a one cd you have, and a one song deh pon di cd, caah everyday mi call you, all mi here is 'dem get gun dung inna miggle of guntown, well mi silent gun will emit no soun'" I then realized I had to rotate my musical diet... not that it wasn't varied... I grew up on Bob Dylan, Melanie Safka, Sam Cooke, Beres Hammond, Simon and Garfunkel... in he 90's I met Alanis Morrisette, Sarah Mclachan, Goo Goo Dolls, Alternative Music from D. Shadow and Rick Dee's Top 40, interspersed with Jungle, Techno World Beat... so my diet wasn't bad but in Jamaica Bounty was my boss. At the same time he also expanded my musical ear... The My Xperience album would introduce me to The Fugees, Busta Rhymes, Wu-Tang and many others... subsequent albums in the 90's would introduce me early to Kardinal Official on "The Bacardi Slang."
Bounty's
career too has been as layered and textured and storied just like a
comic book series, with arch-nemesis manifesting in Beenie Man and
eventually Vybz Kartel, clashes as epic as any Ridley Scott film, feat
and accomplishment that echo on in the perpetual street dancehall
discourse. I can only imagine the day when teens and adults read a
Bounty Killer comic book or graphic novel. Maybe when Ziggy Marley gets
time away from Marijuana Man he can bust me on the job fi draw and write
a Bounty Killer Comic. Once somewhere in 2005 I had wanted to write a
Bounty Killer Biography titled: Badman Bible! Even when close friends
debated that Bounty's Tale is not best seller material, I have absolute
faith to this day that it would be a mega success, accompanied by like a
documentary... the legend of Bounty would be immortalized.
Anyway... this ratings of mine for Bounty Killer progressed as I entered into academia, when while I was in KGN, Bounty was in my backyard in Mobay donating computers to Albion All Age, giving public lectures at Mobay's Civic Centre and generally impacting the youth of Jamaica in a major way. His prolific work would not be forgotten by youth of Norwood, Paradise, Albion, Glendevon even unto this day. I remembered when Carolyn Cooper had held her usual Friday Dancehall Artiste lecture up by UWI, Mona... I will never forget the particular Friday when Bounty Killer lectured... as a Bounty fan since his career started... I would be present at that lecture with my placard and signs BOUNTY FOR PRIME MINISTER! A memorable biographical tale, topped off by a fan request performance, nothing beats that.
Now flash forward to current day Jamaica... 2016... Dancehall ain't what it used to be! Today we watch the acidic career of Alkaline as he spits nasal inflections of mundane lyrics on the hottest dancehall and pop chart rhythms. There is even today an analogy in the dancehall that I think originates with Aidonia... "mi bad like 90's dancehall," which to me Ithink is testament to the current state of dancehall. The only saving grace for Jamaican music is reggae revival as Kartel tries to holler from his cell "Dancehall can't stall, woaheee dancehall can't dead yet"
But there are some critical things I have been waiting to see in the dancehall still... Maybe I am idealistic and a dreamer... but I had imagined Bounty Killer having many more years... I was waiting on Bounty Killer and Linkin Park, an era where Bounty's social commentary taps into global youth angst and pain. Bounty and Eminem, Bounty and P.O.D. (remix Youth of the Nation), Bounty and the Trini version of Bounty... Bunji Garlin, I think they would make a booming earthquake combination that would shake from both sides of the Caribbean and quake the world. The romantic version of Rodney Pryce that was on "It's Ok and It's Alright!" with the like of Emily Sande. Bounty from those 90's Jungle Cd's on rhythms that Major Lazer builds, Bounty with Calvin Harris, Bounty with those European producers... dubstep Bounty, Bounty on some Ancient Tomorrow rhythms like Protoje, as a matter of fact mi a wait pon Bounty-Chronixx, mi await pon Bounty and Kabaka...
I am not from that school that says Bounty's days are over, I believe those that say that have a failure of imagination. I see much more work to be done by Bounty, Beenie, Sizzla, Capleton, Buju and the entire generation that made the 90's great.
I remember somewhere back in 1993, I had held this notion that Reggae was the God and Dancehall was the bastard demi-god who had inane chatter gibberish and nonsensical if not simply whimsical lyrics and rhyme schemes like "zungy zungy a zunga zeng"! ABC 123... nothing too intellectually challenging or vocabulary expanding... zeen come again, wah di clock inna London name big ben, missa chin money name yen! Shabba and Super Cat weren't so bad but Dancehall as genre lacked definition and umph! Then comes PEEEEEEEEEEEOPLE DEAD! A man who would become the archetype of what a DJ and social commentator in the Dancehall should be.
I remember in 9th grade at the esteemed Cornwall College in 9-1 to be "pre-xact" every session a teacher missed was an opportunity for aspiring musicians. Long before the age of rising star, the class would be a riot of drummers banging desks and chairs as we cued up the main acts, those days the class was divided in two, the school of Beenie-ites, and the House of Bounty. The best representatives from the competing sides the likes of class mates named Clive Lawrence, Romaine McIntosh, Winston Brown... they would represent the factions and vocalize the discographies of Bounty which would be pitted against the catalogue of Beenie ballads. I happened to be in the Bounty camp.
Why some may ask? At the time I was a comic book junkie, whose favourite hero was Spider-man, but in terms of social development and coping with the teen world, and the Jamaican social context... well "with great power comes great responsibility" as a mantra wasn't cutting it all the way. And Spider-man a teen with superpowers and a horrendous social life and the guy that everybody hated wasn't gonna save my psyche through to 10 grade. So when you need a local Superhero, and a most verbose character, fearless, Jamaican, garbed in all black like Blade, Punisher or the Black Panther... A man the people dubbed "the poor people's governor" "the ghetto gladiator"... Titles not unlike "The Uncanny X-men" or "The Spectacular Spiderman." Bounty Killer became to me the very first Jamaican Super Hero, equipped with grand titles, monikers and mantras, secret identity Rodney Pryce, with his Justice League or Avengers, known as The Alliance. "Yeah Yeah Yeah" "Huh!" Bounty was the Jamaican icon from he became one of the local champions of that Patrick Ewing 33 sneaker, Jamaicans at home supporting Jamaicans abroad!
It is no coincidence then that his 1996 album My Xperience impacted fans at home and abroad spending six months on the Billboard reggae chart. Personally that was my favourite album, and I didn't even realize it till one day when a friend of mine Gavin Carey called me at home... yeah back in the land line era... and when he called he said... "my yute a one cd you have, and a one song deh pon di cd, caah everyday mi call you, all mi here is 'dem get gun dung inna miggle of guntown, well mi silent gun will emit no soun'" I then realized I had to rotate my musical diet... not that it wasn't varied... I grew up on Bob Dylan, Melanie Safka, Sam Cooke, Beres Hammond, Simon and Garfunkel... in he 90's I met Alanis Morrisette, Sarah Mclachan, Goo Goo Dolls, Alternative Music from D. Shadow and Rick Dee's Top 40, interspersed with Jungle, Techno World Beat... so my diet wasn't bad but in Jamaica Bounty was my boss. At the same time he also expanded my musical ear... The My Xperience album would introduce me to The Fugees, Busta Rhymes, Wu-Tang and many others... subsequent albums in the 90's would introduce me early to Kardinal Official on "The Bacardi Slang."
Anyway... this ratings of mine for Bounty Killer progressed as I entered into academia, when while I was in KGN, Bounty was in my backyard in Mobay donating computers to Albion All Age, giving public lectures at Mobay's Civic Centre and generally impacting the youth of Jamaica in a major way. His prolific work would not be forgotten by youth of Norwood, Paradise, Albion, Glendevon even unto this day. I remembered when Carolyn Cooper had held her usual Friday Dancehall Artiste lecture up by UWI, Mona... I will never forget the particular Friday when Bounty Killer lectured... as a Bounty fan since his career started... I would be present at that lecture with my placard and signs BOUNTY FOR PRIME MINISTER! A memorable biographical tale, topped off by a fan request performance, nothing beats that.
Now flash forward to current day Jamaica... 2016... Dancehall ain't what it used to be! Today we watch the acidic career of Alkaline as he spits nasal inflections of mundane lyrics on the hottest dancehall and pop chart rhythms. There is even today an analogy in the dancehall that I think originates with Aidonia... "mi bad like 90's dancehall," which to me Ithink is testament to the current state of dancehall. The only saving grace for Jamaican music is reggae revival as Kartel tries to holler from his cell "Dancehall can't stall, woaheee dancehall can't dead yet"
But there are some critical things I have been waiting to see in the dancehall still... Maybe I am idealistic and a dreamer... but I had imagined Bounty Killer having many more years... I was waiting on Bounty Killer and Linkin Park, an era where Bounty's social commentary taps into global youth angst and pain. Bounty and Eminem, Bounty and P.O.D. (remix Youth of the Nation), Bounty and the Trini version of Bounty... Bunji Garlin, I think they would make a booming earthquake combination that would shake from both sides of the Caribbean and quake the world. The romantic version of Rodney Pryce that was on "It's Ok and It's Alright!" with the like of Emily Sande. Bounty from those 90's Jungle Cd's on rhythms that Major Lazer builds, Bounty with Calvin Harris, Bounty with those European producers... dubstep Bounty, Bounty on some Ancient Tomorrow rhythms like Protoje, as a matter of fact mi a wait pon Bounty-Chronixx, mi await pon Bounty and Kabaka...
I am not from that school that says Bounty's days are over, I believe those that say that have a failure of imagination. I see much more work to be done by Bounty, Beenie, Sizzla, Capleton, Buju and the entire generation that made the 90's great.
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