DancehallUsa Online Magazine Official Website

Michael Nagle for The New York Times

It would seem that the Reggae/Dancehall music fraternity is being hit by one blow after another. Top deejays have lost their US visas and work permits, and Buju Banton, Ninjaman and Flippa Mafia are off the scene — all facing criminal charges.

The big question now is, how will this impact the dancehall community at large. Already, the top annual reggae show in the United States — Irie Jamboree — has cancelled this year’s staging.

It would seem that the Reggae/Dancehall music fraternity is being hit by one blow after another. Top deejays have lost their US visas and work permits, and Buju Banton, Ninjaman and Flippa Mafia are off the scene — all facing criminal charges.

The big question now is, how will this impact the dancehall community at large. Already, the top annual reggae show in the United States — Irie Jamboree — has cancelled this year’s staging.

Irie-Jamboree vice-president Louis Grant told the Sunday Observer that visa cancellations, primarily regarding Beenie Man, Bounty Killer, Busy Signal, Mavado, Vybz Kartel, Jah Cure and Sizzla, as well as a few other notables, coupled with the incarceration of top tier acts Buju Banton and Ninjaman, were the primary reasons the decision was taken not to host the show, one of North America’s premier reggae festivals.

“Not having access to this cluster of acts to factor into our line-up has adversely impacted us this year. At the very least, this situation is progressively becoming dire and needs to be strategically and properly addressed, via fair and prompt intervention, so that fair and prompt resolution can be achieved post haste,” Grant said.

For G City Entertainment promoter Casey Rankine, although many of the major acts are out of commission in the United States market, it is “business as usual”.

“It has not greatly affected my plans. The major challenge is the economy — weak audience turnout and poor ticket sales,” Rankine said.

In fact, according to him, the situation has now created an opportunity for other good artistes.

“There are other artistes who have done work for years, or upcoming talents, and this gives them the opportunity to be highlighted, so we are looking forward to working with them,” he said.

New York-based publicist Anthony Turner says the unavailability of the aforementioned artistes is not the greatest challenge for promoters in the US right now.

“Even if those artistes were available, it would not be a given that they could have brought in a full house or that the event would have been a guaranteed success,” he said.

Like, Rankine, Turner said one of the biggest challenge facing promoters now is the economic recession.

“There are other factors to take into consideration too, such as finding affordable venues and receiving quality sponsorships,” Turner shared, adding that unlike events in Jamaica, US sponsors do not give a lot of cash support, so promoters rely heavily on gate receipts.

But while some US promoters are experiencing challenges as it relates to the staging of reggae events, for Eddy Edwards of Riddim Marketing, it’s all about having the right packaging. Edwards, who has hosted plays, church festivals and other family-friendly events, says he walked away from “the whole dancehall mix up”.

“I lean to cultural and clean lyrics artistes, so as a result, I am not affected by what’s going on right now. If you notice, somehow, those are the ones not in trouble,” the promoter said.

He admits that the numbers have been down because of the recession, but says because of the nature of his events he has enjoyed enough support to make them viable — that plus the fact that the artistes with whom he has been working are “very reasonable”.

However, Irie Jamboree’s Grant is not swayed by the argument for cultural productions.

“Our very pervasive culture is so much a part of generations “X” and “Y”‘s pop culture, that these kids, primarily of Jamaican and a wider Caribbean descent, will just not allow that to happen,” Grant said.

He admits that growth may be stymied for several reasons, the main culprit being the lyrical content of some of the songs. But, he says recent steps by the Broadcasting Commission has helped to address, in a very profound way, guidelines that give “the stamp of approval to songs” which ultimately get played on the airwaves in Jamaica.

Grant believes that this move has helped to shape, and usher in a revolution of greater creativity in writing and consequently, many of the dancehall acts and music producers have made notable adjustments to their art.

“On a personal level, I am particularly happy for this advent, as the songs that get sent to us on a daily basis are better songs, if only by “air play” standards, which ultimately bodes well for the longevity and sustainability of the industry at large,” he said.

According to G-City’s Rankine, the solution going forward is for dancehall acts to “always keep it professional in terms of management, performance, public appearances, by keeping their artiste fees at a fair market value, and adjusting their attitude towards promoters, without (whom) they would have no shows, remembering at all times that it’s a business.”

Grammy-winning dancehall pioneer, Lady Saw is back naughty, nasty and explicitly electrifying with her new album My Way set for release on September 7^th, 2010.  The record, her first with Toasting Music/Diva Records, distributed by Fontana/Universal, follows the 2007 release Walk Out, her final album on the reggae label VP Records.  Saw’s latest collection, featuring collaborations with multi-platinum rapper Eve and Ding Dong as well as production by Lady Saw along with Tony ‘CD’ Kelly, Lloyd ‘John John’ James, Danny Browne and Stephen McGregor, opens a new chapter for Saw and Divas Records productions.

“I wanted to have the independence and freedom to do things 100% my way. I can tell the producers what I want for my riddim and say what I want to say in my songs. No one is telling me what I can or can’t do on this album,” says Lady Saw.

Born Marion Hall, Lady Saw remains true to her sexually empowering, cheeky lyricism on My Way, but with an eye on reaching a wider audience. Whether it’s liberating anthems like “Every Way Mi Go” and “Party Til December” or her uncut delivery on “Muscle Control” and “5 Minutes,” this 16-track collection is jam-packed with radio ready tunes and the hardcore style that put Saw on the map with her massive 1994 debut release Lover Girl.  She also gives listeners a glimpse of Miss Marion Hall, her softer, more mature side, on the title track “My Way” and “I Am A Woman.”

“I have grown over the years. People ask me, ‘are you toning down’? I say, the nasty stuff is still there, just not as over the top,” she explains. “They still gonna really get the raw Lady Saw, especially when I perform. But, I wanted to make a record for everyone.”

With over three million albums sold and a Grammy under her frock for her collaboration with No Doubt on “Underneath it All,” Lady Saw is one of the most distinguished and influential artist in dancehall, reggae and hip hop. The songstress, deejay, producer and writer continues to headline shows worldwide, and her longevity reveals that true artistry always stands the test of time.  The multi-talented Jamaica native has had a hand in creating hits for artists like Beenie Man, Sizzla, Bounty Killer, Vegas, Vybz Kartel, Capelton and Spragga Benz. Her appeal has also resulted in dynamic collaborations with Gwen Stefani, Missy Elliot, Remy Ma, Trina, Nicki Minaj, Foxy Brown Michael Franti, and Pharrell Williams.

Physical CD Track Listing:

1.                  Every Way Mi Go

2.                  Your Chick

3.                  Bigga Than

4.                  He Is At My House (Feat. Eve)

5.                  My Way

6.                  Party Till December

7.                  Tighta

8.                  Cyaan Get Me

9.                  Crazy Love

10.              Me Hold Ya

11.              Muscle Control (Feat. Camar)

12.              5 Minutes

13.              Facebook

14.              I Can’t Wait (Feat. Ding Dong)*

15.   I’m A Woman

*Track 14 is replaced with Bet U on digital download album

Holiday – rude family mix cd 2010 by HOLYDAY-RUDEFAMILYMIXCD – mixed by G-POWA.

Single Track Download: Rude Family Mix Cd - Holiday (442)

Separated Track Download: Rude Family Mix Cd - Holiday (672)