Charles Darwin’s theory of evolution by

natural selection long predated the days of the classic 90s-style sound clash,

but the concept applies: artistes best adapted to the musical atmosphere are

more likely to survive and as long as there is some variation between them it

leads to progression.

This was evident in tonight’s Verzuz

social media battle platform created by hip hop moguls Swizz Beats and

Timbaland which featured long-standing dancehall rivals Beenie Man and Bounty

Killer. Their survival of dancehall’s evolution is owed to their diverse lyrics

and international appeal so much that more than 450,000 viewers were tuned in

for the “chune fi chune†battle between the musical giants.

The clash, in true ‘yaad’ fashion ran

slightly off-schedule according to the anxious social media butterflies and 90s

babies who sat listening to the mixing styles of Richie D (who was at the

controls for Bounty Killer) and Kurt Riley (for Beenie Man). No doubt, the

music being played which could be heard echoing in my own neighbourhood was a

clear reminder to leave all things behind and get in front of a reliable mobile

device to view this epic event – it would even appear as though some made a party

out of the metamorphic online clash.

The proclaimed King of the Dancehall

set example by making a punctual appearance. Clothed in a mock turtleneck

paired with a black and gold geometric printed pants, Beenie Man coolly entered

to the sounds of Frankie Paul’s Kushumpeng (Tusheng Peng). The look was

completed with a jacket to match which he eventually removed as the clash got

lit. Bounty Killer’s fashion was similar, royal-like in black and gold.

Beenie Man’s first set of tracks

included Matie, which was more or less a tribute to the late Robert ‘Bobby

Digital’ Dixon who produced the track that spread his name further in the

streets but continued with Memories, Wickedest Slam, Dancehall Queen, Gyal Flex

(Time To Have Sex) featuring Lil Kim and Bad Man.

This is the biggest thing to happen to dancehall in the social media era— Jordz (@JordyAF)

This is the biggest thing to happen to dancehall in the social media era— Jordz (@JordyAF) May 24, 2020

Bounty Killer responded with tracks

like Dangerously, the Summer Breeze collaboration with Diana King, Suicide or

Murder and made sure his influence on dancehall’s connection to hip hop and

inevitable crossover success did not go unheard.

With over 30 songs played and performed

out of the dancehall deejays’ catalogues combined, the result of the Verzuz

battle is still being weighed in the balance.

[naviga:ul]

[naviga:li]Related story:

Police interrupt Beenie Man/Bounty Killer Verzuz battle[/naviga:li][/naviga:ul]

The ‘Five Star General’ fired back at

Bad Man Beenie, “Diss bad man yuh get shot nuh, a me fire the most shot†turning

the battle into a, as the collaboration with American hip hop duo Mobb Deep is

titled, Deadly Zone. His next tune would be a year older than that, Hip Hopera

featuring Fugees which further demonstrated Bounty Killer’s experience in the

international genres.

Pree Bounty face when the man start sing on him dubŸ˜­ — ghost (@maia_cee)

Pree Bounty face when the man start sing on him dubŸ˜­ — ghost (@maia_cee) pic.twitter.com/cIhqC7SV8yMay 24, 2020

Going back to the 90s, Wutless Bwoy and

Old Dog as well as Stucky and Who Am I (Sim Simma) played in retort would have

surely sent long-time fans into a frenzy.

The popular It’s A Party single with

Wyclef Jean had international stars like Stefflon Don, Ace Hood, Eryka Badu,

Keri Hilson as well as local hitmakers and personalities like Konshens, Popcaan

and 100-metre world record holder Usain Bolt sending fire emojis non-stop in

the live stream. Beenie Man also dug into long lost recordings with Wyclef Jean

with Love Me Now, catching his opponent off-guard.

Brogad? — Sen. Robert Nesta Morgan (@NestaJA)

Brogad? — Sen. Robert Nesta Morgan (@NestaJA) pic.twitter.com/3AFBSSUgzkMay 24, 2020

A minute-long interruption by law enforcement did not dampen the mood of the artistes if anything, it fuelled a fiery freestyle session with recorded lyrics injected at several intervals. The battle then reached its peak when Bounty Killer, who came armed with his own sound effects and dubs, brought out the big guns when he cued Richie D to play Vicetone and Tony Igy’s Astronomia, known as the soundtrack for the ‘coffin dance meme’ on social media to mark his opponent’s death. Beenie Man showed no signs of decomposing just yet, still deejaying and declaring, “I am the King of the Dancehallâ€.

We are the CULTURE— Terri-Karelle Reid (@TerriKarelle) We are Entertainment We are Fashion and Style We are Creativity We are Lyrics and original speech We are inimitable We are JamaicanŸ‡¯Ÿ‡²Ÿ‡¯Ÿ‡²Ÿ‡¯Ÿ‡²Ÿ‡¯Ÿ‡²Ÿ‡¯Ÿ‡²Ÿ‡¯Ÿ‡²Ÿ‡¯Ÿ‡²Ÿ‡¯Ÿ‡²Ÿ‡¯Ÿ‡²Ÿ‡¯Ÿ‡²Ÿ‡¯Ÿ‡²Ÿ‡¯Ÿ‡²

We are the CULTURE— Terri-Karelle Reid (@TerriKarelle) We are Entertainment We are Fashion and Style We are Creativity We are Lyrics and original speech We are inimitable We are JamaicanŸ‡¯Ÿ‡²Ÿ‡¯Ÿ‡²Ÿ‡¯Ÿ‡²Ÿ‡¯Ÿ‡²Ÿ‡¯Ÿ‡²Ÿ‡¯Ÿ‡²Ÿ‡¯Ÿ‡²Ÿ‡¯Ÿ‡²Ÿ‡¯Ÿ‡²Ÿ‡¯Ÿ‡²Ÿ‡¯Ÿ‡²Ÿ‡¯Ÿ‡²May 24, 2020

While not as heated as their inaugural

clash on a stage, Sting of 1993, the chemistry and more importantly the harmony

between Bounty Killer and Beenie Man made it an entertaining show which will be

recorded in the history books.

Or as Beenie Man put it, “It’s not

history, it is.â€

Both dancehall entertainers agreed

their contribution to Jamaica’s music and culture is unbroken like their lyrics

– the music speaks for itself.

“This is how we represent the culture;

at the end of the day it is a sport – a musical sport – we “fulljoy†it,†said

Bounty Killer as he gave a shout out to the fans worldwide.

History!! all the legends rolled out — Mr Banks (@byMrBanks)

History!! all the legends rolled out — Mr Banks (@byMrBanks) pic.twitter.com/NO0GLyuOInMay 24, 2020

Beenie Man chimed in, “Dem never know seh me and Bounty Killer coulda stand up yah suh as brother.â€

Bounty Killer answered good-humouredly,

“I never know either, you never know either.â€

Bob Marley’s One Love was an appropriate outro to the friendly lyrical battle.

–S.T.