Dear Editor,

I am not someone who usually rushes to contribute to certain debates that are being banded about, especially when they are saturated in overly emotive opinions, illogical and questionable views, and even repulsive and abhorrent language, as controversial as they are.

The current debate on who is the king of dancehall falls flatly into this category. Nevertheless, this particular issue has forced me to add my ‘quatty’s worth’ to this controversy.

From my vantage point, the king of dancehall is neither a seasonal nor year-to-year ascription which can be shifted or given to aspiring or current DJs, no matter how ‘hot’ or ‘bad’ they are. Rather, like all the titles/positions that are found in other musical genres and are rightly bestowed upon the individuals in their particular areas of specialisations, the king of dancehall title is no different and is no less than these other genres. Therefore, ‘dancehall king’ is a title and a position that is also cast in perpetuity.

Each artiste, as a result of his exceptional delivery and professional performance over the years has rightfully earned these titles which, I think, should not be taken away from them. I will illustrate my point by making reference to five artistes: Otis Redding, Elvis Presley, Gregory Isaacs, Michael Jackson, and The Mighty Sparrow. Otis Redding is the king of soul; Elvis Presley is the king of rock and roll; Gregory Isaacs is the king of lovers’ rock; Michael Jackson is the king of pop; and The Mighty Sparrow is the king of calypso.

With the exception of The Mighty Sparrow, each of these kings has since died, but please note carefully that their titles and positions did not die with them. In fact, these titles are very much alive and they continue to live on and are still in existence even while I am writing this piece. They are solidly cast in perpetuity.

Interestingly, before, during, and after these five kings there were, have been, and will always be other greats in these respective genres. Before they were born there were many other musical geniuses, professionals, and musical greats dominating these respective genres by virtue of their blistering performances, irresistible vocals, and exceptional writing and dancing skills, yet none of these pioneers/veterans ever had the title ‘king’ attached to their names.

Additionally, during the reign of these five kings their respective titles remained intact, even though other contemporary greats existed who were formidable forces and serious contenders to be reckoned with. And even after Otis Redding, Elvis Presley, Gregory Isaacs, Michael Jackson, and The Mighty Sparrow passed on many musical greats have emerged and are putting in some amazing and awesome work within the music and entertainment world. Still, in spite of their unbelievable output musically, none of them has managed to sit on the prestigious throne as king. Consequently, the title of king is solidly cast in perpetuity regardless of who may come after the crowning.

This brings us back to the dancehall king saga. Are we saying that dancehall is a lesser musical genre or even an inferior one to the point at which the title of king can be shifted at random as anyone pleases, whenever any impressive entertainer pops up within the DJ territory? Indeed, is this dancehall genre merely a ‘try-a-ting’ situation whereby as an outstanding DJ emerges and dominates the stage, the studio, and the streets with his lyrical prowess and jaw-dropping stage performance he automatically earns the title of king?

Such shifting of the goalpost and the apparently elusive position is both deliberately and inadvertently transforming this beloved and solidly Jamaican genre into a temporary entertainment fad. If such is the case, then what is being keenly observed here is that dancehall is not qualified and, therefore, cannot be placed into the same category as other musical genres such as R&B, pop, rock and roll, classical, soul, and even reggae. What a calamity!

If the undiluted and solid truth should be told, without the usual and expected blind biases and overly subjective loyalties from the fiercely loyal Jamaican sheep (and there are many), the king of dancehall is none other than Yellowman. And the during, before, and after argument can be readily applied to this assertion because of the simple fact that, just like the other musical genres, the title of king within the dancehall space is solidly cast in perpetuity.

Certainly, apart from the ultimate title of king, there are enough other titles and positions which exist in the dancehall space that can fit everyone and, in fact, many DJs have taken on these titles directly and indirectly. There is “The Don Gorgon”, “Marathon Man”, “The Professor”, “Admiral”, “World Boss”, “The Girls Dem Sugar”, “The Principal”, “The Colonel”, “The Emperor”, “Poor People Governor”, “The General”, “The Godfather”, and the many “papas” which dominated the dancehall during the 1980s among other equally impressive titles.

This current crop of DJs and their 80s and 90s counterparts should choose one of the above titles or simply create one for themselves.

Peter Price

Educator and journalist

Ankhaz2965@gmail.com

Sonumbonum360@yahoo.com