Parsing Vybz Kartel’s Sentence

A pretty thorough account of the salient points of the Vybz Kartel trial along with background information.

 

Often in the course of his prolonged trial I found myself wondering if the rollercoaster life of Adidja Palmer aka Vybz Kartel was scripted by someone channeling Breaking Bad, the wildly popular American TV series about the rise and fall of a chemistry teacher turned meth dealer.  By the time the trial ended I knew it was nothing of the sort, just another wickedly original Jamaican libretto. Described by some as the country’s pre-eminent lyricist, for more than a decade Kartel ruled the roost in Jamaica as its reigning dancehall deejay (”a genre that is to the roots reggae of Bob Marley as hip-hop is to R&B”), his street cred extending far beyond Kingston, into the nooks and crannies of ghettoes all over the Caribbean, into urban America and as far away as Africa where his Gaza Empire has spawned copycats.

By late 2013 Vybz Kartel, 38, was being portrayed by the police and the justice system as Public Enemy No. 1. His fame and fortune notwithstanding, on April 3, 2014, Adidja Palmer was sentenced to life in prison with no parole possible before 35 years, after the court gave itself an extra week to determine whether the embattled DJ should be allowed to make music while incarcerated.  He had been found guilty almost 3 weeks earlier, along with three others, of the murder of one Clive ‘Lizard’ Williams, a dancer and foot soldier in the small army of roughly 30 men that constituted Vybz Kartel’s entourage. These men ensured that Kartel’’s interests were looked after and his bidding done at all times.

Courtroom runnings

It was a dramatic trial with twists and turns that kept the nation in suspense till the very end. As the Prosecution laid it out, Lizard ran afoul of the popular deejay because he and Chow, another member of the entourage, were given two of Kartel’s (illegal) guns, then failed to produce them when asked for their return.  After several futile attempts to get the guns back, Lizard and Chow were summoned to Kartel’s house where there was a confrontation between them and Kartel’s cronies. Chow managed to get away, later becoming the Prosecution’s star witness, but Lizard was bludgeoned to death.

Although the hapless dancer’s body has yet to be found Vybz Kartel and six members of his entourage were taken into police custody in September 2011. Kartel’s defence team made repeated attempts to secure bail for him but were systematically rebuffed on the grounds that the Police had good reason to believe he would try and leave the country if granted bail. Rumours were rife that the reason for this unprecedented incarceration was that the police had incontrovertible evidence, including video footage taken from the deejay’s phone, that incriminated Adidja Palmer and his co-accused.

The swirling rumours proved to be true. The trial was prosecuted largely on circumstantial evidence— involving sensational  Blackberry messages, video footage and voice notes downloaded from the deejay’s cellphone in which Kartel’s voice could be heard making threats about what he would do if the guns, coded as ‘shoes’ weren’t returned. ‘If dem want dem fren fi live dem fi return mi shoes’ he is heard to say on Voice Note 2. In other messages he asks for information on countries he might travel to, the Bahamas for instance, lending credence to the Police’s concern that he might skip bail if granted it.

The Defence team did not dispute that the voice heard in the notes was Kartel’s. Instead their strategy was to prove that the cellphones in question had not been properly secured by the police, who were careless about maintaining the chain of custody, making it possible for the notes to have been tampered with or manipulated. They also proved that other key items of evidence such as a backup disc provided by the phone company and a notebook belonging to a policeman witness had gone missing. They were able to show also that Kartel’s phone had been used three hours after being taken into police custody.

The long and tension-filled trial lasted nearly four months, ending suddenly on March 13, on the sixth day of the Judge’s summation, after a juror was accused of attempting to bribe the foreman of the jury and fellow jurors. Despite this dramatic development, which might have derailed the case had the Judge called for a mistrial, the trial was hastily concluded with the jury delivering a ten to one guilty verdict.

Judge Lennox Campbell’s instructions to the jury explained the legal doctrine to be used in deciding Vybz Kartel’s guilt—that of common design. After all there was no direct evidence to prove that the deejay himself had participated in the murder. As Judge Campbell explained “…The scope was to kill Clive Lloyd Williams for the loss of a firearm. The law of Common Design is – as long as you participate knowing that was the ultimate end it doesn’t matter that you didn’t pull the trigger; it doesn’t matter that you didn’t wield the knife; it doesn’t matter that you didn’t administer the poison. Common Design can encompass a person at a gate as look out man for the police. As long as he’s there to look out, he can be charged for murder.”

The kind of security put in place by the Jamaican Police on the day of the verdict and again on the day of the sentencing, suggested that this was the trial of someone far more important than a mere music personality.  The Police blocked major roads leading to the Supreme Court in downtown Kingston, placed Police personnel in riot gear at strategic points and patrolled the area around the court with mounted Police. The diminutive Judge, known informally as Little Lenny, appeared in court flanked by four bodyguards.

During the final days of the trial American rapper Busta Rhymes attended court in a show of support for Vybz Kartel. Notably absent was anyone from the local music fraternity among whose ranks there did not appear to be much sympathy for the beleaguered DJ or sorrow over his fate. Although a large crowd had appeared outside the courtroom shouting ‘No Teacha, No school’ on the day of the verdict (a reference to Kartel ‘s nickname–‘The Teacher’) and the days leading up to it, on sentencing day there was only a modest crowd in attendance outside. The elaborate preparations made by the Police seemed like overkill.

#VybzKartel still represents #Calabar, as seen in this photo taken today after his sentencing #VybzKartel still represents #Calabar, as seen in this photo taken today after his sentencing
Vybz Kartel still represents his old high school Calabar, as seen in this photo taken today after his sentencing. Photo: @Dre1allianceEnt

 Vybz Kartel: DJ or Don? or both?

So what was the secret of Vybz Kartel’s success I asked Anthony Miller, producer of Television Jamaica’s weekly Entertainment Report, the definitive news source on Jamaica’s volatile music industry. His answer was:

The smartness, the nimbleness of mind; Kartel could string words together. In terms of that hip hop flow, spitting lyrics, he was the quickest and the nimblest and easily the most brilliant. He was the lyrical genius of his generation who flooded the Jamaican market with music. He delivered the social commentary but he also gave the public fun and games with his song about Clarks shoes (which caused a spike in sales for the company) and Ramping Shop which was banned from Jamaican airwaves for its raunchy lyrics. He outraged every sensibility in Jamaica and then he started to bleach. He always had an avalanche of new material. But there was also a sinister element, a darker element. He overreached by flying in the face of the establishment in Jamaica, by continually goading them. He always flew in the face of authority.

Opinions about Vybz Kartel vary depending on the demographic of the person you’re speaking to. Nicknamed World Boss and Addi the Teacher or ‘Teacha’ by his adoring fans his phenomenal popularity made him the envy of politicians though he didn’t kowtow to their demands. On the other hand Kartel was known to hobnob with top dons or gang leaders like Tesha Miller of the Klansman gang and Christopher ‘Dudus’ Coke whose sensational arrest and extradition to the United States occupied international news for weeks in 2010.

“A lot of DJs see themselves as dons; the don is the model, so they behave like dons. Dons have the power, they have the girls and DJs are in the best position to become dons because they have the constituencies, “ says Anthony Miller.

According to ethnomusicologist Dennis Howard the nexus between political dons and musicians in Jamaica goes back to the very roots of Reggae and Dancehall. It was a symbiotic relationship, the musician needed the support of the don who often demanded a ‘big up’ while the don fed off the popularity of the singer. The globally celebrated singer Bob Marley himself was friends with a number of dons/gang leaders across the political divide so Kartel’s association with gang leaders and the underworld was by no means unprecedented. The problem was that with Kartel there no longer appeared to be a distinction between the two.

In 2009 when Vybz Kartel fans (Gaza) clashed violently with rival deejay Mavado’s fans (Gully), the two were summoned to a meeting with then Prime Minister Bruce Golding but the only person who could rein them in was Prezi–short for President– Tivoli Gardens enforcer Dudus who forced the two deejays to publicly end their hostilities at his annual stage show ‘West Kingston Jamboree’.

While Mavado seemed to heed the pleas of the government and the Police to reform himself Kartel continued along the path he had chosen, thumbing his nose at the police and Jamaican society while continuing to parlay his carefully cultivated notoriety into profits. He now diversified into other products such as a line of clothing, bleaching soap and his own rum. Perhaps the last straw for the police was the much hyped launch of Kartel’s own show, Teacha’s Pet, “a reality TV dating show surrounding the love life and career of the Artiste Vybz Kartel.” Within a few weeks of the airing of the show Kartel was arrested and the show discontinued.

Public Enemy No. 1

Why were the Jamaican police so single-minded in their determination to put Vybz Kartel behind bars? Why was he considered such a menace to society? Again stories abound. The Minister of Justice, Peter Bunting, had been touring Montego Bay, center of the vicious Lotto Scam conglomerate, which preys on elderly American citizens, scamming them out of thousands of dollars of their savings each year. In fact the Minister was under pressure from the Americans to smash the criminal enterprise. As he visited area after area he was told by residents in each community that he should go easy on the scammers because what they were doing was, after all, merely a form of reparation–collecting monies due the citizens of Jamaica for the years of free labour provided during the era of plantation slavery.

When the astonished Minister enquired further into the source of such unorthodox views he was referred to a song by Kartel called ‘Reparation’ with the catchy refrain ‘Dem call it scam,
Mi call it reparation’.

Foreign exchange is good fi di country
Franklyn, USA, Sterling England
Every Ghetto yute fi a live like di big man
Mansion bigger than Hilton

The catchy tune was even quoted by American TV host Dan Rather in a 60 Minutes expose of Jamaica’s Lotto Scam, adding to the pressure on the Jamaican government to rein in the criminal elements who were preying on America’s elderly. Although Kartel’s lyrics were never explicitly used against him in the trial, they would have been on virtually constant rotation in the minds of the Judge, Jury and Prosecution. In addition to the song about Reparations there were any number of gangster lyrics issuing from the prolific hit machine known as Vybz Kartel.

Perhaps the thing that most cemented Kartel’s image as a demonic creature who had to be contained for the safety of the public was his unconventional appearance, aided by the increasingly visible tattoos embellishing his bleached skin. This more than anything literally marked Kartel as a devil-worshipper in the eyes of fundamentalist Christian Jamaica. As if he realized this, Kartel addressed the issue as soon as he was given a chance to speak for himself in court.

My Lord, I bleach my skin, I am heavily tattooed also but that is merely superficial. That is a part of the persona of Vybz Kartel not Adidja Palmer. I am a normal person like anyone else.

In interviews Kartel would often refer to himself in the third person, drawing a distinction between himself, Adidja Palmer, the responsible father and citizen and his more reckless deejay persona, Vybz Kartel. There was a market demand for a character such as Vybz Kartel, he explained, and Palmer was going to exploit the lucrative niche—after all he had children to feed.  His 2012 book, The Voice of the Jamaican Ghetto, begins by saying, “I start this book in the same way that I start each day of my life, with a Thank you Jah for giving me, Adidja Palmer, the inspiration to be Vybz Kartel. “

Gaza

Inspired by Jay-Z’s 2010 autobiographical narrative, Decoded, Kartel’s book, co-written with Michael Dawson, is a combination of lyrics, their interpretations, anecdotes, philosophical reflections, and autobiographical information. Written very much in the mode of a teacher analyzing and explaining the world, it was also a resounding call–Gaza mi seh!–for ghetto people everywhere to get together and stand up for their rights. “Its not a moral war, it’s a financial war, dem nuh waan ghetto yute fi have house n car,” goes the catchy line from one of his songs. “Incarcerated but not silenced” and “I pray this book helps to change Jamaica forever,” say blurbs on the cover with an image portraying Kartel as a Malcolm X type figure.

Some think the book was published because Palmer knew he had to lay the groundwork to shift public perception of himself as a common criminal. That may be so but in the process he managed to harness a cynicism about the system—coded as Babylon in Jamaican parlance—that has great currency. Though his music is viewed as having no explicit political message his concept of ‘Gaza’ has the resonance that rival DJ Mavado’s ‘Gully’ never had though both are metaphors for the underclass that spawned both musicians.

Vybz Kartel flashes the ‘Gaza’ sign as he exits the Supreme Court in downtown Kingston yesterday. The entertainer was given life imprisonment with the possibility of parole after 35 years for his role in the August 2011 murder of Clive ‘Lizard’ Williams. (PHOTO: BRYAN CUMMINGS)
Vybz Kartel flashes the ‘Gaza’ sign as he exits the Supreme Court in downtown Kingston yesterday. The entertainer was given life imprisonment with the possibility of parole after 35 years for his role in the August 2011 murder of Clive ‘Lizard’ Williams. (JAMAICA OBSERVER PHOTO: BRYAN CUMMINGS)

Gaza is the name Kartel gave the locality he comes from in Waterford, part of the bedroom community of Portmore, on the outskirts of Kingston. Inspired by the fierceness of the inhabitants of the original Gaza Strip in Palestine, Kartel adopted the name of this embattled settlement in the Middle East, and the shibboleth of his supporters around the world became Gaza mi seh! Usain Bolt has been one of Kartel’s most avid fans not allowing other deejay’s music to be played at his parties and giving the Gaza sign whenever he was in the limelight. Many of Jamaica’s top athletes are Gaza fans though they may be slowly backing away now.

Perhaps the best way to understand Gaza is to see it as a new identity–underpinned by a Ghetto pride ideology–a defiant “Yes, we’re from the ghetto and we’re proud of it” stance. Although Kartel intended Gaza as a response to the lopsided landscape of opportunity in Jamaica that renders the poor socially invisible, the concept rapidly grew legs and migrated all over the world, an indication both of his talent and the globalization of inequality that disproportionately affects ghetto-dwellers worldwide.

The ‘Shit-stem’

While the Jamaican judiciary jubilantly celebrated Vybz Kartel’s guilty verdict and sentencing as a resounding victory for itself it is worth noting that alleged crime boss and head of the Shower Posse Christopher ‘Dudus’ Coke, now serving a 23 year sentence in the US,  was never charged or prosecuted for breaching the law in Jamaica where he lived. Similarly David Smith, who defrauded investors across Florida and the Caribbean out of more than US$220 million was sentenced to 30 years in federal prison in the US. Although he operated out of Jamaica, Smith like Coke, was never charged or prosecuted for any crime or misdemeanor in Jamaica.

And then less than a week after the guilty verdict was announced in the Kartel case, Kern Spencer, a young politician belonging to the ruling party, was found not guilty of significant fraud and money-laundering charges in relation to the distribution of energy-saving light bulbs, a gift from the Cuban Government. The Director of Public Prosecutions herself expressed shock at the verdict saying that the evidence against him had been overwhelming. But for most people the Kern Spencer verdict was par for the course. You can count on the fingers of one hand the number of politicians, police and big businessmen who have ever been convicted of any crime in Jamaica.

Jamaican Police and the country’s legal system now have to prove to cynical Jamaicans that they not only have the will and drive to successfully bring rogue DJs to book but also the numerous rogue policemen, politicians and businessmen still at large. If not, as Kartel’s song ’Sup’m a go happen’ warns Jamaica could be on the brink, like Egypt, like Tunisia before it, of ‘something happening’.

Kartel’s defence team will now prepare to appeal the verdict and the sentence. For them what was unique about this trial was the unprecedented use of digital evidence by the Prosecution. The irony of course is that had Kartel simply used a code to lock his phone the Police could never have got into it to find the incriminating evidence they did. The deejay’s lead attorney Tom Tavares-Finson told me days before the sentencing that he expected Kartel to be sentenced to 35 years. They were already focused on the appeal. Tavares-Finson is hopeful that since he has been requesting and receiving transcripts of the court’s proceedings on a daily basis, he has about 80% of what will be needed to mount the appeal in hand already. He thinks Adidja Palmer stands a good chance of having the guilty verdict overturned by the higher court and his client is of the same mind. As the twitter account known as Adidja A. Palmer @iamthekartel tweeted:

GazaArmy. we nuh deh pon nuh mourning ting .Addi said “Justice how ever long it takes will prevail,a so Haile Selassie sey.”so we a move fwd

POSTSCRIPT: Since the sentencing of Adidja ‘Vybz Kartel’ Palmer and his co-accused on April 3 there have been some interesting developments. The very same day the Police High Command issued a statement detailing among other things the security challenges they had faced in the course of the trial and the numerous “attempts to pervert the course of justice” they had been confronted with. It now is much clearer why they were so determined to put Adidja Palmer behind bars.

Another interesting piece of information came from Shawn Storm’s attorney Miguel Lorne, who revealed that his client had been offered a plea bargain that would have resulted in a much reduced sentence for him. His client turned down the offer, sticking by Vybz Kartel and in the process, also receiving a life sentence.

And yes it’s true. Kartel’s lawyer, Christian Tavares-Finson IS the half-brother of Junior Gong or Damian, Bob Marley’s youngest son. Lead attorney Thomas Tavares-Finson who headed the defence team was once married to Cindy Breakspeare, whose son with Bob Marley he helped raise. Tom and Cindy have two children of their own, Christian and Leah. Incidentally Tavares-Finson Sr. is a highly sought after criminal lawyer with a star-studded list of former clients such as Grace Jones, Gregory Isaacs, Big Youth, Bounty Killer, Mavado, Sean Paul and Shabba Ranks, who retained him to defend them against charges ranging from cocaine possession to ‘using profanity’, a uniquely Jamaican offence. In more recent times Tavares-Finson, also an Opposition Senator, was most wanted Christopher ‘Dudus’ Coke’s lawyer until forced to step aside due to his political obligations.

Tommy Lee Channels Pirate Henry Morgan in Port Royal

Featuring rising dancehall star Tommy Lee’s latest music video shot in Port Royal, Jamaica.

Newest Dancehall star Tommy Lee shooting music video for We Want Paper in Port Royal…

Here’s Tommy Lee, the new star from the Gaza firmament, shooting his latest music video, We Want Paper, in Port Royal. According to his publicity machine:

The song is a special one for the performer who is also the song’s writer. It was penned to inspire youngsters to focus on working hard to achieve financial success. “Youths them a the future, we nuh want no fourteen shooter, fe mess up we dream like Freddy Krueger”, words of encouragement from Tommy Lee. Neighborhood children chorused with the artiste word for word on the set.

By setting the video against the backdrop of Port Royal, once known as the wickedest city in the West, Lee hopes to tune into its history, that of a once wealthy capital of criminality reduced to rubble by an earthquake. The message? The guilty will be punished, crime doesn’t pay.

Interestingly the song is an anti-gun tune and aims to promote education, heterosexuality and materialism if i read the lyrics and images correctly. We want paper, big up all moneymaker… I like it, the production values are great, editing is by fellow musician Wayne Marshall. Incidentally i love the name of his company and its logo, see screenshot below to see what i mean. And immediately below that watch a YouTube video of We Want Paper:

Gaza mi seh!

Aung Suu Kyi’s release, the Gaza situation, and Jamaican dancehall

Free at last! As i write this the world is celebrating the release of Aung San Suu Kyi, held captive for 15 years by the ruthless military government of Myanmar/Burma. What a moment! There aren’t too many women–or men– like Suu Kyi, willing to sacrifice their freedom of movement in the name of moral principle, something completely lacking in politics today. Suu Kyi is an alumnus of my Alma Mater in Delhi, the venerable Lady Sri Ram College, whose initials, LSR, were said to be synonymous with Love, Sex and Romance for male students at Delhi University. Clearly besides being a source of girlfriend material, LSR has also produced stellar leaders with the moral fibre of the redoubtable Aung San Suu Kyi. I think of her as the Orchid of Steel.

Closer to home and the mundane, my daily trod was enlivened yesterday by a Skype interview with an Israeli journalist, Nirit Ben-Ari, who contacted me last week with the following request:

I will be honored and thankful if you interview with me for the article I am writing for Haaretz newspaper on dancehall culture in Jamaica.  I am mainly interested in your interpretation of the term “Gaza” and its possible implication of awareness of global politics. Do you think that the choice of the name “Gaza” represents a political awareness and identification with the underdog?  I am also interested in your view on the global “gaze” on dancehall culture and the dangers of misinterpreting and misunderstanding dancehall culture outside of Jamaica.  What do you think about the dissemination of dancehall images globally?

In response i sent her the paper i had given at the Reggae Studies Conference earlier this year: Eyeless in Gaza (and Gully): ‘Mi deh pon di borderline’;  essentially i was trying to document and comment on the effects of the feud between two of Jamaica’s top DJs, Vybz Kartel (Gaza) and Mavado (Gully) that resulted in the words ‘Gaza’ and ‘Gully’ being spraypainted or otherwise inscribed on surfaces all over Kingston, but also in places like Trinidad, Barbados as well as Brooklyn, London and the generalized Jamaican diaspora. I excerpt a relevant bit from my paper below:

Etymology of ‘Gaza’ in the Jamaican context

It is commonplace in Jamaica for impoverished urban areas to be informally named after locations known globally as war zones. Thus there are locales named ‘Angola’, ‘Tel Aviv’, ‘Vietnam’ and of course ‘Gaza’. In a widely publicized interview between Cliff Hughes, a prominent local journalist, and Vybz Kartel on TV Jamaica’s Impact which aired on November 12, 2009, Hughes asked Kartel why he had chosen the name Gaza for his area, and what the frequently uttered phrase ‘Gaza mi seh’ meant. Kartel who often refers to himself in the third person responded:

“’Gaza mi seh’ means ‘Fight for what you believe in against all odds, against all adversity.’ When I left the Alliance Vybz Kartel came under so much pressure, I said to Black Rhino and others we need to form a group. But we need a perfect name. The first war was just happening in Gaza, Israel was bombarding them but the people were fighting back regardless, and Vybz Kartel said to Laing (Isaiah Laing, prominent promoter associated with the annual Sting show), we’re going to use that name coz it means to me–dem people deh serious and dem nah back down.”

Indeed. Just like Aung San Suu Kyi. She nah back down needa. Interestingly, Kartel steered clear of the reason he felt obliged to look for a suitable name for the Portmore community associated with him, in the first place.  The backstory is an interesting one umbilically connected to the complicated discourse around masculinity and sexuality in Jamaica. Yet the details of why the community of Borderline in Portmore came to be rechristened ‘Gaza’ is one the media had never considered noteworthy enough to mention let alone dwell on.

Those who wish to know more can read my blogpost on the subject where Gaza’s bizarre link to homosexuality in Jamaica is recorded.

But back to yesterday, I can’t tell you how cool it was to be sitting in my living room in Kingston talking directly to Nirit in Tel Aviv, complete with images of ourselves and the rooms we were in. Viva Skype!

Nirit explained that she had wanted to read Carolyn Cooper and Donna Hope’s books on dancehall culture but they weren’t available in Tel Aviv and she had ordered them on Amazon but hadn’t recieved them yet. In the meantime someone referred her to my blog which is why she asked me to help her with the background on the use of the word ‘Gaza’ in dancehall culture. Interestingly Nirit works for an NGO named Gisha “an Israeli not-for-profit organization, founded in 2005, whose goal is to protect the freedom of movement of Palestinians, especially Gaza residents.”



How do you get from Gaza to Ramallah? Play "Safe Passage"

Like Aung San Suu Kyi the Palestinians have had their freedom of movement severely curtailed by the state of Israel. As the Gisha website explains:

Since the 1967 occupation of the West Bank and Gaza Strip, Israel’s military has developed a complex system of rules and sanctions to control the movement of the 3.4 million Palestinians who live there. The restrictions violate the fundamental right of Palestinians to freedom of movement. As a result, additional basic rights are violated, including the right to life, the right to access medical care, the right to education, the right to livelihood, the right to family unity and the right to freedom of religion.

Gisha, whose name means both “access” and “approach,” uses legal assistance and public advocacy to protect the rights of Palestinian residents. Because freedom of movement is a precondition for exercising other basic rights, Gisha’s work has a multiplier effect in helping residents of the occupied territories access education, jobs, family members and medical care.

Funnily Nirit told me that a Palestinian friend of hers got a chance to spend two months in Jamaica and was exulting at the thought of getting away from it all to a tropical island far from the rigours of life in Gaza, only to arrive in Kingston and find the word ‘Gaza’ graffiti-ed all over the city. You can read the first person account of Lisa Hanania’s visit to Kingston here.

Vybz Kartel was certainly aware of and sympathetic to the Palestinian cause but sympathetic is actually too weak a word to describe the admiration he expressed for the people of Gaza in that interview with Cliff Hughes: “…dem people deh serious and dem nah back down” and “’Gaza mi seh’ means ‘Fight for what you believe in against all odds, against all adversity.’” On the other hand i’m not sure how widespread Kartel’s view of the Palestinians is. Could one say that most of Dancehall’s ‘core constituents’ (to use Ragashanti’s apt term) are sympathetic to those ‘trapped in Gaza’? I don’t know.

What i do know is that Jamaican dancehall’s focus on Gaza has had an interesting ripple effect. When i tweeted a few days ago about being contacted by an Israeli journalist about the name Gaza in the Jamaican context one of my tweeple, Sweden-based @johannakey said “I’ve done a story on the same subject. There’s a Swedish song about it here.” The song Real Gaza mi seh! is so addictive i can’t get it out of my head. It’s a beautiful song, in which connections are made between Gaza, the curtailment of Palestinian civil liberties and universal oppression, using the vehicle of dancehall and the refrain “If you kill one of us, you kill all of us…the whole world is Gaza mi seh”. Listen to it below:

Eyes of the world pon the Gaza mi seh

Well dem say Gully, dem say Gaza
dem say Congo and Kinshasa
Everywhere i turn i see pure passa passa
I remember Kid Frost used to talk about La Raza
It’s all tribal war people can’t take it no longer

Hopefully one day the residents of Gaza will–like Aung San Suu Kyi–regain their freedom. Till then Gaza mi seh!

Pressure in Berlin: Will Mr. Vegas’s show be cancelled?

RT @MrVegasMusic: There’s a attack against reggae music,now they want me to meet with the head of police in germany to say I will not sing certain songs. they will also be sending their representative who speak patois to the venue to hear if I am singing certain lyrics, so if I do not meet with the police chief my show will be cancel,what is reggae gone to,the bible said it best,whosoever does not take the mark of the beast 666 will not be able to work,nor buy,nor sell,lord your word is coming to pass.

it does not matter if you sing about them or not, as long as you do reggae or dancehall,u will have to meet with them, we’re now being mocked. I don’t give a hell about these people I do not sing them, their shit is their shit, long as they stay in their lane mi nuh business with them. so it is provoking when you trying to get people involve who has stayed far from this shit.



These heartfelt words come from dancehall singjay Mr. Vegas (one of my favourite ‘artistes’), who is touring Germany right now. Apparently the anti-oral sex crusader (‘Heads High’) is feeling the effects of the international gay rights ‘murder music’ campaign. Mr. Vegas uttered these sentiments on Twitter this morning (Dec. 9) in a series of tweets (which i’ve amalgamated here), each ending with the abbreviation ‘cont.’ to indicate continuation, a clever way of getting around the 140 character limit of the medium. Full marks to Mr. V for adept use of the technology. I tell you–if only our journalists would take a leaf out of his book. This, dear PAJ members, is how news is communicated these days; if you want to keep abreast of what’s going on, you need to tweet.

Because Tweety Bird gets the worm, coz Tweety Bird is the early bird! Will Mr. Vegas go to see the German Police Commissioner? Will his show be canceled (He is scheduled to perform in Berlin tonight)? We watch and wait…

5 pm
And a few hours later another series of tweets from Mr. Vegas apparently after he did the needful:
Read.You are not allowed to do public: Appeals,or statements for, discrimination,violation,hatred,or even murder,offensive or insult. no such statements,no such lyrics,no such gestures,against anyone or community,due to race, color,religion,ideology,political views, opinions,ethic,or social origins or lineage,sexual orientation,gender,disability,genetic,features,age or any other personal community, bound characteristics.to German law and German foundation any people living here are equal.any violation of these principles would be a criminal offense and may lead to an arrest and expulsion and will cause criminal proceedings by official [public] prosecutor. in addition a complete suspension for entering the countries of the European Union may be signed on you.[We will give a report to the authorities of other German cities,it might be the base for the decision of taking measures due to your concerts over the .signed vegas.

so I just took the mark of the beast, I sold out God for vanity and Gold.

    This is ironic because Mr. Vegas is not one of those who utters anti-homosexual lyrics. So as he points out the attack seems to be against the music now, not individual performers guilty as charged.


    Meanwhile here is a video of Mr. Vegas’s hit “I am Blessed”. Some wonderful footage. Hopefully the blessings extend to Germany…

    To the World from Jamaica! Patwa Power Bolts the Stables


    Yes, we can…be worldbeaters! That’s the message from Jamaica’s relentlessly resilient and resourceful underclass who have proven yet again their ability to dominate global competition in the arenas where their lack of English doesn’t hold them back. This is Patwa power (patois or creole, the much reviled and disdained oral language spoken by the majority of Jamaicans) at its most potent: a lithe and flexible force–honed by adversity–flaunting its mastery of the universe of athletics.

    To underscore its point Patwa hurled its most powerful lightning bolt at distant Beijing. Named Usain, this young and irrepressible son of Jamaican soil then re-inscribed forever the significance of the word Bolt. Both English-speaking and Patwa-speaking Jamaicans united in celebrating Usain Bolt’s extraordinary exploits (Gold and world records in Men’s 100m, 200m and the 4×100) and those of the nimble, determined young Jamaican team accompanying him. Over the two weeks of the 29th Olympiad they enthralled global audiences over and over again with their worldbeating skills.

    Portia Simpson-Miller, considered by many patwa-speakers to be their spokesperson, nailed it when she said on radio that the achievements of Jamaican athletes at Beijing made her proud because “what people call ‘ordinary people’ have produced such extraordinary results”. Prime Minister of Jamaica briefly from 2006 to 2007 Simpson-Miller has faced enormous hostility from the English-speaking elites here who would like to continue their hegemonic rule over this small island state in the Caribbean. President of the Opposition People’s National Party she is currently being challenged for leadership by Dr. Peter Phillips, seen by many as representing the highly educated but numerically small middle class and a state of mind known as Drumblair, the equivalent in Jamaica of WASP (White Anglo Saxon Protestant) culture or status in the United States.

    Watching the athletic meet at the Olympics unfold from the vantage point of Kingston, Jamaica was an incredible experience. Raw, naked nationalism at its very best: First we rallied around Samantha Albert, Jamaica’s only entrant in the equestrienne events. Samantha is a white Englishwoman with a Jamaican mother who was born and lived here in her early years. She didn’t stand a chance of medaling, merely hoping to make it to the top 25, yet Jamaicans cheered her on, proud to see their flag in this never before contested event.

    Then there was the first big race, the men’s 100 metres, in which both Bolt and Asafa Powell were gold medal contenders. Alas Powell disintegrated under the pressure; he still came in fifth but his fans were inconsolable. Bolt’s sensational streak to victory helped but by and large Jamaicans were grieving for Powell. He holds a special place in their hearts. It is as if they identify with him. Whereas in the past they used to cuss off Merlene Ottey when she only managed a bronze medal this time the public concern shown for Powell’s morale and well-being in the aftermath of his disastrous run was quite remarkable. When he finally anchored the 4×100 team to victory in fine form, thundering down the closing stretch like Nemesis herself, he had completely redeemed the favoured son spot he had never really lost.

    If Jamaican success at the men’s 100m was tempered with disappointment at not pulling off a trifecta (or even a bifecta) the female athletes delivered perfection by winning gold, silver and silver at the women’s 100 metres. This was an unexpected bonanza. Till now no one had really focused on the female runners or races other than the women’s 200m where Veronica Campbell-Brown was expected to deliver gold. Now the women had successfully grabbed the spotlight and kept it on themselves winning gold or silver in most of their events. In the end, of Jamaica’s 11 medals (six of which were gold) 8 were from women as TVJ’s commentator Bruce James usefully pointed out. One of the sweetest was Melaine Walker’s virtually effortless 400m hurdles gold medal.

    Shelley Ann Fraser (women’s 100m winner), the pocket rocket who shot out of the starting blocks and into our hearts wasn’t even considered a medal contender to begin with. Earlier in the year when Veronica, the defending Olympic 200m winner didn’t qualify for the Jamaican 100m team because she came fourth in the qualifying trials (this shows you how competitive athletics is in Jamaica) there were many who thought one of the unknowns who had beaten her should have stepped down in favour of Campbell-Brown out of deference to her seniority and past distinctions. Fraser was the one many thought should have been eliminated from the Jamaican team to make way for Veronica.

    Maybe that’s what made her run like a cheetah and spring like a moko jumbie but from now on everytime anyone in the world wants to illustrate the concept of delight they should simply replay Fraser’s girlish leaps and bounds when she realized she had won Olympic gold. If the whole world fell in love with that ecstatic brace-filled smile and the spontaneous, unadulterated joy Shelley-Ann Fraser expressed on the track you can imagine how we in Jamdown felt.

    What was hard to imagine even down so (admittedly from uptown down so) was how the parents of these individuals must have felt. Especially when the TV cameras took you to the homes of Shelley-Ann and Sherieka Williams and Sherone Simpson and Melaine Walker and you realized with shock how very poor these people who had produced such champions were. Most of them had watched their sons and daughters winning Olympic silver and gold on very small TV screens, in very humble living quarters, in this ghetto or that one.

    Waterhouse. Slaughterhouse. Powerhouse. That’s what young Shelley-Ann from Waterhouse has reiterated for us in case we didn’t know this already from the abnormal number of successful musicians her community has produced. Virtually 80% of Jamaica’s biggest names in music have come from Waterhouse, one of the poorest ghettoes in Kingston, including the young singer I mentioned in my last blog, Terry Lynn. The area should be declared some sort of national patrimony or Talent Park with free education up to any level for all.

    When asked if she herself had ever displayed any running talent Shelley Ann’s mother said that indeed she had quite a bit of experience sprinting from the police, with the goods she tried to sell as an unlicensed street vendor. She was an experienced runner she said so her daughter’s performance was not that surprising.

    The Ministry of Transport hastened to announce that it was going to upgrade the roadways in all the communities whose athletes had produced Olympic gold. Why? Not so much to elevate these depressed communities as to give them an instant facelift so that when the international media arrived their impoverishment would be less apparent and less of a blight on the brand name of Jamaica! The politics of sports in Jamaica! Or just the politics of politics…

    On a more amusing note page two of the Observer, the social page, suddenly underwent a population transfusion, the beige and white socialites who normally monopolize it abruptly displaced by the almost uniformly dark-skinned athletes. Sigh! If only Jamaica’s business and social elite were one hundredth as nimble and competitive as the country’s athletes! If only they too were worldbeaters!

    Personally I think that the phenomenal performance of Jamaican athletes is also due to the cultural self-confidence they feel; a confidence expressed by Usain Bolt in Beijing’s Bird’s Nest stadium when he spontaneously broke into the Nuh Linga and the Gully Creeper, the latest dance moves innovative Jamaican dancehall music has produced (actually Usain’s trademark gesture of pulling back an imaginary bow and arrow like Orion is now the latest dancehall move here).

    This is not a confidence manufactured by the abjectly self-conscious, respectability-seeking, hymn-singing English-speaking middle classes but one bred out of the flamboyant, boisterous, in-your-face Patwa-speaking population. In the forty years since Jamaica’s independence it is the latter who have proved both through their athletic and musical prowess that they are ready to take on the world. The Beijing Olympics have shown that the world is more than ready for them (minus the prissy IOC head Jacques Rogge who sounds for all the world as if he had been formed in the bowels of Upper St. Andrew). To the World Ja!

    Photo credits, captions
    (L-R) Asafa Powell, Nesta Carter, Usain Bolt and Michael Frater of Jamaica celebrate the gold medal after the Men’s 4 x 100m Relay Final at the National Stadium on Day 14 of the Beijing 2008 Olympic Games on August 22, 2008 in Beijing, China.
    (Photo by Shaun Botterill/Getty Images AsiaPac)

    (L-R) Joint silver medalist Sherone Simpson of Jamaica, gold medalist Shelly-Ann Fraser of Jamaica and Joint silver medalist Kerron Stewart of Jamaica stand on the podium during the medal ceremony for the Women’s 100m Final at the National Stadium on Day 10 of the Beijing 2008 Olympic Games on August 18, 2008 in Beijing, China.
    (Photo by Nick Laham/Getty Images AsiaPac)

    Stepping Through Sweden

    When you’ve been born and brought up in the global South and continue to live there as I do you appreciate visiting places where things work the way they’re supposed to and resources are never a problem; where Plan A is what prevails (instead of constant compromises with Plan B or C); and where human chaos is ordered and contained in artful ways.

    I found myself in Gothenburg, Sweden, the other day attending a two-day meeting at the Museum of World Cultures. After arriving with a swollen leg and no luggage I still had a great time — a tribute to this unusual country and its friendly people.

    I’m a real sucker for sophisticated design, whether graphic or interior, and Scandinavian design is outstanding. So despite the forbidding exteriors of most buildings I found myself in a succession of beautifully designed interiors and luxuriated in them while I could. The colour schemes were as rich and unorthodox as Kanjeevaram saris—a bright orange auditorium, a magenta and pink bathroom, the most elegant fixtures—leading me to radically revise the colours of my blogsite as soon as I got back.


    The Museum of World Cultures itself was a trip. Our conference room was screened off with a unique, superbly designed grill or screen consisting of human figures with outstretched arms and legs balanced on one another. The screen is an artwork created by a Korean artist named Do Ho Suh .

    An exhibition called Fair Fashion drew attention to the costs associated with clothing and keeping up with the latest styles. Although wearing cotton may make us feel virtuous (it’s natural! It’s cool! It’s cheap!) the cost of keeping the world clothed in cotton is actually quite expensive, harmful and unfair to cottonpickers. Some of the facts the exhibition highlighted with the use of imaginatively dressed mannequins were as follows:

    • Cotton is the most water-intensive crop around. In order to grow a kilo of cotton, you need something like 10,000 to 30,000 litres of water.
    • A whole kilo of chemicals and toxins are employed in the production of every single kilo of conventionally grown cotton.
    • Every year 12 million pairs of jeans are sold in Sweden. Each pair weighs approximately 0.6 kg, and consists of 95 % cotton.
    • You need 0.6 k of che­micals and toxins and 12,000 litres of water to manufacture a single pair of jeans.
    • Cotton is grown in over 100 countries. The major producers—China, India, Pakistan, Brazil and Uzbekistan—are responsible for more than 80 % of the world’s cotton production. The global market price has remained rock steady at 60 cents per pound ever since the 1950s. This is mainly due to the fact that cotton-producing countries in the West, along with China and the EU, provide their domestic cotton farmers with various subsidies. As a result of this practice, cotton farmers in other parts of the world are forced to accept the low international market price.

    Another concurrent exhibition “Wild Style” told “the story of how hip-hop came to conquer the world”.

    This was rather fortuitous for me because the reason I was at the Museum of World Cultures to begin with was to attend a meeting of authors and editors of a text titled Creativity, Cultural Expression and Globalization. Volume 3 of the Cultures and Globalization Series published by Sage, London, the Series editors had invited twenty writers and scholars from around the world to participate in the project by contributing chapters highlighting new forms of creativity thrown up by the forces of globalization.

    My chapter, titled “The Turn of the Native: Vernacular Creativity in the Caribbean” discusses the phenomenon of Jamaican music, in particular its current avatar, Dancehall. When my turn came to present my thesis it gave me great pleasure to be able to introduce the subject by citing the Wild Style exhibition that started its documentation of the story of hip hop with the following words: “It all began in August 1973, when a young girl named Cindy Campbell hosted a party at the legendary address 1520 Sedgewick Avenue in West Bronx, New York.”

    As I explained, although the words Jamaica and Jamaican never appear anywhere in this narrative, the party mentioned was at the home of Jamaican migrants and Cindy’s brother, Clive, borrowed the sound system from their father, a Jamaican, to play Jamaican music at the party. Clive is better known today by his DJ moniker, Kool Herc. Everyone knows the rest. The African-Americans at the party were not receptive to dancehall music so Kool Herc started playing soul and funk hits while talking and shouting over the music in the style of Jamaican DJs. Now the party was hopping and voila, hip hop was born.

    As easily as that I had made my case for focusing exclusively on the phenomenon of Jamaican music. As I went on to explain there are not many places in the world where “the masses who have been silent for two thirds of a century” have found their voice(s) as volubly and effectively as in the Caribbean; here, using the medium of music, “low-budget” people persistently neglected by both state and society, have creatively married oral traditions with the most advanced technological innovation to create a highly mobile, popular, indeed, trend-setting, product that is competitive internationally with similar products from the most advanced societies in the world.

    Unfortunately in the society it was created Dancehall has still barely acquired legitimacy although there are signs that this is beginning to change. Last night on the CVM TV current affairs programme ‘Direct’ that usually deals exclusively with political and economic issues, the subject was a recent poll conducted on the subject of Dancehall. The poll conducted by Don Anderson had purported to come up with some amazing findings such as that only a minuscule segment of the population listened to or liked Dancehall compared to Reggae, and that most people thought that dancehall DJs could and ought to do something about the spiraling violence in the country.

    Fortunately Garfield Burford, the host of the programme, then brought on Donna Hope and Ragashanti Stewart, two scholars who have researched the subject of dancehall quite thoroughly and by the time they had disaggregated and queried the questions asked by the Poll you realized how little the pollsters knew about the subject they were claiming to collect information on and how much their ignorance impacted on the quality of the data they had so triumphantly produced. What for example was the distinction being made between Reggae and Dancehall? If another category had been substituted for DJs, say teachers, media stars, politicians or pastors would the answers have been any different? Anderson admitted that the question could have been more precisely framed so that respondents indicated which of these categories they considered most able to influence patterns of violence in Jamaica. Kudos to Burford and Direct for focusing on a subject that is at least as important as tourism and the practically non-existent formal economy.

    Well, there’s much more to say about Sweden. I was only there for four days but when you’ve had a chance to test out the medical system of a country, go shopping there (stores close at 5 pm and one isn’t bombarded with commercials and subliminal messages to shop, shop, shop) and also do the opposite, spend significant time in its premier museum (shops and museums are spaces that are fundamentally opposed I think) you do get a sense of the place and its people. The clinic was fabulously designed with its red brick and tiled lobby, with sculpted walls covered with the most fascinating, provocative three dimensional imagery.

    The system was streamlined and user-friendly, the doctor was kind, what more do you want. And fortunately for me it wasn’t that expensive (I’m still trying unsuccessfully to collect from the expensive health insurance plan I was required to buy in order to get a Swedish visa). I’m much indebted to Anna Thelin, programme coordinator of the Museum, for taking me there.

    The other thing that impressed me was the size of the sidewalks which were as wide as country roads in Jamaica with a lane for bicycles and a separate one for pedestrians, clearly marked. I loved the image of the father and daughter used to indicate the pedestrian lane. Sweden struck me as a place with the resources to live humanely and the imagination and good sense to do so without the bombast and waste we’re used to in this hemisphere. Skol!