Jamaica’s highly competitive Dancehall is a tricky stage, with many artistes reigning at different levels, many enjoying good earplay and eyeplay, many holding on and holding out for decent runs, but few rising to its highest heights to claim supreme dominance as one of two most celebrated artistes of an era.
Adidja “Vybz Kartel” Palmer, who had earlier enjoyed immense popularity in the Dancehall, and was very influential in Portmore, rose forcefully to the highest levels of Jamaica’s Dancehall with his carefully crafted controversial move at Sting 2003.
It was his time and he would not wait. And so, in one violent moment of a fracas with Ninja Man on the Sting stage, the lyrical phenomenon that would energize Dancehall for another eight years and beyond was born. For many, the long-standing dominance of the celebrated Dancehall arch-rivals, Beenie Man and Bounty Killer, was at an end and a new breed, the progeny of Bounty Killer, had entered the fray.
Kartel with his Portmore Empire/Gaza emerged as the arch-rival of Mavado, with his Gully crew and the fans were ready for the new releases and clash itunes that did follow in its wake. In my 2009 Dancehall/Violence study, Vybz Kartel was ranked No. 1 as the Most Popular Dancehall Artiste at that time, as well as No. 1 as their Most Favourite Dancehall Artiste – by the sample of youth respondents 15-24 years old. Kartel was indeed Dancehall’s superstar.
What is clear, is that Kartel’s gimmickry, clever manipulation of the media and deliberate gravitation towards carefully selected deviant and socially controversial issues aided in his maintenance of his dominance at the top of Dancehall. And he capitalized on this dominance by carefully orchestrated entrepreneurial forays – Vybz Rum, Daggering Condoms, The Building, Cake Soap brand, Teacha’s Pet reality show and so on. Ten years beyond Sting 2013 and multiple staged controversies later – Gully/Gaza Feud,Daggering Controversy, Cake Soap/Bleaching Controversy, Braided Hair, Clarks Shoes Hype, the LIME sponsored Teacha’s Pet reality series to name a few, this Dancehall King is still hanging on to his throne – but by a single thread. Even with a few regular and carefully placed releases, his physical absence from the stages and places of Jamaican Dancehall, is felt – as he is locked away after being examined in a long 65 day trial which found him guilty on March 13, 2014. How did it come to this?
Kartel’s fall came as he crested what his adoring fans saw as his rising waves of mega-superstardom. Riding high on his multiple musical and impressive entrepreneurial successes, by 2011 Kartel’s propensity to publicly articulate and boast about his dominance and so-called control over his lesser minions had reached its heyday. Assured in his superstardom, with multiples of adoring female and youthful fans across the world, buoyed by rising waves of multiple income streams, and confident that it would never end, Kartel’s celebrity persona had expanded to the point where his role as a highly controversial Dancehall artiste became blurred with his deliberate and non-musical scathing attacks on individuals and groups. Something to the effect that “Yes, he was supreme, he had control over people and no one could stop him, after all it was about the music and the hustle and life…and so on and so forth”. And so, came the inevitable fall.
On Friday, September 30, 2011 six days after his reality show Teacha’s Pet debuted on CVM Television, Kartel
(and others) were arrested by the police on minor marijuana possession charges. But a few days later, more serious charges of murder, conspiracy to murder and illegal possession of a firearm were laid at his feet. Even with several of these charges dropped, Kartel was found guilty for the murder of Clive Williams and may face a minimum of 25 years to life imprisonment. And how is Dancehall faring?
Kartel, Dancehall’s superstar, has clung almost desperately to his dominance even while incarcerated. I stood at Sting 2011, just a couple months after his incarceration, and his absence was palpable. Just the mention of his name by any artiste, or the uttering of his signature “uhuh uhuh”, or a direct or veiled reference to “cake soap” drew roars from the Sting 2011 crowd: not to mention the then popular “Free Kartel, Free di Teacha”. And stellar performances from Kartel’s progeny, Popcaan and Tommy Lee showcased what many felt was the rise of Kartel’s Portmore Empire – perhaps spurred on by his absence? It was the same at Sumfest 2012 with Tommy Lee enjoying massive support, while Kartel copies abounded in song and gesture. Kartel and his Portmore Empire ruled. But even with impressive early sparks from HotSkull Popcaan, and his exciting bout at Sting 2011, Tommy Lee’s demonic movements and spotlight in the media glare in 2012 and Gaza Slim’s limited forays among others, the Portmore Empire has failed to capitalize on the captive audience left yawning for more from the Kartel camp. I, like many others, am disappointed. Even with a foot in the door, the talented Portmore Empire has not lived up to its Emperor’s standard. But then again, very few artistes can stand the intense glare of the media hype, spotlight and controversy that accompanies Dancehall superstardom and Kartel in absence still represents the Portmore Empire. Indeed, at the end of 2013 of the Top Ten songs on Richie B’s Top 25 Dancehall Singles chart Kartel held the No. 1, 5 and 8 spots with Business, School and Hi respectively while Tommy Lee Sparta held No. 6 with Nuh Mek Mi Feel (Bududup).
Now, with the advance of 2014, and as the very public and popular trial of Kartel gathered steam, things began to wear thin. Yes, there were still (dwindling) groups of Kartel and Portmore Empire fans, curious onlookers and media personnel lining the streets in front of the courthouse in Downtown, Kingston each trial date. And there were multiple and often controversial reports from the print, electronic and social media regarding proceedings at the trial leading up to the verdict. But Kartel is getting dim in the minds of many of his fans. His selective releases from behind prison walls receive attention, but less traction… and fewer accolades. Now I hear whispers from amongst his youthful fans – many from Portmore…the Teacha should not have gotten that mixed up.Him too bright fi dat. With all the wonderful opportunities in his hand…his name should not have even been mentioned….focus on eating ah food. At the 30th staging of Sting at Jamworld on Dec. 26, 2013, mentions of “Free Kartel” received nary a whimper. Next?
Vybz Kartel, Dancehall’s superstar and the darling of Dancehall’s youth audience has been missed by his adoring fans and long. After all, popular cultures, popular music and related formations are more than the sum total of those who create them. Dancehall is no different. Dancehall has a yawning vacuum, a missing persona, a dominant voice. Fans hang on to memories of Kartel’s greatness, his lyrical prowess, his fearlessness, his hustle mentality, and his love for controversy – and Dancehall lingers and pauses – searching for he who will rule and call an arch-rival into being.
The ghost of Vybz Kartel, Addi di Teacha still lingers…but without his presence, on stage, on the mike and in the midst of his fans, he fades daily. Who will rise to the fore? Some say Alkaline, some say Kalado… But, we have not yet seen the new Dancehall superstar and so, like you, we wait with bated breath. Until then, uhuh uhuh.
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Jamaica’s highly competitive Dancehall is a tricky stage, with many artistes reigning at different levels, many enjoying good earplay and eyeplay, many holding on and holding out for decent runs, but few rising to its highest heights to claim supreme dominance as one of two most celebrated artistes of an era.
Adidja “Vybz Kartel” Palmer, who had earlier enjoyed immense popularity in the Dancehall, and was very influential in Portmore, rose forcefully to the highest levels of Jamaica’s Dancehall with his carefully crafted controversial move at Sting 2003.
It was his time and he would not wait. And so, in one violent moment of a fracas with Ninja Man on the Sting stage, the lyrical phenomenon that would energize Dancehall for another eight years and beyond was born. For many, the long-standing dominance of the celebrated Dancehall arch-rivals, Beenie Man and Bounty Killer, was at an end and a new breed, the progeny of Bounty Killer, had entered the fray.
Kartel with his Portmore Empire/Gaza emerged as the arch-rival of Mavado, with his Gully crew and the fans were ready for the new releases and clash itunes that did follow in its wake. In my 2009 Dancehall/Violence study, Vybz Kartel was ranked No. 1 as the Most Popular Dancehall Artiste at that time, as well as No. 1 as their Most Favourite Dancehall Artiste – by the sample of youth respondents 15-24 years old. Kartel was indeed Dancehall’s superstar.
What is clear, is that Kartel’s gimmickry, clever manipulation of the media and deliberate gravitation towards carefully selected deviant and socially controversial issues aided in his maintenance of his dominance at the top of Dancehall. And he capitalized on this dominance by carefully orchestrated entrepreneurial forays – Vybz Rum, Daggering Condoms, The Building, Cake Soap brand, Teacha’s Pet reality show and so on. Ten years beyond Sting 2013 and multiple staged controversies later – Gully/Gaza Feud,Daggering Controversy, Cake Soap/Bleaching Controversy, Braided Hair, Clarks Shoes Hype, the LIME sponsored Teacha’s Pet reality series to name a few, this Dancehall King is still hanging on to his throne – but by a single thread. Even with a few regular and carefully placed releases, his physical absence from the stages and places of Jamaican Dancehall, is felt – as he is locked away after being examined in a long 65 day trial which found him guilty on March 13, 2014. How did it come to this?
Kartel’s fall came as he crested what his adoring fans saw as his rising waves of mega-superstardom. Riding high on his multiple musical and impressive entrepreneurial successes, by 2011 Kartel’s propensity to publicly articulate and boast about his dominance and so-called control over his lesser minions had reached its heyday. Assured in his superstardom, with multiples of adoring female and youthful fans across the world, buoyed by rising waves of multiple income streams, and confident that it would never end, Kartel’s celebrity persona had expanded to the point where his role as a highly controversial Dancehall artiste became blurred with his deliberate and non-musical scathing attacks on individuals and groups. Something to the effect that “Yes, he was supreme, he had control over people and no one could stop him, after all it was about the music and the hustle and life…and so on and so forth”. And so, came the inevitable fall.
On Friday, September 30, 2011 six days after his reality show Teacha’s Pet debuted on CVM Television, Kartel
(and others) were arrested by the police on minor marijuana possession charges. But a few days later, more serious charges of murder, conspiracy to murder and illegal possession of a firearm were laid at his feet. Even with several of these charges dropped, Kartel was found guilty for the murder of Clive Williams and may face a minimum of 25 years to life imprisonment. And how is Dancehall faring?
Kartel, Dancehall’s superstar, has clung almost desperately to his dominance even while incarcerated. I stood at Sting 2011, just a couple months after his incarceration, and his absence was palpable. Just the mention of his name by any artiste, or the uttering of his signature “uhuh uhuh”, or a direct or veiled reference to “cake soap” drew roars from the Sting 2011 crowd: not to mention the then popular “Free Kartel, Free di Teacha”. And stellar performances from Kartel’s progeny, Popcaan and Tommy Lee showcased what many felt was the rise of Kartel’s Portmore Empire – perhaps spurred on by his absence? It was the same at Sumfest 2012 with Tommy Lee enjoying massive support, while Kartel copies abounded in song and gesture. Kartel and his Portmore Empire ruled. But even with impressive early sparks from HotSkull Popcaan, and his exciting bout at Sting 2011, Tommy Lee’s demonic movements and spotlight in the media glare in 2012 and Gaza Slim’s limited forays among others, the Portmore Empire has failed to capitalize on the captive audience left yawning for more from the Kartel camp. I, like many others, am disappointed. Even with a foot in the door, the talented Portmore Empire has not lived up to its Emperor’s standard. But then again, very few artistes can stand the intense glare of the media hype, spotlight and controversy that accompanies Dancehall superstardom and Kartel in absence still represents the Portmore Empire. Indeed, at the end of 2013 of the Top Ten songs on Richie B’s Top 25 Dancehall Singles chart Kartel held the No. 1, 5 and 8 spots with Business, School and Hi respectively while Tommy Lee Sparta held No. 6 with Nuh Mek Mi Feel (Bududup).
Now, with the advance of 2014, and as the very public and popular trial of Kartel gathered steam, things began to wear thin. Yes, there were still (dwindling) groups of Kartel and Portmore Empire fans, curious onlookers and media personnel lining the streets in front of the courthouse in Downtown, Kingston each trial date. And there were multiple and often controversial reports from the print, electronic and social media regarding proceedings at the trial leading up to the verdict. But Kartel is getting dim in the minds of many of his fans. His selective releases from behind prison walls receive attention, but less traction… and fewer accolades. Now I hear whispers from amongst his youthful fans – many from Portmore…the Teacha should not have gotten that mixed up.Him too bright fi dat. With all the wonderful opportunities in his hand…his name should not have even been mentioned….focus on eating ah food. At the 30th staging of Sting at Jamworld on Dec. 26, 2013, mentions of “Free Kartel” received nary a whimper. Next?
Vybz Kartel, Dancehall’s superstar and the darling of Dancehall’s youth audience has been missed by his adoring fans and long. After all, popular cultures, popular music and related formations are more than the sum total of those who create them. Dancehall is no different. Dancehall has a yawning vacuum, a missing persona, a dominant voice. Fans hang on to memories of Kartel’s greatness, his lyrical prowess, his fearlessness, his hustle mentality, and his love for controversy – and Dancehall lingers and pauses – searching for he who will rule and call an arch-rival into being.
The ghost of Vybz Kartel, Addi di Teacha still lingers…but without his presence, on stage, on the mike and in the midst of his fans, he fades daily. Who will rise to the fore? Some say Alkaline, some say Kalado… But, we have not yet seen the new Dancehall superstar and so, like you, we wait with bated breath. Until then, uhuh uhuh.
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