BY JACQUELINE CHARLES, JCHARLES@MIAMIHERALD.COM
As the DJ raps over the stuttering tracks, partygoers show no sign of the anxiety bubbling in this Caribbean cultural capital over the future of dancehall reggae, one of the island’s chief musical exports. Its sagging status seems particularly poignant as the nation looks back at how its music has evolved over a half century of independence.
“It’s hormonal music. It’s young, feisty, anti-parent, youthful,” said Josef Bogdanovich, who runs a recording studio in West Kingston and is one of the few still gambling on the island’s signature, dancehall reggae. “Dancehall is real street and it’s real tough.”
After years of surging in popularity and enjoying mainstream U.S. radio airplay success in the ’90s, the music born in the underbelly of Jamaica’s urban culture in the 1970s as an edgy derivative of reggae is hitting a sour note as some of its biggest international stars — Buju Banton, Vybz Kartel and Busy Signal among others — fight criminal charges and others face visa revocations and canceled concerts.
Much like the drama that encircled hip-hop in the 1990s, dancehall reggae is accused of nurturing slackness, glorifying violence and negatively influencing a whole new generation of Caribbean youth with its sexually explicit, sometimes violent, homophobic lyrics. International organizations and gay rights groups have long complained that the music, known to celebrate the murder of gay men, incites anti-gay violence.
Now Jamaican culture critics are calling for a cleanup amid dwindling records sales here and in the U.S., and the increasingly bad rap it’s getting. Some blame artists’ legal troubles for the negative vibes, while others say what’s happening in dancehall is a larger reflection of Jamaican society and its highly competitive, unorganized music industry.