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White band win Reggae Grammy x Koffee x Skillibeng

So a white American reggae band called Soja won the Best Reggae album award at the Grammy's? And you care because? You feel Jamaicans are losing reggae because the Grammy's (a white institution) gave their white American man award to a white American reggae band? You blame the Jamaican government for not showing enough love and support to the music because this is the result? But you don't realise you are giving the Grammy's that much power and don't see where the problem lies? Well let me tell you; the problem is within you. I understand the outrage. Jamaicans built the music and are rarely compensated for all the hard graft. There have been countless examples of the music being used by someone else, often to better results because we live in an ignorant and racist Western world. Historically, white reggae artists like The Police or UB40 are able to achieve better results in the white man's world than reggae artists that are far superior to them. Bruno Mars , J
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Remember When Riddims Were King

Before you read, thank you for your interest and hope you enjoy. I actually fleshed it out into a book. You can get your copy from www.nolongstories.com   Now for what you came here for... When Riddims Were King 23rd May 2020 will be remembered in history for one of the most epic events in one of our universe's darkest times. We will never forget the night dancehall kings and former extremely heated rivals, Beenie Man and Bounty Killer, battled on the Verzuz platform built by hall-of-fame producers, Timbaland and Swizz Beatz. An unfiltered, 360-degree view on Jamaican dancehall events was showcased; DJ’s and dancing (Beenie Man’s daughter Desha Ravers) to deejay’s clashing on the same riddims. The latter elements provided the jewels in the night’s highlight reel, and undoubtedly the best thing to happen on the Verzuz series. Word spread like guava jelly within the dancehall community and Jamaican diaspora upon announcement. Not only was it a clash between the longest and fier

Wrote about Dancehall's Deadest Decade (2010-2019)

Before you continue, I'd just like to let you know I wrote a book about the golden '90s dancehall culture. You can get your copy from nolongstories.com First things first; I want it to be known that this is in no way an attack on the music I love. It’s constructive criticism which I hope is a guide towards a better future. Any good relationship requires communication about the good as well as the bad. Right now, I’d describe my relationship with dancehall music as complicated, strained may be more accurate. For the first time in my life, I don’t feel ashamed to say I’m indifferent to the current happenings. How did I get here? Well it’s due to a series of disappointments over the past decade. But before I explain how I arrived here, I’ll give a bit of background about myself. I’m Marvin Sparks, a mid-1980s born-and-raised Londoner (UK) of Jamaican heritage. I have visited Jamaica fifteen times since my first visit in 1990. My dad plays strictly Jamaican music in the car, mu

Top 10 Biggest Dancehall Tunes of 2016 - Fact

People go on about how dead dancehall is, like no one cares for it, but when you consider these people lack major industry experience and resources, these numbers are pretty healthy. Dancehall has always been a hit industry. Hit songs and shows. Talking about sales in this day and age is pretty dead. A problem is people compare dancehall success to hip hop and r&b. Why compare music from a place of 2 million people with one that has 200 million+ people on their own land space? A predominantly independently run and divided scene against one boasting millions of $ of investment from corporates. A genre that relies on foreign territories to sustain it compared to one where homegrown artists can tour home and live well. Dancehall has to be exported but doesn't have to investment to do so yet still survives. Yes, dancehall has punched above its weight in the past, but believe me, it continues to do that. Don't think "Oh, it ain't in the Billboard charts anymore"

Why Hasn't Jamaica Had A One Dance?

For anyone who doesn't know, Drake - One Dance was number 1 in UK for 14 weeks and 10 week in US. It topped the charts in 16 countries. Drake is known as a hip hop artist but he dabbles in other styles of music such as dancehall, r&b and afrobeats. One Dance is a dancehall song which samples a UK funky classic and features afrobeats superstar, Wizkid. Truth is, if a Jamaican dancehall artist made One Dance in 2016 it probably would've been popular in dances but struggled to break through from the dancehall's to the charts. And that's if it wasn't deemed to pop sounding by core Jamaican dancehall DJ's. It could've been one of those rest of the Caribbean hits that does well in New York and the rest of the tri-state, Africa then hits Jamaica on the rebound. Most of those types of songs aren't worth the risk because many of them float in no man's land; not hardcore enough to fit dancehall DJ's sets, and despite its accessibility to the mainst

So, Jamaican Music Is Currently Dominating UK Pop Chart

Based on official UK top 100 singles chart week commencing 15th April 1. Drake featuring Wizkid & Kyla Don't listen to the afrobeats or UK funky claims, Drake made a dancehall song with elements of the aforementioned. But I addressed that in the ' Mis-Appreciation of Jamaican Culture ' post. 2. Sia feat. Sean Paul - Cheap Thrills Sidenote: Song declined by Rihanna 5. Zara Larrson - Lush Life Sidenote: Allegedly a song declined by Rihanna. Not sure how true that is. 10. Rihanna feating Drake - Work (peak chart position 2) 13. Major Lazer feat. Nyla & Fuse ODG- Light It Up (peak chart position 7) Sidenote: Nyla is part of Brick & Lace fame. They dropped one of the best written dancehall pop crossover songs ever in Love is Wicked . I believe she's the singer although she singjay's on this. 26. Justin Bieber - Sorry (peak chart position 1) 39. AlunaGeorge feat. Popcaan - I'm In Control 43. Kygo - Stay (peak chart

(feat. Sean Paul) [the 2016 edition]. The Songs Them So Far

So, Craig David and Kano are having renaissance moments in the UK. "feat. Sean Paul" is also having a bit of a revival. 13 years (yes thirteen years) on from his grand entrance into the mainstream market with the unstoppable dance floor smash "Gimme di Liiight". Obviously, it was followed up by the US #1 " Get Busy ", " Like Glue " and " I'm Still in Love With You  " but in and amongst all of that, Sean Paul became a go-to guy for features to make singles hot. That melodic dancehall wave from a Jamaican was fully in.