Dancehall is a genre of Jamaican popular music that originated in the late 1970s.^[1] Initially dancehall was a more sparse version of reggae than the roots style, which had dominated much of the 1970s.^[2][3] In the mid-1980s, digital instrumentation became more prevalent, changing the sound considerably, with digital dancehall (or "ragga") becoming increasingly characterized by faster rhythms. In the mid-1990s with the rise of dancehall BoboShanti artists, such as Sizzla and Capleton, developed a very strong connection between dancehall and Rastafari.

Dancehall music has come under criticism from international organizations and individuals for its violent and sometimes homophobic lyrics, although the lyrical themes are more varied than simply dealing with slackness and violence.^[4]

History[link]

Dancehall owes its moniker to the Jamaican dance halls in which popular Jamaicans recordings were played by local sound systems. These began in the late 1940s among people from the inner city of Kingston, Jamaica who were not able to participate in dances uptown.^[5] Social and political changes in late-1970s Jamaica were reflected in the shift away from the more internationally oriented roots reggae towards a style geared more towards local consumption, and in tune with the music that Jamaicans had experienced when sound systems performed live.^[6] Michael Manley's socialist People's National Party (PNP) government had been replaced with Edward Seaga's right wing Jamaica Labour Party (JLP).^[3] Themes of social injustice, repatriation and the Rastafari movement were overtaken by lyrics about dancing, violence, and sexuality.^[3][6][7]

Musically, older rhythms from the late 1960s were recycled, with Sugar Minott credited as the originator of this trend when he voiced new lyrics over old Studio One rhythms between sessions at the studio, where he was working as a session musician.^[6] Around the same time, producer Don Mais was reworking old rhythms at Channel One Studios, using the Roots Radics band.^[6] The Roots Radics would go on to work with Henry "Junjo" Lawes on some of the key early dancehall recordings, including those that established Barrington Levy, Frankie Paul, and Junior Reid as major reggae stars.^[6] Other singers to emerge in the early dancehall era as major stars included Don Carlos, Al Campbell, and Triston Palmer, while more established names such as Gregory Isaacs and Bunny Wailer successfully adapted.^[3]

Sound systems such as Killimanjaro, Black Scorpio, Gemini Disco, Virgo Hi-Fi, Volcano Hi-Power and Aces International soon capitalized on the new sound and introduced a new wave of deejays.^[3] The older toasters were overtaken by new stars such as Captain Sinbad, Ranking Joe, Clint Eastwood, Lone Ranger, Josey Wales, Charlie Chaplin, General Echo and Yellowman — a change reflected by the 1981 Junjo Lawes-produced album A Whole New Generation of DJs, although many went back to U-Roy for inspiration.^[3][6] Deejay records became, for the first time, more important than records featuring singers.^[3] Another trend was sound clash albums, featuring rival deejays /or sound systems competing head-to-head for the appreciation of a live audience, with underground sound clash cassettes often documenting the violence that came with such rivalries.^[6]

Two of the biggest deejay stars of the early dancehall era, Yellowman and Eek-a-Mouse, chose humour rather than violence. Yellowman became the first Jamaican deejay to be signed to a major American record label, and for a time enjoyed a level of popularity in Jamaica to rival Bob Marley's peak.^[3][6] The early 1980s also saw the emergence of female deejays in dancehall music, including: Sister Charmaine, Lady G, Lady Junie, Junie Ranks, Lady Saw, Sister Nancy and Shelly Thunder.^[6][8]

Dancehall brought a new generation of producers; Junjo Lawes, Linval Thompson, Gussie Clarke and Jah Thomas took over from the producers who had dominated in the 1970s.^[6]

Digital dancehall and ragga[link]

King Jammy's 1985 hit, "(Under Me) Sleng Teng" by Wayne Smith, with an entirely-digital rhythm hook took the dancehall reggae world by storm. Many credit this song as being the first digital rhythm in reggae, featuring a rhythm from a Casio MT-40 keyboard. However, this is not entirely correct since there are earlier examples of digital productions, such as Horace Ferguson's single "Sensi Addict" (Ujama) produced by Prince Jazzbo in 1984.^{[citation needed]} The "Sleng Teng" rhythm was used in over 200 subsequent recordings. This deejay-led, largely synthesized chanting with musical accompaniment departed from traditional conceptions of Jamaican popular musical entertainment.

Dub poet Mutabaruka said, "if 1970s reggae was red, green and gold, then in the next decade it was gold chains". It was far removed from reggae's gentle roots and culture, and there was much debate among purists as to whether it should be considered an extension of reggae.

This shift in style again saw the emergence of a new generation of artists, such as Buccaneer, Capleton and Shabba Ranks, who became the biggest ragga star in the world. A new set of producers also came to prominence: Philip "Fatis" Burrell, Dave "Rude Boy" Kelly, George Phang, Hugh "Redman" James, Donovan Germain, Bobby Digital, Wycliffe "Steely" Johnson and Cleveland "Clevie" Brown (aka Steely & Clevie) rose to challenge Sly & Robbie's position as Jamaica's leading rhythm section. The deejays became more focused on violence, with Bounty Killer, Mad Cobra, Ninjaman and Buju Banton becoming major figures in the genre.

To complement the harsher deejay sound, a "sweet sing" vocal style evolved out of roots reggae and R&B, marked by its falsetto and almost feminine intonation, with proponents like Pinchers, Cocoa Tea, Sanchez, Admiral Tibet, Frankie Paul, Half Pint, Conroy Smith, Courtney Melody, Carl Meeks and Barrington Levy.

In the early 1990s songs like Dawn Penn's "No, No, No", Shabba Ranks's "Mr. Loverman", Patra's "Worker Man" and Chaka Demus and Pliers' "Murder She Wrote" became some of the first dancehall megahits in the US and abroad. Other varieties of dancehall achieved crossover success outside of Jamaica during the mid-to-late 1990s. Tanya Stephens gave a unique female voice to the genre during the 1990s.

The early 2000s saw the success of newer charting acts such as Elephant Man and Sean Paul, who has achieved mainstream success in the US and has produced several top 10 Billboard hits, including "Gimme the Light", "We Be Burnin'", "Give It Up to Me", and "Break It Off" (a duet with Rihanna). He has also had several #1 singles, "Get Busy", "Temperature" and "Baby Boy" (a duet with Beyoncé).

Dancehall seems to be making a resurgence within the pop market in the late 2000s, namely Christina Aguilera's "Woohoo", Robyn's "Dancehall Queen" and Swan Fyahbwoy.

VP Records dominates the dancehall music market with Sean Paul, Elephant Man, and Buju Banton. VP often has partnered with major record labels like Atlantic and Island in an attempt to further expand their distribution potential particularly in the US market.

Conscious ragga[link]

In 1992, the international backlash to Banton's violently anti-homosexual "Boom Bye-Bye", and the reality of Kingston's violence which saw the deaths of deejays Pan Head and Dirtsman saw another shift, this time back towards Rastafari and cultural themes, with several of the hardcore slack ragga artists finding religion, and the "conscious ragga" scene becoming an increasingly popular movement. A new generation of singers and deejays emerged that harked back to the roots reggae era, notably Garnett Silk, Rocker T, Tony Rebel, Sanchez, Luciano, Anthony B and Sizzla. Some popular deejays, most prominently Buju Banton and Capleton, began to cite Rastafari and turn their lyrics and music in a more conscious, rootsy direction. Many modern dancehall Rasta artists identify with Bobo Ashanti.

Reggae fusion[link]

Reggae fusion is a mixture of reggae or dancehall with elements of other genres, such as hip hop, R&B, jazz, rock and roll, Indian music, Latin music, drum and bass, punk rock or polka.^[9][10] It is closely related to ragga music. The term is also used to describe artists who frequently switch between the dancehall and reggae genres and other genres, mainly rap and R&B. It originated in Jamaica, North America and Europe, and first became popular in the late 1990s.

The culture of dancehall[link]

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Donna P. Hope defines dancehall culture as a "space for the cultural creation and dissemination of symbols and ideologies that reflect the lived realities of its adherents, particularly those from the inner cities of Jamaica."^[11] Dancehall culture actively creates a space for its "affectors" (creators of dancehall culture) and its "affectees" (consumers of dancehall culture) to take control of their own representation, contest conventional relationships of power, and exercise some level of cultural, social and even political autonomy.

Kingsley Stewart outlines ten of the major cultural imperatives or principles that constitute the dancehall worldview. They are:

1. It involves the dynamic interweaving of God and Haile Selassie
2. It acts as a form of stress release or psycho-physiological relief
3. It acts as a medium for economic advancement
4. The quickest way to an object is the preferred way (i.e., the speed imperative)
5. The end justifies the means
6. It strives to make the unseen visible
7. Objects and events that are external to the body are more important than internal processes; what is seen is more important than what is thought (i.e., the pre-eminence of the external)
8. The importance of the external self; the self is consciously publicly constructed and validated
9. The ideal self is shifting, fluid, adaptive, and malleable, and
10. It involves the socioexistential imperative to transcend the normal (i.e., there is an emphasis on not being normal).^[12]

Such a drastic change in the popular music of the region generated an equally radical transformation in fashion trends, specifically those of its female faction. In lieu of traditional, modest "rootsy" styles, as dictated by Rastafari-inspired gender roles; women began donning flashy, revealing – sometimes X-rated outfits. This transformation is said to coincide with the influx of slack lyrics within dancehall, which objectified women as apparatuses of pleasure. These women would team up with others to form "modeling posses", or "dancehall model" groups, and informally compete with their rivals.

This newfound materialism and conspicuity was not, however, exclusive to women or manner of dress. Appearance at dance halls was exceedingly important to acceptance by peers and encompassed everything from clothing and jewelry, to the types of vehicles driven, to the sizes of each respective gang or "crew", and was equally important to both sexes.

One major theme behind dancehall is that of space. Sonjah Stanley-Niaah, in her article "Mapping Black Atlantic Performance Geographies", says

Dancehall occupies multiple spatial dimensions (urban, street, police, marginal, gendered, performance, liminal, memorializing, communal), which are revealed through the nature and type of events and venues, and their use and function. Most notable is the way in which dancehall occupies a liminal space between what is celebrated and at the same time denigrated in Jamaica and how it moves from private community to public and commercial enterprise.^[13][14]

In Kingston's Dancehall: A Story of Space and Celebration, she writes:

Dancehall is ultimately a celebration of the disenfranchised selves in postcolonial Jamaica that occupy and creatively sustain that space. Structured by the urban, a space that is limited, limiting, and marginal yet central to communal, even national, identity, dancehall's identity is as contradictory and competitive as it is sacred. Some of Jamaica's significant memories of itself are inscribed in the dancehall space, and therefore dancehall can be seen as a site of collective memory that functions as ritualized memorializing, a memory bank of the old, new, and dynamic bodily movements, spaces, performers, and performance aesthetics of the New World and Jamaica in particular.^[15]

These same notions of dancehall as a cultural space are echoed in Norman Stolzoff's Wake the Town and Tell the People. He notes that dancehall is not merely a sphere of passive consumerism, but rather is an alternative sphere of active cultural production that acts as a means through which black lower-class youth articulate and project a distinct identity in local, national, and global contexts. Through dancehall, ghetto youths attempt to deal with the endemic problems of poverty, racism, and violence, and in this sense the dancehall acts as a communication center, a relay station, a site where black lower-class culture attains its deepest expression.^[16] Thus, dancehall in Jamaica is yet another example of the way that the music and dance cultures of the African diaspora have challenged the passive consumerism of mass cultural forms, such as recorded music, by creating a sphere of active cultural production that potentially may transform the prevailing hegemony of society.^[17]

Contradictions in dancehall culture[link]

Despite dancehall culture's ability to challenge social inequality, it is a hybridization of American aesthetics and the hardships of Kingston, Jamaica. Kingsley Stewart writes that the "Jamaican cultural model or worldview" has been very influenced by that which it was arguably created to oppose, namely Babylon or the Western influence.^[18] This is seen, in the more obvious sense, in the use of gun talk by artists like Buju Banton and Capleton, or the sporting of bling-bling by "Gangsta Ras" artists like Mavado and Munga.^[19] The term Gangsta Ras, which seeks to reconcile thuggish imagery with Rastafari is an example of how in dancehall, "the misuse of Rastafari culture has diluted and marginalised the central tenets and creed of the Rastafari philosophy and way of life".^[20]

What Kingsley regards as the "socioexistential imperative to transcend the normal" is exemplified by artists like Elephant Man and Bounty Killer doing things to stand out, such as putting on a synthetic cartoonish voice or donning pink highlights while constantly re-asserting one's hypermasculine attributes. Donna P. Hope argues that this trend is related to the rise of market capitalism as a dominant feature of life in Jamaica, coupled with the role of new media and a liberalized media landscape, where images become of increasing importance in the lives of ordinary Jamaicans who strive for celebrity and superstar status on the stages of dancehall and Jamaican popular culture.^[21]

Another point of dissension of dancehall from reggae, and from its non-western roots in Jamaica, is on the focus on materialism. Prominent males in the dancehall scene are expected to dress in very expensive casual wear, indicative of European urban styling and high fashion that suggest wealth and status.^[22] Since the late 1990s, males in the dancehall culture have rivalled their female counterparts to look fashioned and styled.^[23] The female dancehall divas are all scantily clad, or dressed in spandex outfits that accentuate more than cover one's nakedness. In the documentary It's All About Dancing, prominent dancehall artist Beenie Man argues that one could be the best DJ or the smoothest dancer, but if one wears clothing that reflects the economic realities of the majority of the partygoers, one will be ignored.^[24]

Anti-gay lyrics[link]

Since the popularizing of Buju Banton's dancehall song "Boom Bye Bye" in the early 1990s, dancehall music has come under criticism from international organizations and individuals over anti-gay lyrics in a few songs.^[25][26][27] In some cases, dancehall artists whose music features anti-gay lyrics have had their concerts canceled.^[28][29] Various singers have been investigated by international law enforcement agencies such as Scotland Yard, on the grounds that the lyrics incite the audience to assault homosexuals. In 2003, the British LGBT rights group OutRage! called for the arrest of Elephant Man for allegedly inciting the killing of gay men in his song lyrics. He was not arrested.^[30] Buju Banton's 1993 hit "Boom Bye Bye" allegedly advocates the murder of homosexuals by shooting or burning, or both ("like an old tire wheel"). Many of the affected singers believe that legal or commercial sanctions are essentially an attack against freedom of speech.^[31] Some artists eventually agreed not to use anti-gay lyrics during their concerts in Europe and the United States,^[32][33] although some artists, such as Capleton, continue to have their concerts canceled due to the Stop Murder Music campaign.

Donna P. Hope argues that dancehall culture's anti-homosexual lyrics form part of a masculinist discussion that advances the interest of the heterosexual male in Jamaica, which is a fundamentalist Christian and deeply patriarchal society.^{[citation needed]} Even while contemporary dancehall culture in Jamaica sports images of men in pseudo-gay poses and costumes, the cultural, religious, social and gendered imperatives of the society advances and promotes the ideal man as macho and heterosexual and men who are homosexual are identified as inadequate and impure portraits of true masculinity.^[34][35] Dancehall music has played into and with this divide in an extreme and lyrically graphic fashion that has been rendered politically incorrect in many places globally but remains culturally relevant in Jamaica.^[36]

Dancehall dances[link]

The popularity of dancehall has spawned dance moves that help to make parties and stage performances more energetic. Many dance moves seen in hip hop videos are actually variations of dancehall dances. Examples of such dances are: "Like Glue", "Pon de floor", "Pon de Replay", "Tek Weh Yuhself", "Whine Up" (a mix of various genres), "Boosie Bounce", "Drive By", "Shovel It", "To Di World", "Dutty Wine", "Sweep", and "Daggering".^{[37][38][39][40][41]}

References[link]

External links[link]

• Dancehall: the rise of Jamaican dancehall culture
• Dancehall at the Open Directory Project
• Dancehall Videos
• Dancehall News

v t e Reggae Genres Roots reggae · Dub music · Dub poetry · Lovers rock · Dancehall · Reggaeton · Reggae en Español · Reggae fusion · Ragga · Ragga jungle · Samba reggae Characteristics Walking bass · Hammond organ · Reverb · Delay · Deejay (Toasting) · Singjay Related topics Music of Jamaica · Caribbean Music · Caribbean music in the United Kingdom · Reggae in Australia · Reggae Grammy winners 1985-present · Rastafari · Rude boy · Skinhead · Suedehead · Dance Hall (venue) · Dubplate · Sound system (Jamaican) · Sound system (DJ) · Riddim · Jamaican English · Jamaican Patois · Studio One · Trojan Records · Island Records · Blue Beat · Reggae musicians · Dub artists · Jamaican record producers · Reggae festivals

Vybz Kartel
Background information
Birth name	Adidja Palmer
Born	(1976-01-07) 7 January 1976 (age 36) Kingston, Jamaica
Origin	Portmore, Jamaica
Genres	Reggae, Dancehall, Reggae fusion
Occupations	Deejay, songwriter, entrepreneur, lyricist, producer
Years active	2000–present
Labels	Adidjaheim Records
Associated acts	Beenie Man, Aidonia, Elephant Man, Ninjaman, The Alliance, Portmore Empire, Major Lazer & Popcaan, Kano, Vanessa Bling
Website	www.vybzkartel.co.uk

Adidja Palmer (born 7 January 1976)- ^[1][2][3] better known as Vybz Kartel, is a Jamaican dancehall artist, songwriter and businessman. He has many nicknames, including: Addi, The Teacher, World Boss, Kartel, Vybz, Gaza General and Gaza Don.

Biography[link]

Adidja Palmer began his career as a teenager in 1993 with his first recording "Love Fat Woman", released on Alvin Reid's label "One Heart", using the moniker "Adi Banton", a homage to Buju Banton.^[4] Palmer was later part of the three-member group "Vybez Cartel", keeping the slightly altered name after group split up, and became a protege of Bounty Killer, for whom he claims to have written nearly 30 songs, including "Gal Clown".^[5]

Vybz Kartel rose to prominence in 2003 after a string of hits in Jamaica. The year culminated in a pre-planned on-stage clash with Ninjaman at the annual dancehall festival Sting in Kartel's hometown of Portmore. The clash turned violent when Kartel's crewmembers, as well as Kartel himself, threw punches and assaulted Ninjaman onstage.^[6] While Kartel's manager initially blamed Ninjaman for the fracas,^[6] Kartel himself quickly apologised to Ninjaman and Sting organizers for the fracas.^[7] Four days after the incident, the two artists appeared before the press to announce a settlement of their differences and to end any animosity.^[8]

He established his own label Adidjahiem/Notnice Records with his business partner and producer Ainsley "Notnice" Morris.^[9] In 2010, he released his album Pon Di Gaza 2.0 on Adidjahiem/Notnice Records in collaboration with Tads Record Inc.^[10] In Spring 2011, Vybz Kartel released an album entitled 'Kingston Story' with Brooklyn hip hop/electro producer Dre Skull.^[11]

Kartel has worked on collaborations and remixes with hip hop and R&B musicians Jay-Z, Rihanna, Missy Elliott, Busta Rhymes, M.I.A, Pharrell, Kardinal Offishall, Akon, Jim Jones, Lil Wayne and Eminem.

In 2009 he had succeeded internationally with his hit song featuring a popular female Jamaican Deejay 'Spice' - "Ramping Shop" debuting on the Billboard Top 100 Singles charts,^[12] and "Dollar Sign" being in regular rotation on urban radio stations in the US.^[13] His 2010 single "Clarks" was one of his biggest international successes, remaining in the top 3 Reggae Singles gaining the most radio plays in North America for 40 weeks.^[14] "Clarks" was also featured on the TV series So You Think You Can Dance Canada,^[15] and on a CNN segment on dancehall dance.^[16] MTV's Vice Guide to Dancehall featured Kartel at his weekly dance party, Street Vybz Thursday.^[17]

After splitting with Bounty Killer-led Alliance in 2006, Kartel founded the Portmore Empire, a group of dancehall deejays and singers from his Portmore neighborhood that he signed to his newly founded Adidjahiem/Notnice Records. Members of the group as of 2011 were: Popcaan, Shawn Storm, Sheba, Gaza Indu, Tommy Lee, Singing Maxwell, Singa Blinga, Lenny Mattic. Former members include Lisa Hype,^[18] Gaza Kim,^[19] Black Ryno,^[20] Jah Vinci, Dosa Medicine and Merital Family^[21].

Feud with Mavado[link]

Towards the end of 2006, Vybz Kartel left The Alliance. Tensions arose following Kartel's continued association with Bounty Killer's longtime enemy, Beenie Man, including Kartel attending Beenie Man's wedding to Bounty Killer's ex-girlfriend D'Angel.^[22] Due to Kartel's defection from The Alliance and his 'parring' (fraternising) with Beenie Man, a series of songs and counteraction songs ensued - the main proponents being Kartel and Mavado.

A very public feud between Vybz Kartel and former collaborator Mavado arose towards the end of 2006, stemming from Vybz' much publicized departure from the dancehall conglomerate group The Alliance. The feud resulted in numerous diss tracks released, in which each artist dissed the other and their associates over popular dancehall rhythms.^[23] In a police-overseen press conference in March 2007, both Mavado and Vybz Kartel publicly announced an end to hostilities and apologized to fans.^[24]

However, by the summer of 2008, tensions flared with a renewal of "diss tracks" from each artist, and a lyrical clash between the two at Sting 2008 left mixed views as to the "winner".^[25][26] Most of 2009 saw a continuation of the public feud, which dominated Jamaican media and, to a certain extent, Jamaican culture, with the two artists' factions, Gaza (Kartel) and Gully (Mavado), being adopted by Jamaican youth, in some cases leading to street violence.^[27][28]

On 8 December 2009, Kartel and Mavado met with Jamaican Prime Minister Bruce Golding in an attempt to end the feud, which had by that time fueled mob attacks in some of the inner-city neighborhoods of Kingston.^[29] The two had performed together on-stage the previous night in a sign of goodwill at the West Kingston Jamboree, a concert promoted by drug lord^[30] Christopher "Dudus" Coke.^[23] After the truce in December 2009, the two artists were scheduled to perform a unity concert March 2010 in Barbados, which was later cancelled by the prime minister of that country.^[31]

Business[link]

In 2008, Vybz Kartel launched his own liquor line Street Vybz Rum. He hosts a weekly dance party Street Vybz Thursday, at the Building, Kingston nightclub he manages with Street Vybz Rum business partner Corey Todd.^[32] The rum is officially distributed by Vybz Distillers Limited. The same year, he also released his own condom line, Daggering Condoms.^[33] Kartel's goal for 2011 is to release his own shoe line named Addi's, as well as his own line of "cake soap".^[34]

When his singles "Clarks", "Clarks 2 (Clarks Again)" and "Clarks 3 (Wear Weh Yuh Have)" featured the British shoe brand Clarks in 2010, its sales numbers and prices in Jamaica increased considerably.^[35]

Vybz Kartel has also hosted his own reality television show "Teacha's Pet" on CVM Jamaica broadcast channel, the first reality television show hosted by a dancehall artist in Jamaica. The premise of "Teacha's Pet" finds 20 women living in a Kingston house vying for the artist's affection; the show's lascivious content elicited condemnation of its sponsor, telecommunications company LIME. The show came to a halt with the artist's arrest on murder charges in September 2011.

Controversies[link]

Whitening[link]

Vybz Kartel's Skin before and after he bleached his skin

Kartel has come under controversy over perceived skin whitening, or "bleaching", leading him to claim to the use of "cake soap" to lighten his skin.^[36][37] The Blue Power Group, Jamaican manufacturer of the popular cake soap (or "blue soap"), has refuted claims it changes skin color.^[38] Kartel then stated the soap used to lighten his skin was his own brand, which he intends to release on the local market.^[34]

Airwave Ban[link]

In September 2011 the National Communications Network of Guyana banned Vybz Kartel from the airwaves—the first such action against a specific artist. His music contained "obscene lyrics" and brought "nothing positive" to the entertainment industry, said NCN spokesman Martin Goolsarran (Wednesday, Sept 21st) after a week of internal debate. He said NCN was reviewing the lyrics of other musicians and could ban them as well. In fact the government had no problem with Kartel, its Tourism Ministry inviting him to an August music festival, but he angered it and Guyanese promoters when he failed to show up.^[39]

Murder charge[link]

Vybz Kartel being arrested in October 2011

On 29 September 2011, Kartel was arrested by police. Jamaica's Major Investigation Taskforce (MIT) charged him with murder, conspiracy to murder and illegal possession of a firearm. The deceased was Barrington 'Bossie' Burton, a 27-year-old businessman and music promoter based in the Kingston suburb of Portmore. They first visited Kingston's Norbrook community where the DJ resides, then went to a property on Swallowfield Avenue in Kingston's Havendale area. That residence was the scene of a fire several weeks ago; a scorched computer hard-drive and several boxes were removed. They then drove to Portmore to a home purportedly owned by Kartel's mother, where a number of items were similarly confiscated. Kartel was detained for the weekend in relation to a partially burned, decomposing body found inside the Swallowfield Avenue home.^[40]

Kartel was granted bail for the Burton murder 23 March 2012 for JD$3,000,000, but currently remains jailed in connection on a second murder, of one Clive 'Lizzard' Williams.^[41]

Discography[link]

Albums[link]

• 2003: Up 2 Di Time
• 2004: More Up 2 Di Time
• 2005: J.M.T.
• 2009: Most Wanted
• 2010: Pon di Gaza 2.0
• 2011: Kingston Story

Singles[link]

Guest appearances[link]

Awards[link]

Kartel has had several collaborations with international hip hop and pop stars. He has released two albums for the UK/US based label Greensleeves Records. He was also nominated for the Source,^[43] VIBE and UK MOBO awards, although his 2004 UK MOBO award nomination was withdrawn amidst controversy over homophobic content of his lyrics.^[44]

• 2003
  • Stone Love's 30th Anniversary
    • DJ of the Year 2005

• 2008
  • CUMA (Caribbean Urban Music Awards)

• 2009
  • EME Awards^[45]
    • Male DJ of the Year
    • Lyricist/Songwriter of the Year
    • Song of the Year (Romping Shop ft. Spice)

• 2010
  • EME Awards^[46]

References[link]