For those of you living in foreign or those of you who only listen to AM radio or to your Katy Perry playlist in your car, there is a debate going on about whether dancehall music, specifically local dancehall music, should be played at fetes during the carnival season.

Part of the genesis of this whole issue is that DJs are playing this “Gun Man in She Hole” song from Trinidad Killa in parties. Now I don’t blame Trinidad Killa, if it was me I was milking it too. As the old people say, “if you make yourself a jackass there will always be somebody to ride you”.

Let me weigh in on this from my perspective. First of all, “Gun Man in She Hole” is an assault on people’s senses. The song is devoid of proper lyrics. Not even the “tring-gum” lyrics sensei Iwer George (and I real like Iwer) has stooped to this level. If it wasn’t for the popular hymn melody or the inadvertent advertising from an activist/politician/ok let me stop there, it probably wouldn’t have reached anywhere.

The way things are in the country right now, people must have an issue with a song that seems to glorify the very scourge that has us feeling like we’re under seige by these pests. It doesn’t help that this seems to be the Zesser party anthem. I rather listen to the worst soca tune than any of them zess songs, except the “Dy Zess” soca song from Trinidad Killa, dy vibes.

People make the argument that for years even the soca artistes themselves have been bastardizing the ting by bringing artistes from other genres to perform at their concerts. We all know who the biggest culprit is and we all know it’s the only way the patrons could justify to themselves paying the exorbitant ticket prices when they get little more than what they get in a regular cooler fete. People always go that fete to see who coming this time.

Carnival is such a short season, shouldn’t we focus on our national music during that time? Don’t get me wrong, collaboration with an artiste from another genre on a soca rhythm is excellent but to bring them to wholesale sing their own rap, dancehall, R&B or Mongolian throat music like Sheldon Cooper is just plain wrong. You have whole year for that!

Other people say that soca has devolved into a pseudo R&B genre and the youth want to party and get on bad. Here is where I am in total agreement. Everything can’t be all-inclusive, social networking, making babies type music. Some people want to leave the party with “sweaty-back” and that one bead of sweat running down the side of their temple like they now finish recess in primary school. In the last few years power soca has been treated like the wicked step-grandchild that granny ketch going through her purse.

Back in the day fetes like Licensing, WASA, Brass, Fire, Customs were the big power fetes. These fetes were the heart beat of the carnival. Which raises the question, was it that these big power fetes went into extinction because power soca faded or did power soca fade because these big power fetes went away?

Anyway, enough of this musing on a Friday morning. Tomorrow morning we’re at illuSions Black 2 Blue Breakfast Party for TANA’s Log and then tomorrow night we’re at Undercover Cooler Party for Feting with Tana on CNC3. Just know that at both, if any local dancehall comes on I will be taking the knee, in Colin Kaepernick fashion, just like that bloke in the video circulating on the interwebs.

TANA

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