Vybz Kartel: Alien?
In December, 2008 Vybz Kartel uttered some of the most prescient lyrics of his career: “mi a di las’ man standing” . This declaration was made after battling Mavado at the annual Sting stage show in Jamaica and it set the stage for what was to follow in terms of his uncompromising dominance of dancehall. The lyrics of the song were situational at the time but in the same vein predictive of the artist’s dominance to come and the song was a prelude to the story of Vybz Kartel’s journey from superstar deejay to king of the hill, from king of the hill to sovereign of the dancehall mountain and from the mountain he made himself into a cosmic phenomenon — the standard. This standard would soar through the ether of dancehall culture lyrically, creatively and stylistically.
Vybz Kartel has always been a stellar lyrical talent but after a protracted battle and ultimate victory over Mavado if only in strength and length of catalogue and breadth of creativity, his ascendancy became more pronounced. Vybz Kartel is a great lyrical talent but one of the most crucial matters that sets him apart from the competition is the character that is Vybz Kartel. I remember Vybz Kartel doing a “public lecture” at the University of the West Indies (UWI) shortly before he went to jail for murder. I could not be more than 30 to 40 meters away from the artist but was unable to see him but not for the projector screen, such was the magnitude of the frenzy that Vybz Kartel brought. I have seen other popular artists appear at UWI but never before had I experienced such excitement from students to get a glimpse of an artist or any personality on campus. It was in or around this moment or period that I feel Vybz Kartel transitioned from an interesting and talented artist to a phenomenon. In the context of the artistic expression that was happening adjacent to him and the relativity between such expression and his scope, interwoven with his appeal and impact on the dancehall public and culture at large, Vybz Kartel at some point might have become certifiably extra-terrestrial.
Vybz Kartel formed the crew Gaza — an association of artists including Vybz Kartel himself. Calling the crew or group Gaza is a very strong statement and can be metaphorically interpreted as a strong battle cry for revolt or rebellion against the state of affairs generally and in particular as an aggressive lunge to upset the prevailing status quo in the music industry. Even the contrast of Gaza in relation to The Alliance (a group of artists lead by Bounty Killer at the time) expresses a sort of intellectual astuteness while still demonstrating a confrontational nature and willingness to take on and upset the apple cart in dancehall. And also in the most mundane of circumstances the social commentary and political implications of the name “Gaza” are far reaching. One can therefore imagine what the result might have been had Vybz Kartel not become undone by his legal woes — could he have physically been on the world stage and had he been able to move around and just have the optics of “Gaza versus the world” on an international stage however politically benign the lyrics might be in real terms.
Vybz Kartel is like a Macbeth of dancehall in that he rose to such influence and acclaim in the culture but he’s done himself and the spirit of the culture harm. For many people there is still a justifiable repulsiveness to him in terms of the actual person Adijah Palmer who projects the character Vybz Kartel. It can be difficult to reconcile the acceptance and celebration of his talent in the face of the heinous act of murder which he is convicted for. I have no defence for this; I find it difficult to justify celebration of Vybz Kartel’s talent when juxtaposed with his life’s indefensible transgression against society, so I don’t. For some including myself, it is a situation where people try to celebrate the music of the artist Vybz Kartel separate from the individual, Adijah Palmer. Maybe it’s like the way Macbeth’s actions made for richer story, Vybz Kartel’s art has contributed to enriching the culture. And on that point his creative ingenuity is incomparable and he expanded the appeal of the genre.
With all the credit to his name and the sanctions and punishment society has imposed on him, it would appear the laws of nature itself have it out for Vybz Kartel. Just think, Alkaline is being compared to him. People are using both their names in the same sentence and being serious about it.
Vybz Kartel’s work in dancehall is so dominant it serves as a tour de force like no other and for the better part of his time on the music scene he has been one step further and continually a cut above. Even while he is physically absent he still is one of the most relevant artists giving dancehall its buoyancy and hovering over an industry which at times is mired in a poverty of invention while he remains distinct with his wealth of creativity. If one thinks the genre stands on its own without Vybz Kartel at this current moment, remove him from that equation, then try and see how well you fare in balancing it. In today’s dancehall it’s doubtful any artist has as strong a gravitational pull as Vybz Kartel. He is one of the most emulated in the genre at this moment and he pulls the field along with the force of Niburu. Sagan can now truly relax because his [Vybz Kartel’s] cyphers have reached species outside the galaxy and SETI is in for quite a thrill. All things considered, Vybz Kartel has long moved beyond the office of king or any other spatial governing title. Kings are seasonal. He is a step further; in the context of dancehall Vybz Kartel is gravity. That is just how ubiquitous his influence and impact is. He has left the field in the red and created a blue ocean for himself and anyone who tries to follow these currents sails asunder or drown.
