Following the premiere of the Bad Like Brooklyn Dancehall documentary at the recently held Tribeca Film Festival, Dancehall megastar Shaggy took to Instagram to reflect on the film’s largely positive reception while celebrating the genre that made it all possible.

Shaggy wrote: “This genre is a genre that has been fruitful to so many, but not without hard work, sacrifice and breaking down barriers. This documentary is a small part of the story of what I today call Dancehall.”

The It Wasn’t Me singer, who also served as Executive Producer on the film, continued: “This documentary shows that in each territory there’s a story and there are players and contributors to its overall success, some of whom are unsung heroes.”

The post referenced Dancehall’s expansive and multi-faceted history and addressed Shaggy’s gratitude for the opportunity to premiere it at the well-reputed film festival.

“Though there’s no way to document the entire journey of the genre within 90 min… We at least highlighted the story of the Brooklyn version of the journey. Congratulations to the team. It was a pleasure to be a part of it. Special thanks also to Tribeca Film Festival for allowing us to use their platform,” he concluded.

The documentary, which explores the emergence of Dancehall music in New York City throughout the 80’s and 90’s through, among other things “never-before-seen archival footage”, featured commentary from Sean Paul and Ding Dong, as well as a host of other Dancehall historians. Importantly, it also featured one of, if not the most important figure for Dancehall music and Hip Hop throughout that era of sound systems and house parties – DJ Kool Herc.

The project has since been described as a riveting account of Dancehall’s storied history in New York City – often called Jamaica’s 15th parish.

Shaggy’s display of gratitude was met with similar sentiments from fans of his, some of whom appear to have seen the Ben DiGiacomo and Dutty Vannier-directed film.

One fan explained: “I was there… and I loved it. Great job to the directors and to you Shaggy, and all who contributed. Def Netflix-worthy.”

Another added: “Congratulations Shaggy!!”

There were also those who sought to find out whether there would be other viewings for the documentary, as well as those who expressed interest in seeing it.

Bad Like Brooklyn Dancehall marks the first time Shaggy has gone behind the cameras as an executive producer in film.

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Supreme Promotions’ Isaiah Laing has admitted that the drama that A’mari “DJ Mona-Lisa” and Queen Ladi Gangsta brought to Sting 2022 had a positive side as it caused the event to “trend” globally for two days in a row.

Laing made the revelation after initially downplaying the effect of the comedic display, while speaking with The Star during an interview. He was asked whether or not he thought “the clash with Queenie and A’mari gave Sting a bad name.”

“I think people overdo dat though enuh.  Because that was just a gimmicks clash. Tha wasn’t a real nutting,” Laing responded.

“But is just that a lot of the females keep calling down mi phone dat they want that clash: ‘do it, do it, do it’… and then it cost so much money to book people from so far.  It nuh meck sense really,” he reflected.

Laing then acceded that the two women’s actions were what propelled the name Sting on the lips of many across the world.

“Yes, it meck Sting trend.  So I am not going to beat it either.  That’s true. Sting trend for two days straight to number one.  Everybody in the world was asking what is Sting?  Suh, wi haffi give kudos to dem too.  People a cuss an a seh dis, but there is a good side to it.  It is true,” he stated. 

During the clash, A’mari had started an onstage brawl by hurling invectives at Queenie, ripping off her ‘wedding dress’ before proceeding to engage the Double Tapartist in a cat-and-mouse chase.  Queenie had, in turn, dragged the Nekoartist’s wig off her head and tossed it aside, the audience erupting in laughter as she continued to sing the hook of Double Tap over and over.

Responding to statements that Sting got both praises and a beating in the aftermath of ‘the clash’, Laing said, contrary to widely-held claims, he was not the one who instigated the battle, but that it resulted due to widespread clamoring, particularly from female Dancehall fans, that there be a showdown between the two ladies.

“Is you people who asked for that clash. It wasn’t me or anybody from Supreme you know.  Because I sent people to do interviews and the people are saying ‘not dat clash.  Wi talkin about A’mari and Queenie’,” Laing said.

“Dat wasn’t in my books any at all, because I knew something was planned from another company for something to happen on the stage… but it was set for dat to happen, cause you notice di artiste neva came out to work; di artiste came out to fight,” he added, referencing A’mari.

With respect to the stampede backstage. which erupted and which many people thought caused the premature end to the show, Laing asserted that it had nothing to do with any of the clashes onstage, but due to police orders for the show to end.

“The reason for that stampede was because the police said the show should stop and Heavy D had asked everybody to come on the stage to at least do a song.  Suh everybody was rushing to get on the stage one time, an di police was sayin too much people up there,” the former police inspector said. 

Hours after the event came to an end, leading scholar on Reggae/Dancehall and University of the West Indies Professor Donna P. Hope, had called on Supreme Promotions, to put a permanent closure to Sting, describing it as an “existential crisis”.

Professor Hope had laid the blame squarely at the feet of the Supreme Promotions for the litany of woes that plagued the event, among them a sub-par line-up, inexperienced emcees; below-par production, poor scheduling of artists, and substandard stage management.

“Poor lineup, poor production, poor running order organization, poor stage management, inexperienced hosts, unsettled artiste contracts, no-shows etc. This cannot be it. Sting is in an existential crisis. It is time to pack it in,” Professor Hope had declared on Instagram.

The Culture, Gender, and Society lecturer had said that the A’mari-Queenie showdown, which she described as “the Comedy Buss Debacle between social media favourites”, which ended up being the trending topic from the event, was a sign that Sting had completely lost its identity, meaning and purpose.

The UWI lecturer, who is also known as the Dancehall Professor in music circles, due to her extensive academic work and publications about Reggae and Dancehall, had pointed out that from the outset, Sting 2022 had seemed destined to be a mockery.

According to her, she had “declined all invites to attend the return of Sting 2022 after its last staging in 2015”.

“This is a show that I have been attending from the 1980s at the Stadium. The confusing lineup and behind-the-scenes vibrations for 2022 already told its own story,” Professor Hope had written.

In maintaining the view that Sting had “a few good points, but was woefully inadequate”, the Professor had insisted to some of her followers that Sting’s “time has obviously come” and that “institutions transform, transition and also die”.

“There are other Dancehall events that match this current era. Today’s artistes do not need Sting to buss or maintain relevance. Dancehall and its fans and supporters deserve to have the Brand showcased at its best. This isn’t it,” she stated, adding later: “This is OUR culture. We must speak truths. One-off artistes forming the fool can be ignored. But Sting is a Dancehall Institution of long-standing. They have a responsibility to uphold”.

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The St. Andrew North police are asking entertainer Jahshii to turn himself in with his lawyer to answer questions regarding his alleged role in the murder of 45-year-old businessman Omar Wright, otherwise called ‘Romie’.

Wright is the brother of an alleged ‘don’, Porky, from the area.

Reports are that Wright was killed on Shortwood Road at about 10:40pm, on June 7 by armed men. Wright reportedly had an alleged altercation with Jahshii’s mother during which he threw water in her face.

Jahshii’s mother reportedly operates a wholesale business in the community.

The entertainer, Mluleki Tafari Clarke, then reportedly argued with Wright about the incident. Wright was gunned down hours later by persons unknown.

Since the murder of Romie, the community has been tense. Superintendent Sherika Service, who heads the St. Andrew North Police Division, told Nationwide News on Tuesday that the police “would love to speak” with the entertainer about the reports.

“He is the last person who reportedly had a quarrel with the businessman before his death. The police believe that Jahshii can assist with our investigations.We believe that he has relocated to Westmoreland,” a police source told DancehallMag.

Romie’s brother has reportedly sworn to avenge his death, which has caused both Jahshii and his mother to avoid the area.

“We have made several checks in the community and we understand that Clarke’s mother has returned to the community several times, before leaving. We went there as recently as Monday, but her house is still abandoned.”

Better known by his stage name Jahshii, Clarke has been making strides in the music scene since his breakthrough with hits like Born Fighter, Cream of The Crop, Life Lessons, Keep Up, and 25/8.

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Queen of Dancehall Spice has announced that she will not be gracing the stage at Sunday’s (June 25) staging of Groovin In The Park at the Roy Wilkins Park in Queens, New York.

The Go Down Deh singer dropped the disappointing news on Monday night.

“I Grace Spice Hamilton would like to announce with deep regret that I will no longer be performing at Groovin in the Park 2023,” she began.

She did not pinpoint the details of her decision but cited that there were more than one, and that she bears full responsibility.

“For multiple reasons beyond my control, I would like to apologize to all my loyal besties who was anticipating seeing me there and I personally would like to extend this apology to the event promoter who was extremely professional during this time. I take full accountability for this decision. I anticipate a great show with the original line up and I’m sure it will be a successful event as always I love you all #QueenOfDancehall.”

Others billed for the show include Charlie Wilson, Tarrus Riley, Wayne Wonder, Baby Cham, Frisco Kid and the former Queen of Dancehall turned Christian—Minister Marion Hall.

Meanwhile, some social media users have begun to cook up their own theories about why Spice might have opted out of the performance. The most predominant assumption is that she might not want to be in a mutual space with Hall considering their bad blood.

“Awww is it bc Marion Hall will be there @spiceofficial? Was hoping you two could’ve reconciled your differences right there on stage in front of millions of ppl. That would’ve been dope!!!!!!!!!! ” one user said.

“Me personally I’m glad that you are not going to be there, honestly I just don’t feel like it would end well due to people who would be so negative and trying to set you and that lady against each other, we protecting our peace all 2023 and beyond!!!! This was a very mature thing to do bestie,” added another.

“Honestly I was hoping to see two beautiful and strong black ladies join hands on stage and mend friendship. That was one of my main reason for going,” said one more supporter.

It is widely known that the two women don’t see eye to eye. In 2022, Hall had taken to social media to implore Spice, Shenseea and Jada Kingdom to stop their “race to hell.”

According to Hall, she had to speak out as, being the pioneer of slackness, she felt tormented that the women were taking lewdness to the extreme and disgracing themselves.  Her comments came in the wake of Shenseea’s controversial song titled Lick and its accompanying music video.

This did not resonate well, especially with Spice, who hosted an Instagram Live to give a very lengthy clap back—referring to Hall as a hypocrite and labeling her as “badmind.”

In a subsequent interview with DancehallMag, Hall declared that she has very few words about Spice’s new status as Queen.

“It’s none of my business. I’m no longer apart of that scene. I’m not interested in that. We’re all queens and a queen sits high. My crown is in Heaven,” Hall said last August. 

The Woman Wi Name singer added that she still hopes the women in Dancehall will clean up their lyrics.

“What I pray for my sisters in Dancehall is to move away from profanity and do uplifting songs. If Dancehall is what makes them happy, then so be it—but I would love to see them doing what is needed to uplift the society,” she said at the time. 

Hall is confirmed as part of this year’s lineup of Reggae Sumfest, while there has been no word about a slot for Spice who has been a regular on the mega-show over the years. 

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One hundred and seven of the almost 170 defendants in Steely & Clevie Productions’ copyright lawsuit filed three motions on Thursday (June 15) to dismiss the case.

The three California court filings, obtained by DancehallMag, reveal the defendants’ primary defense: the drum and bass elements allegedly pirated from Steely & Clevie‘s 1989 Fish Market riddim and used in almost 1,700 Reggaeton songs are commonplace and not subject to copyright protection under U.S. law.

According to them, the Jamaican producers – Cleveland ‘Clevie’ Browne and the estates of the late Wycliffe ‘Steely’ Johnson and Ephraim ‘Count Shelly’ Barrett – cannot claim ownership of the basic musical elements that define nearly all Reggaeton music created over the last 30 years.

The first motion was filed by WK Records, Pitbull’s Mr. 305 Inc., Yandel & Wisin, Maluma, Myke Tower, and nine other defendants responsible for 376 songs named in the suit.

These defendants put forth an intriguing analogy: the rhythm of Reggaeton, they argue, is akin to the defining and foundational features of other musical genres – from the “down beats” of Reggae to the four standard chords of Rock music (E, B, C minor, and A), and even the recurrent rhythmic patterns found in Salsa music.

“Plaintiffs claim ownership of an entire genre of basic core music – the ‘rhythm of “reggaeton” based upon simple, rote, unprotectable common music elements, which are nothing more than common drum beats of single notes,” they wrote in their motion to dismiss the case.

Puerto Rican superstar Bad Bunny and his label Rimas Music, responsible for 77 songs named in the suit, presented a similar defense.

In their motion to dismiss, they argued that Steely & Clevie’s lawsuit “impermissibly seeks to monopolize practically the entire Reggaeton musical genre for themselves by claiming copyright ownership of certain legally irrelevant and/or unprotectable, purported musical composition elements.”

They cited precedent cases where “courts have been consistent in finding rhythm [resulting from drum patterns and bass] to be unprotectable.”

The WK Records and Bad Bunny defendants urged the court to dismiss the case, contending that no reasonable jury could find the 1,700 songs substantially similar to Steely & Clevie’s “old and obscure” Fish Market.

Meanwhile, the third motion to dismiss was filed by Luis Fonsi, Justin Bieber, Daddy Yankee, Pitbull, Rauw Alejandro, El Chombo, Jason Derulo, Enrique Iglesias, Ricky Martin, Stefflon Don, and 79 other defendants, who are represented by Pryor Cashman LLP.

Update:  Since this article was published, the following defendants, who are not represented by Pryor Cashman LLP, have co-signed the law firm’s motion to dismiss.  

Drake, and Sound 1.0 Catalogue LP (improperly sued as OVO Sound LLC)
DJ Snake and Empire Distribution, Inc
Cinq Music Group, LLC and Cinq Music Publishing, LLC
Rich Music, Inc.
DJ Nelson and Jay Wheeler

They argued that Steely & Clevie were trying to obtain “ownership of an entire genre of music by claiming exclusive rights to the rhythm and other unprotectable musical elements common to all “reggaeton”-style songs.”

Justin Bieber and Luis Fonsi’s Despacito Remix is one of the 1700 songs named in the lawsuit.

They also said the lawsuit should be dismissed for numerous procedural reasons, including the claim that Steely & Clevie do not have standing to assert infringement claims for any of the allegedly derivative instrumentals based on the Fish Market.

Steely & Clevie’s 228-page complaint, the first version of which was filed in 2021, had traced the trajectory through which nearly all of Reggaeton allegedly appropriated elements from derivative versions of the original Fish Market. It started with the fact that Shabba Ranks‘ Dem Bow (1990), produced by the late Bobby ‘Digital’ Dixon, had used the Fish Market beat from Jamaican vocalist Gregory Peck’s Poco Man Jam, one of the 1989 tracks on Steely & Clevie’s original riddim.

In 1990, after the success of Shabba’s song, Denis Halliburton, aka “Dennis the Menace,” created the Pounder riddim — a remake of Dem Bow’s instrumental, which was then used to record a Spanish language cover version of the song, titled Ellos Benia — and an instrumental mix called Pounder Dub Mix II.

Ellos Benia was released on plaintiff Count Shelly’s ‘Shelly’s Records’.

Pounder Dub Mix II, Steely & Clevie claimed, “is substantially similar if not virtually identical to Fish Market” and “has been sampled widely in Reggaeton and is commonly known and referred to as the Pounder riddim.”

However, the Luis Fonsi and Justin Bieber defendants countered that Steely & Clevie’s copyright claims could only extend to the Fish Market and the lyrics of Dem Bow, for which they have valid US copyright registrations. They claimed that Steely & Clevie lacked copyright registrations for the Dem Bow sound recording, the Pounder riddim, and only secured registration for the Pounder Dub Mix II sound recording in March 2023, two years after filing the lawsuit.

U.S. regulations require copyright registration before a suit is commenced, they argued.

All 107 defendants have suggested that the court set hearings on the motions in September 2023, or sometime thereafter. 

The 1,700 songs at issue in the lawsuit were released between 1995 and 2021, and they have amassed tens of billions of views on YouTube and many RIAA Platinum and Latin Platinum certifications in the United States.

They include Drake’s One Dance with Wizkid and Kyla; Drake and Bad Bunny’s Mía; Luis Fonsi’s Despacito Remix with Justin Bieber and Daddy Yankee and his Échame La Culpa with Demi Lovato; El Chombo’s Dame Tu Cosita with Cutty Ranks; Daddy Yankee’s Dura, Rompe, Gasoline and Shaky Shaky; DJ Snake’s Taki Taki with Selena Gomez, Ozuna, Cardi B; Pitbull’s We Are One (Ole Ola); and more.

In 2022, British pop singer Ed Sheeran submitted a motion to dismiss the copyright lawsuit filed against him over claims that his song Thinking Out Loud had stolen harmonic chord progressions from Marvin Gaye’s Let’s Get It On. Sheeran’s lawyers, Pryor Cashman LLP (yes, the same firm representing Fonsi, Bieber, and others against Steely & Clevie), admitted that the songs had similar chord progressions but argued that the chords are generic and can be used by anyone.

A U.S. judge denied Sheeran’s bid to dismiss the case, ruling instead that a jury should decide on the similarities between his song and that of the late Motown singer.  The judge cited “disagreement between musical experts on both sides of the lawsuit as a reason for ordering the civil trial.”

According to the BBC, the idea of a jury trial was something that Sheeran did not desire, as copyright lawyers have often argued that not only do juries have difficulty understanding the complexities of copyright law, but they are not ofay with the reason superficial similarities between two songs “are not necessarily proof of plagiarism.”

In May 2023, the jury ultimately found Sheeran not liable for copyright infringement, the Guardian reported. 

In 2021, acclaimed Jamaican producer Lloyd ‘King Jammy’ James commended Clevie for filing the lawsuit since, according to him, Reggaeton artists have frequently infringed on the intellectual property rights of Jamaican musicians, and he hoped the lawsuit would set a precedent for future actions.

“Well, I think he (Clevie) is following the right track, because yuh know what happen? Those people mostly sample our things enuh.  And the way dem do it enuh, sometime yuh have to be somebaddy who technical to hear the sample and know the sample yuh nuh,” the Sleng Teng co-producer told Winford Williams of Onstage.

“And they don’t give us any rights, so our rights are being stolen. So I think it is a good thing Clevie is doing right now, by setting an example that those who are gonna do it again, don’t worry dweet,” he added.

When asked by Williams whether the Fish Market-Reggaeton suit was a ‘must win case’ or ‘a clear case,’ King Jammy responded: “Of course.  Definitely, Winnie.”

King Jammy stressed the importance of registering work with publishing rights organizations and indicated that many Jamaican musicians’ works have been surreptitiously infringed upon due to lack of organization and registration.

“Let mi tell you something: our music is not organised like the American market or suh enuh.   Suh most time when wi do a ting, we don’t register anything, yuh understand?  Wi just do a ting and di chune bad and wi go out deh and hear it a play pon radio and seh ‘it bad, it bad, it bad’ and it finish there,” he explained.

“Is a good ting me and couple odda people like myself – me do my ting different.  Mi a run a business; mi have mi publisher dem weh register mi ting; dem follow it up; anyting happen mi wi know.  I have no issue out deh right now.  If a man touch anything fi me right now, it covered,” King Jammy declared.

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