Family Portrait- The McGregor Family
Freddie McGregor is seated in a classroom-type chair, in a dimly lit room, with flashing lights, recorders, and unfamiliar people. On this overcast Monday morning in late November, it is a setting that the veteran reggae singer has become accustomed to. He isn’t dressed up though. It’s a casual feel- blue polo shirt, denim and modest footwear. At this very moment, he is of all things, being defensive. Of whom? Himself. And the three people in the room he’s known all his life- his children; Yeshemabeth, 29, Daniel, 25 and Stephen 18. He was just asked how he thinks dancehall affects the youth, more so his children.
Like the other two musical families in Jamaica – The Morgans (Denroy Morgan) and the Marleys (Bob Marley), Freddie McGregor’s children have chosen to follow in his footsteps. However, this family is different from both the Morgans and the Marleys because they found success in reggae. These three, Yeshemabeth, Daniel and Stephen have their eyes set ondancehall.
He stutters for bit, and then pauses. All three sit quietly while Daddy speaks.
“Uh, basically, I’ve been touring for years and all dem kids have been touring with us… so I guess that gives them a sense of how people relate and respond to our music internationally and not just Jamaica. So they have the whole idea of how non-Jamaicans respond to our music…”
Dancehall music has not had the best of times. Since its rise to popularity in the 1970s, it has been characterized by intense clashes, foot-stomping beats, less than wholesome lyrics on social commentary, an overindulgence of sex, all wrapped in a culture associated with violence and politics. Not surprisingly there are people who are for it and those against it. Noted psychologist Dr. Leahcim Semaj, makes the claim that the music is “negative” because of its “explicit and violent lyrics”.
But Freddie is still on the defensive.
“Secondly, I don’t influence my kids in terms of what they do. They do their own thing based on their own intelligence, their own vibe, their topics [in terms of] what they want to do. And so far I must say it’s quite good”
Stephen, the youngest of the McGregor clan is known as ‘Di Genius’, one of the new hot producers in the industry, Daniel or ‘Chino’ as he is called is one of dancehall’s newest sensations, while Yeshemabeth, otherwise known as ‘Shema’ is an up and coming singer. All three siblings are making waves in the industry.
But Stephen is a standout in his field.
With neat cornrows that flow into rope twists, shades and a face that looks no older than 16, Stephen listens quietly as Freddie boasts.
“Stephen makes riddim tracks and he does writing too. But Stephen’s riddim tracks are very potent riddim tracks”
And effective they are indeed. His tracks combine creativity and playfulness with intense orchestral backbeats that are brooding, sometimes borderline gothic and gritty while still having its appeal- particularly on young people. The prodigy, who has had hits since 2004 has his head down as his father continues.
“What Movado and the res’ of people say on Stephen’s riddim tracks… totally different thing”
True.
What Stephen produces does not constitute whatever is put on the rhythm. But while his beats are not characteristic of what may be said on the microphone, it does aid in the production.
Even some the names of his ‘riddims’ are suggestive- Dark again, Shadow, Red Bull and Guinness, Laugh dem and shot dem, Day Rave, Chiney K, and his latest Advocate.
He admits though that “…people like Movado should understand that Stephen is only 18 so, fi go in front of microphone in front of a yute and say some of the things weh dem say, I don’t personally agree with it. But how does Stephen tell him ‘Movado that a no the right thing’? And sometimes Stephen do tell him too. But them have dem own concept dem own thing and you don’t tell him otherwise cuz him come with him lyrics prepared for that type of situation”
Freddie further goes on to warn against being too preoccupied with the music and his worries about the future of dancehall.
Stephen’s head is still lowered.
It brings to memory an article published in the Gleaner, Dancehall putting youth ‘Pon Di Edge’ dated June 2, 2008, where two reporters journey into the heart of an early morning dancehall session. They recall the intense scenes- children who seem under the age of ten gyrating to the infectious beats of popular songs while the parents agreeing with it.
In the article, Dr. Donna Hope, lecturer in reggae studies at the Institute of Caribbean Studies, a branch of the University of the West Indies, Mona, suggested that children may not fully understand what they are saying and pointed out that there has been no formal research done to assess the impact of dancehall on children, but social factors perhaps play a greater role in shaping values.
Hilary Nicholson of Women’s Media Watch however took on a more hard-line approach. “They don’t promote values. Instead, what is being pushed is aggressive sexuality. And most times, it’s not them (the artistes) singing about what they are doing, but it seems like they are telling you what to do and how to treat women”
Try telling that to Stephen’s big brother Chino.
He’s definitely the ladies man-dressed sharply in red brimmed designer shades, a grey shirt with a red collar lining and a swagger that screams ‘cool’.
“I personally don’t think dancehall is to blame. I think education and intelligence has a lot to do with it because at the end of the day you are your own big man or your own big woman, yuh can’t let a Movado or Kartel lyrics for example draw you out…”
His song out now is called ‘Ruff it up’ the same type Nicholson dislikes. She is not alone. Over the years dancehall’s impact has been heavily concerned with the way in which women are portrayed – as objects of instant gratification, ‘sex toys’ if you will and at the same time, females haven’t been against it either.
But what does Shema think? After all, she’s the only female of the clan. She sits, silently, giving a coy smile at intervals, seemingly absorbing all being said. She is ravishing in red. Red highlighted hair, red lips and a red top.
She speaks.
“If you’re glorifying something, how can you expect a man to respect you? It’s a matter of understanding how you portray yourself.”
One person in the room notes to Stephen “You can’t have a riddim is vulgar and hardcore and expect Movado to ‘pet it up!’ It seems as if Stephen is being picked on.
Always on the defensive, Freddie chips in.
“That is incorrect, and I feel that is exactly what Stephen is trying to change here”
Stephen finally speaks.
“For me at the end of the day its just music”
One thing is certain, from all this, the talent speaks for itself. The fact that they’ve stepped into the deep waters of a genre of music that has had more fight-outs and conflicts and been the brunt of many discussions, and debates and won over audiences has proven that they have a shot of changing the face of music
Got my very first A with this paper. Did it for a class in my first year of CARIMAC.
