Dear Editor,
I refer to a letter by Norman Browne which appeared in the September 10 edition of the Stabroek News, titled ‘Mavado should not be allowed to perform in Guyana.’
Mr Browne stated, “the government’s decision to lift the ban has not been properly spelled out. However, I look forward to Eric Phillips’contribution on the lifting of the ban. It is the Afro-Caribbean youth that is targeted here. This sort of music is given to them as their music. The government seems to be saying it is okay to tell our young men and women that “deh don’t know da meanin, when meh seh marrow paste on da ceiling,” obviously referring to what he perceives as an attempt by the government to use the ‘negatives’ in Mavado’s music in a disadvantageous way to Afro-Guyanese.
But then again, it is the same government that allows Rum till I die, Mo rum fuh me, Yuh cud bring it in a bottle, yuh cud bring it in a flask to be delivered to their Indo-Guyanese supporters and we all know the spin-offs from this.
And it is this same government that banned the delivery of “deh don’t know da meanin…” from Afro-Guyanese, who are perceived to be supporters of the opposition, and using Mr Browne’s logic, they shouldn’t have in the first place. It is convenient for Mr Browne to lay blame at the feet of Mavado and his colleagues for highlighting conditions they have not created, whilst absolving everyone else. If a child listens to Mavado’s music and becomes violent as a result, then complicity had to be the order of the day on the part of his/her parents. How many guns did Mavado make available to his listeners?
Mr Browne should also tell us how are artistes to be blamed for the irresponsible actions by a few of their followers around the globe? Especially when both of those he referred to denounced such behaviour publicly.
Has Mr Browne ever visited or lived in Albouystown? Such music is often the only avenue of escape for folks who have to grapple with the division, misinformation, etc, thrust on them by irresponsible politicians.
In the world of music, particularly, Jamaican sound systems, a ‘45 special’ is usually a customized tune that is redone by an artiste at the behest of and to the specifications of the particular sound system. Hence, Brown’s suggestion in relation to Mavado’s reference to an instrument of violence gives further credence to the concerns of the management of another Jamaican artiste which centred on the inaccurate portrait of Buju Banton being painted by certain organizations in the US over a song done since 1992. This was used by Gay Rights organizations to make their case for the cancellation of Buju’s current ‘Rasta Got Soul’ US tour. They were unsuccessful.
As I stated earlier, much has changed since Mavado was banned from Guyana in terms of his lyrics and worldwide acceptance. Overcome, On Da Rock, Even if we leff de gully, Ah Suh Yuh Move, Hope and Pray, Fall Rain Fall, etc, are all testimonies to that fact. Added to that is last Friday’s collaboration with multi-platinum superstar Alicia Keys which saw the production of a reggae single for her impending album. I hope Norman Brown and others see my point and quit playing politics with our music.
Yours faithfully,
Jason Abdulla
