#Sean Paul: Dancehall and reggae helped me show the world who I am

[ausetkmt]

Sean Paul has been running reggae and dancehall since the early 2000s, charting with hits like “Get Busy” and “Temperature” while solidifying his spot as one of the best artists of his era. After numerous accomplishments like winning a Grammy Award for Best Reggae Album and an American Music Award for Favorite Pop/Rock Male Artist, the renowned hitmaker continues to create bodies of work for the world to enjoy. 

In a conversation with REVOLT, Sean Paul spoke about his love for dancehall and reggae, and how today’s artists can show respect to the genres. The Kingston, Jamaica native also talked in depth about his relationship with Beenie Man and reigning together as the top dancehall artists.

Check out the exclusive Black Music Month chat below.

What do you think about the current era of reggae and dancehall? Which artists are doing a good job of carrying the genres? 

I’m very proud of the genre and the many influences it has had on many different forms of popular music, and popular names who do utilize it – from reggaeton to Afrobeats, as it lives on in those people and genres as well, not just the people from Jamaica. It’s bigger than us now, which is sometimes a bit nerve-racking or overwhelming. But at the same time, there are some players who are hot right now like Skillibeng and Skeng. Also, the ladies are doing their thing right now like Jada Kingdom, Stalk Ashley, and Shenseea. I’m happy to be a part of it, and I’m loving the vibe of the young kids doing their thing. 

How would you describe your relationship with dancehall and reggae? 

It’s a very big part of my life, my self-expression, my ego, and my day-to-day thoughts. As a kid, we didn’t have circuses or Nintendo to play – we had football on the road, cricket, and songs. It’s one of Jamaica’s best pastimes, so for us, it’s a part of our DNA. Similar to people in Middle America who have country and Westerns that explain their ways, or hip hop music for somebody who comes from The Bronx. That form of expression with hip hop, dancehall, and Afrobeats is us telling the world who we are. 

How have you been able to maintain your connection to these two genres while also tapping into the pop world and exploring other musical stylings? 

Even though I have hit songs that are more pop-oriented or a hybrid of what dancehall’s hardcore elements are, I’ll never say I’m not a dancehall artist. I’ll always look for the hot riddims that are out there and listen to what the culture is saying whether I like it or not. As someone who has accomplished so much for the genre and myself, I would say my word counts and [it holds] more weight now. My opinion, even if I don’t put out songs every year, is taking part in the culture while shaping it as well. 

Is there a dancehall/reggae artist you still want to work with? 

Last year, I released an album called Life We Living, where I collaborated with 19 different dancehall and reggae artists from the old school and new school – it was a wishlist I had. Me and Gyptian have always talked about doing a song and we’ve done demos together, so that’s one I’ll lean to say I would love to collaborate with. Also, I would say Stalk Ashley as well. 

Some artists have been met with scrutiny after dabbling in dancehall. What’s the best way creators can show love to the genre without appropriating it?

I think just the mere fact they put out singles and don’t say this is my dancehall single – they have the upperhand, while we have the influential soup we serve to everybody. We are the net that holds a lot of the popular music together. Coming here to work with some of our legendary producers is a way to do so and also saying, “This isn’t my latest single” because younger people who are 12 years old only knew “Baby Shark” about four or five years ago — they didn’t really know in-depth about music from artists. They hear a new song by an artist and it’s dance-oriented — the kids will say, “This is innovative” and receive it like it’s new. If I put out a country and Western album and say, “This is my latest music,” but I do dancehall and reggae, I think Willie Nelson would call it silly for you to be saying that’s dancehall music. Maybe they won’t be as petty as me or maybe they will say, “This guy thinks he’s doing his own version of the music, but it’s really ours.” I have a very small and weakly respected genre to represent, and I want to fly the flag as best as I can, and be a defender of the culture. 

You and Beenie Man were holding down reggae and dancehall during the 2000s and even collaborated. What was that reign like? 

[Beenie Man] and I have done many songs that didn’t get released – the last song with me and him came out in 2015. As dancehall artists, we record a lot of music, and some of them hit in certain areas while some hit all over the world. It’s a living, evolving relationship that you have with these producers and artists. Beenie Man is a consummate performer and a legend out here performing for people at 9 years old. There’s been times where he was heavily booed and has now become the king of the space.

Tell us about your Captain Morgan campaign for Vita Coco Spiked and why the collab was a good fit for you.

I’m always down for collabs and this one seemed like a great fit because it tastes good (laughs). The thing in Jamaica has been “The rum is something to sample,” so while I’m used to it, mixing it up with coconut water is something people don’t know about. When we have beach parties in Jamaica, and you’re drinking the rum, but the sun is dealing you, having a Vita Coco is essential. I’m loving the vibe of it. 

[looxxi]

A lot of people are debating whether or not kpop idols should be speaking out about BLM and if black fans have a right to be angry if idols stay silent — which they do. As a white woman, I have no right or place to decide how these fans should feel or respond, but for those saying it doesn’t matter because kpop has nothing to do with BLM, let me give you a little history lesson on kpop and the genres of music it is heavily influenced by!

Korean pop music, gayo, or kpop, however you choose to refer to it as, can be traced back to 1885 when an American missionary began teaching American and British songs at schools. More western culture was introduced after the Korean War, when U.S. troops remained in South Korea. Modern kpop began to evolved in the 1990s when Korean pop musicals began to incorporate Europop and popular American music styles. It does have roots in traditional Korean music, however it is actually heavily influenced by western music and culture! Some of the biggest genres influences on kpop include rock, jazz, gospel, hip hop, R&B, reggae, electronic dance, experimental, folk, country and classical music. 

For the sake of this, I’m going to predominantly be focusing on jazz, R&B, rock, and hop hip.

Jazz originated in black communities in New Orleans in the late 19th century and has origins in blues, ragtime, spirituals, classical, and West African music. The 1920s was known as the Jazz Age, and jazz is considered by many to be America’s classical music and one of America’s original art forms. It has many derivative forms, including free jazz, hard bop, modal jazz, smooth jazz, Latin and Afro-Cuban Jazz. New Orleans jazz specifically blends sounds from brass-band marches, French quadrilles, biguine, ragtime, and blues. Swing was also a very popular derivative of jazz in the 1930s with musicians like Cab Calloway, Duke Ellington, Earl Hines, Jimmie Lunceford, and Count Basie.

Minnie the Moocher (Theme Song) by Cab Calloway

In A Sentimental Mood by Duke Ellington and John Coltrane

Weather Bird by Louis Armstrong and Earl Hines

Tain’t What You Do (It’s The Way That You Do It) by Jimmie Lunceford

Splanky by Count Basie

Rhythm and blues (R&B) developed in urban Black communities in the United States during the 1940s. Some of its stylistic origins are jazz, blues, spirituals, gospel, and boogie-woogie. Since the 1980s it shifted into a new style younger generations are currently most familiar with, referred to as contemporary R&B, which blends rhythm and blues with pop, soul, funk, disco, hip hop, and electronic music. Some of the most influential R&B artists are older artists like Prince, Stevie Wonder, Michael Jackson, Aretha Franklin, Whitney Houston, Chaka Khan, Beyoncé, and Mariah Carey to newer artists like Rihanna, Ne-Yo, and The Weeknd.

When Doves Cry by Prince

Superstition by Stevie Wonder

Man in the Mirror by Michael Jackson

Respect by Aretha Franklin

I Wanna Dance With Somebody (Who Loves Me) by Whitney Houston 

I’m Every Woman by Chaka Khan

Partition by Beyoncé

Hero by Mariah Carey

Needed Me by Rhianna 

So Sick by Ne-Yo

Blinding Lights by The Weeknd

Rock music originated in the United States in the late 1940s, and began as “rock and roll.” Rock and roll’s biggest influences are black musical genres, two of the biggest being blues and R&B. Blues originated in the Deep South in the 1870s from African musical traditions, spirituals, and African-American work songs (this is the white guilt way of saying what they actually are Slave Songs). Blues is arguably the most influential genre in modern western music as some of its derivative forms include rock, ragtime, R&B, jazz, and country. Some of the biggest rock and roll artists include Chuck Berry, Nat King Cole, the Crows, the Penguins, and the Turbans. Even Elvis Presley, the “King of Rock and Roll” would say some of his biggest influences were B. B. King, Arthur “Big Boy” Crudup, Ivory Joe Hunter, and Fats Domino, all Black musicians.

Johnny B. Good by Chuck Berry

L-O-V-E by Nat King Cole

Gee by The Crows

Earth Angel (You Will Be Mine) by The Penguins

I’ll Always Watch Over You by The Turbans

The Thrill is Gone by B.B. King and Tracy Chapman 

That’s All Right by Arthur “Big Boy” Crudup

Since I Met You Baby by Ivory Joe Hunter

Ain’t That a Shame by Fats Domino

Finally, hip hop and rap music which developed by inner-city Black communities living in the Bronx, NYC, in the 1970s. Its origins are styles of funk, disco, electronic music, dub, R&B, reggae, dancehall, jazz, spoken and performance poetry, scat singing, and talking blues. Hip hop has four key stylistic elements: MCing/rapping, DJing/scratching turntables (records), breakdancing, and graffiti writing. Due to poverty and lack of acceptance outside of ghetto neighborhoods, however, hip hop did not officially get recorded for radio or television until 1979. Hip hop has derived and has many subgenres since the 70s and now includes freestyle rap, gangsta rap, hardcore hip hop, mumble rap, trap, experimental hip hop, and more. Some major influential artists include Public Enemy, Boogie Down Productions, LL Cool J, Ice-T, Dr. Dre, Snoop Dogg, Wu-Tang Clan, Notorious B.I.G., Lil Jon, Lil Wayne, Soulja Boy, B.o.B., Drake, Nicki Minaj, Kendrick Lamar, Childish Gambino, Chance the Rapper and so so so many more.

Fight The Power by Public Enemy

South Bronx by Boogie Down Productions

Mama Said Knock You Out by LL Cool J

Colors by Ice-T

Still D.R.E. by Dr. Dre and Snoop Dogg

Drop It Like It’s Hot by Snoop Dogg and Pharrell Williams

C.R.E.A.M. by Wu-Tang Clan

Hypnotize by Notorious B.I.G.

Snap Yo Fingers by Lil Jon, Youngbloodz, Sean Paul, and E-40

Scared of the Dark by Lil Wayne, Ty Dolla $ign, XXXTENTACION

Crank That (Soulja Boy) by Soulja Boy

So Good by B.o.B.

Started From the Bottom by Drake

Feeling Myself by Nicki Minaj and Beyoncé

HUMBLE. by Kendrick Lamar

This Is America by Childish Gambino 

No Problem by Chance the Rapper, Lil Wayne, and 2 Chainz

There is nothing you can say to tell me there isn’t Black influence on kpop. BTS had a whole multi-episode show where they travel to LA to train under “hip-hop tutors” Coolio, the artist behind Gangsta’s Paradise, and Warren G, a g-funk producer. Haechan calls Michael Jackson his favorite artist and inspiration. Almost all kpop groups have a rap line who “shockingly” LIKE BLACK RAPPERS AND ARTISTS. And it isn’t unheard of for kpop idols / groups to support and promote fundraising and campaigns. I’m not here to attack kpop, I’m here to explain why people can be upset by their silence.

Gangsta’s Paradise by Coolio and L.V.

Regulate by Warren G and Nate Dogg

While I am aware many of idols’ / groups’ accounts are not run personally or by their management, the silence and lack of support can hurt. I can understand why black fans want to see their idols they have been supporting support them too, especially when those idols have been, in a sense, profiting off of their culture. I can understand why black fans want their idols to support them not getting murdered in the street by police who are supposed to protect them. 

For anyone saying that “this is America’s problem” and “leave it to America to figure out,” World War II happened because Hitler was committing genocide on Jewish people and it took ALL of the Allies, not just anti-nazi Germans, to take down Hitler and the Axis powers. The police and the government are committing genocide on black people. Systematic racism is a disease that the world, not just America, needs to fight.

Silence doesn’t make you an ally, silence makes you an accomplice.

Here’s how you can help:

https://blacklivesmatters.carrd.co

https://moreblminfo.carrd.co

Thread of More Places to Donate

Thread of How White Allies Can Help

A List of Black Owned Fashion / Cosmetology / Skin Care Brands

Tips on How to Engage Conversation on BLM with Conservative / Racist / Bigoted / Homophobic Family

Donate. Sign Petitions. Text and Call Local Governments. Protest. Vote. Educate. Listen.