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Tuesday, December 13, 2016

Chicken Little (An Urban Story Haunted Blood Vol. 1 Part 1

copyright K. Omodele 2016 
* (This is a work of fiction. Any similarities to actual people or situations is purely coincidental.)

It was Doc birthnight we had come to celebrate but every last one of us was tight and frost because, for the second week in a row, the club owner- Mackie, that battyhole, had some new security enforcing people from bringing gun inside The Turntable. So that night we marched into the little match-box dance hall club hard and fast like the Dirty Dozen and posted up in front we wall.

Now when I say "we wall", I mean everybody and they mother know that every, single club night, that space up under the DJ booth balcony, from the edge of that larger-than-life Bob Marley mural over to the women's restroom -all that space is our own. It bought and paid for with sheer testosterone and gun sulfur. Whensoever we popped in, people just slide over to the side and relinquish we space. Regulars knew that; next week, a baby going born in England and he going know that. No long story; no long talk; no big fucking deal.

So, we had we backs to the wall, women's restroom 'pon we right-hand side, dance floor straight ahead. Was me, my cousin Bull, the two brothers Shortman and Doc, Brixton, Dapper, English, Bim, Mammal, Buddy-Bye, Star Boy and Trigger. Buddy-Bye bored through the crowd headed for the bar.

Bull turned 'round grinning and shouted in my ear over the music. "Wha' the fuck do Mackie? A few little shooting and now the damn Secret Service manning the door."
I didn't share the laugh. "I feel naked, no fuck." I looked around the club.
Bull did the same. "Yo, Chicken. Culture and Joe not coming?"
I shrugged. "Ever since Lyla get killed, Joe been acting certain way, like if he is the only man in the whole world raising a youth without a babymother."
My cousin gripped my shoulder.
"It's only couple weeks now. I feel for him; that man have some real big man responsibilities now," he shouted.
I thought about it. True, Joe ain't been around lately. But what about Culture and Ray-Ray and the rest of them? They don't never miss no party.
I shook the them thoughts and turned to Doc. "Blessed earthday, Bredren."
Buddy-Bye resurfaced lugging a waitress and two wash basins full a Moet bottles on ice, plus two cases of Heineken and hot Guinness. Soon as he set them on the floor, hands plunged in and rummaged through the basin and boxes of beer. I came up with two Moet, for me and Shortman, who started crushing weed in his hand, preparing to build a spliff.
The whole crew was hyped. The spot down in Southeast was bubbling over thirty grand a day, more than triple the amount we made the first day we set up shop, which was a month before. Not bad for a set of teens - we was definitely flexing, smelling weself.

So, now we're guzzling bottles. The music was pounding, the place ram-packed with tension and swagger. The air, hot and hypnotic from ganja smoke and spilled-liquor fumes and too many black people cramped in too small a space. Girls were wineing up they waistlines, riding the booming baseline with perfect timing. Knowing full-well a man's eyes would only linger  on any one of them for a couple seconds, the wineing competition between them girls was fierce; you hear?
But as man, we couldn't afford to turn fool over pum-pum; so real road niggas' eyes kept shiftin from predator to girl prey, like young lions scouting the savannah for enemies and food. That possie over there watching that one over there. Man under a constant state of alert.
Shortman reached across me and handed Doc the new-built, big-head spliff, then started building a next one. English roped in some girls, waving them in from off the dance floor. The music slowed to a crawl...then stopped.
Silence.
Crowd movement settled.
Grammatica The Selector's voice rang out through the speakers.
"Hold tight, all massive and crew. Here comes a chune by the one-and-only Junior Reid, a brand new thing mashing up Jamdung* and Foreign. Turntable LISTEN!"

Junior Reid sing-jayed the intro:
"Moder vamp-ires of the ci-ty/ haunted blood, blo-od/ You coulda come from Rema, you coulda come from Jungle/ coulda come from Firehouse or you come from Tower Hill/ One blood, one blood, one blood..."

When the baseline dropped in, the whole dancehall nearly tear down. It was bare bedlam. Lighters flicked on, aerosol-can torches spewing flames out like some ole, spit-fire dragons. Sirens sounded, a bomb warning wailed. Now, even the lions were prancing, bouncing with gun fingers in the air, busting blanks.
BLO! BLO!BLO!
I was thinking, Mackie fucking lucky he stopped we from bringing guns in here tonight, f'real. Or we woulda turn his ceiling into swiss chesses, the amount of gunshots that woulda burst for One Blood.
With the drum and bass and the Moet talking to me, plus the smell of sticky girls and sexy ganja, I was sailing higher than a frigging kite. And right about that time, Bull turned around and said to me:
"Wrangla them over there by the Galaga." He was gesturing behind him.
Soon as he said it, that ole, dutty, stinking crow cawed. Sobered me straight, right and fast. I had to rise up on my Bally boot toes to catch a glimpse over Bull shoulder but I spotted them in the corner by the video game in the back of the club. They were definitely watching us. And when our eyes locked, the four of them fanned out onto the dance floor, skanking like wasn't nothing wrong.
And that was all wrong!

They spread out, bouncing around with some random girls, but we could see them lurking - Wrangla and Glass to the left, Mongrel and Boo on the right. I'm thinking: four of them; twelve of we. Ever since Lyla get lick down right outside the club, Mackie was not skinning or grinning with security, nobody couldn't even slip by the metal detector with piece of cigarette foil paper under their clothes. So, what they could try? We had the numbers.
But then, Glass dallied through the crowd, rushing over to our wall. Off pure reflex and instinct, my gun hand dug down into my pants waist, knowing better, but still hoping to God for a miracle.
Shit! Heard that crow caw again. I definitely wasn't high no more.

Let me tell you, Bull solid like a pillar or post, so it was hard to see over and around his shoulder. Next thing I know, though, Glass was standing with his hands buried in his jacket pockets, ranting and railing off, nearly chest to chest with Bull. I couldn't hear a word for sake of the thumping music; but he was running off his mouth non-stop and I knew it was gun talk, wicked talk, cause he was screwing up his mouth like he sucking a green mango or something so. His hands were poking around in his pockets emphasizing whatever foolishness was coming out his mouth.
On my left, Doc and English inched wide. Shortman, on my right, ain't notice nothing yet and his short rass definitely couldn't see over Bull or the crowd, so he was still picking stems out the weed, preparing to roll.
And then, Mongrel and Boo squeezed through the crowded floor and drew up beside Glass, who on cue, backed a Glock .40 out his coat pocket and carried on chatting even more fuckery, going on like a real, big-pussy gyal, now that he had representation beside him.
I gripped the Moet bottle neck. Doc and English did the same.
Bull inched up, closing the gap between him and yappy-yappy mouth Glass. Which in, caught Glass in a place somewhere between disbelief and feeling disrespected. His eyes bulged with confusion.
Mongrel looked at Glass with sour disgust, spit some cuss words at him and snatched the tool right out his confederate's hand. At the same time, Boo backed out a nine millimeter. In one fluid, in-sync motion, the two of them raised the machines and aimed.





My Journey Getting Published by Kaya Omodele

My Publishing Journey
by Kaya Omodele @TheAbeng #TheAbeng

My book The Abeng and My Conscious Pen: Cries of Redemption is now in the hands of my editor.

The challenges getting a book published while behind a prison fence are many; obstacles jump up outta darkness like duppies/jumbies in the night. A problem will inevitably roll up like some old higue wanting to suck out all your energy and joy, threatening to transform your process into a nightmare.

But don't worry! Problems are mere opportunities to find creative solutions; so, fret not thyself. The ancient Egyptians found ways to time and harness the disastrous overflowing of the Nile; they converted destructive annual flooding into irrigation from which sprang one of the world's earliest and greatest civilizations. In other words, they made sugar outta ssshhhh (shingles ;-)  )

So, right about now, I'm saying "Big up!" to my very own team of ancient Egyptians:
  • My editor Tynisha from Dasheen Magazine and Camelitta Ink & Co...
  • My publisher Sabrina from Beneath The Surface, Publishing...
  • My production manager/marketing and sales specialist Rene...
  • And Midnight Express Books for helping me maintain The Abeng and My Conscious Pen platform, not to mention my sanity.

I give nuff thanks and honor, Ladies.
It takes a village, people.
Bless up,
Kaya Omodele

#TheAbeng #abeng

Friday, November 25, 2016

Abeng Short Story: Amalaika vs. The Council of Elders (The Palm Wine Controversy)

Abeng Short Story
Amalaika Vs. The Council of Elders 
(The Palm Wine Controversy)
copyright K. Omodele 2016

Amalaika, gazelle-like in body but dragged in spirit, chucked her son all the way to the Circle of the Council of Elders. Bursting with vexation, she beat the over-sized boy with a bamboo-cane stick as the people of the village looked on, bemused, but with sinking hearts because Amalaika's husband and her two older sons had been captured and herded away with a dozen others, most likely to the slave fort hundreds of miles to the south. So, all that was left of Amalaika's family was a young daughter and this degge-degge, thirteen-year old son.

Breathing heavy and fast, the woman shoved the dirt-crusted boy to stand and face the elders. She addressed the council.
"Greetings Elders. This one will not stop drinking - he is a drunk." She wrinkled her nose.
The leader of the council was a bald, creaky-limbed man who nevertheless harnessed the presence of a growling leopard within him.
"Woman, this man-child will be initiating rites of passage soon."
"Yes, Baba." She straightened her back. Folded her lips in a fit of restraint.
"Boys will be boys. One rotten fruit now and then will not kill monkey," the council leader said, dismissively.
"Baba, he thinks he is a man but he does not hunt; does not bring food. All he wants to do is drink palm wine, day and night."
The boy dug his chin into his chest. He didn't move or look up; not even a twitch nor hint of protest.
Amalaika pleaded. "Wise One, if YOU tell him to stop drinking, he will obey. He will have to stop."
The council leader assessed the mother. HMMMMPPPH!
Then the whole Council of Elders roped in together, grumbled amongst themselves for a moment or two, then broke their huddle.
The Wise One's voice waded through a swamp of pity.
"Woman bring the boy in seven days. I will personally take care of this matter, then."
Amalaika grabbed her son by the back of the neck like a lioness transporting her cub, and lashed him homeward with the bamboo-cane stick.

Seven days staggered by; then finally, Amalaika, pepped with anticipation, brought her son back before the council.
The boy once again dug his chin into his chest.
The Wise One growled. "Look at me when I speak to you!"
The boy looked up, head still partially bowed.
Now the old man roared. "DON'T DRINK ANY MORE PALM WINE!"
The boy shivered, nodding. "Yes Wise One." Then, he backed away.
The council nodded and grinned, clearly pleased with themselves.
Amalaika stood still, grilling the council over coals of bewilderment.
"Is that all?"
The Wise One turned to her. "Yes...What more is warranted?"
"But you could have told him that seven days ago."
One of the Elders held up his palm. "Woman, you challenge the council?"
Shaking his head, the Wise One drew the man back and then told Amalaika.
"Seven days ago I was also drinking palm wine."

Wednesday, November 23, 2016

Abeng Chanting: Satta a Massagana, Igziabeher

Satta a massagana, Ahamlack #TheAbeng

I give thanks for my family and loved ones. There is no greater gift in life than the gift of Love.

In Amharic (the official language of Ethiopia), satta a massagana means "give thanks and praise"; Igziabeher means "Lord (or Ruler) of the Universe"; Ahamlack (or 'amlak) is a more common Amharic word meaning "god".

Blessed Love.
Kaya Omodele

Monday, November 7, 2016

Abeng Recent Reads

                             What We Have Been Reading Lately
                                          Kaie "Kaya" Omodele @TheAbeng

An advocate of self-education, Marcus Mosiah Garvey told an audience in St. Kitts, "Read! Read! Read! and never stop until you discover the knowledge of the Universe."

- Artful Journalism - Essays in the Craft and Magic of True Storytelling; Walt Harrington
- Just Mercy; Bryan Stevenson
- Journalism Next - A Practical Guide to Digital Reporting and Publishing; Mark Briggs
- "The Black Family in the Age of Mass Incarceration"; Ta-Nehisi Coates. The Atlantic, October 2015 Issue
- Rise of the Warrior Cop - The Militarization of America's Police Forces; Radley Balku
- Bienville's Dilemma - A Historical Geography of New Orleans; Richard Campanella *


* It's amazing how much Haiti and the Haitian Revolution affected New Orleans and Louisiana

Tuesday, November 1, 2016

#wematter, Sevyn Streeter Barred By 76ers

Abeng Editorial Opinion: Sevyn Streeter Barred From Performing The National Anthem at The Philadelphia 76ers Season Opener
                                   by Kaya Omodele @TheAbeng

A man of God addressed feuding members of his congregation.
"You profess to love God, who you can't see, yet you hold no compassion for your fellow man who you live with every day?"
This whole controversy over protesting during the national anthem before sporting events turned into a fiasco when my favorite NBA team, the Philadelphia 76ers, barred singer Sevyn Streeter from performing the national anthem at the Sixers' season opening the other night. See, the Sixers organization (the front office, not the players) felt that Sevyn's sporting a #wematter (as in #blacklivesmatter ) t-shirt during her rendition would be a bad look, break their policy/contract agreement, and alienate a majority of Philadelphia fans (not me, though), who feel that any protest during the national anthem somehow denigrates the flag, dishonors military veterans, and disrespects the good old US of A.

You don't have to look any further than the insults and death threats hurled at Colin Kaepernick (for his kneeling in silent protest during the anthem at NFL games) for examples of how unfavorably many Americans view these acts of protest. Results from a survey questioning why TV ratings for NFL games are lower this year reveal that 56% of those surveyed hold the opinion that people are turned off by the protesting during the anthem.

Maybe these are the same set of people who threw threats at Muhammad Ali during his "unpatriotic" protest and critique of the US government and the Vietnam war; maybe they would've booed Tommie Smith and John Carlos for their black-fists salute during the medal award ceremony at the 1968 Olympic games; maybe they would've howled at the framers of the U.S. Constitution who insisted on freedom of speech and press, and from the tyranny of government.
Maybe for some, institutional symbols (the anthem and flag) deserve more consideration and respect than compassion for human lives and dignity.

*Editor's Note

After the players were upset by the front office's decision to bar the singer, the Philadelphia 76ers organization has since apologized and invited Sevyn Streeter back to perform the national anthem at whichever game she choose

Wednesday, October 26, 2016

Poem: Roots - For Women of The African Diaspora

Roots by Caribbean Poet Cicely Rodway 
(from her book of poems Facing The Wind; 2009)

FOR WOMEN OF THE AFRICAN DIASPORA

Her roots are deep
many bloods cruise through her veins
yet she can trace with certainty
her beginnings.

She comes from a long line
of strong woman
the spirit of goddesses runs through
her
the spirit of earth and
sun goddesses
spirits of the elements
the forces
of life
rest in her.

Spirit of Oya
Yoruba goddess of winds
and tempests
Oya
The Strong Protectress of Women
Yes, she comes from a long line
a long line of strong women.
She springs from survivors
from enslaved women
from women
who struggled to be free.
Now,
made stronger by this history
Bathed in the power of her ancestors
strengthened by the faith
and works of sisters
she shapes the world.

Tuesday, October 25, 2016

Abeng Editorial: Coronated Queens

Coronated Queens
by K. Omodele @TheAbeng

I'm drawn to strong, steely queens who bend but don't break, who may crack but don't shatter; practical, can-do, will-deal-with-any-situation women; Women who throw hands akimbo and laugh in the faces of hurricanes; though a continent removed, women who gather skirts and frock tails, bend over and toil soil under sun; one empress who wheeled a truck all day, then on the refill, struggled with the over-sized nozzle at the pump, trying to earn a check that way.

Centuries ago these women would've stood up, gathered hammers, axes and saws, and built a whole girls' dorm for Old Timbuktu; would've encircled, forming council 'round Yaa Assentewaa while she cranked up.
"Since you men won't fight the British invaders, we women will fight them ourselves."
The type of women who ride, like warrior-queens Nanny, Nyabinghi, Nzinga, like Hatshepsut ruling over Egypt and Ethiopia.

Empresses whose I do's ring true through decades; whose heart-fires slow-burn, turning up in time; sisters who step up in courts pleading for brothers, cleaving to brothers, year dragging after year grieving but believing in brothers. Women of resistance who raise right fists in the air, like Assata, Andaiye, Angela and Bonita; women who stand for their men, stand with their men; sit with their men; never trailing behind but, with heads high, walking side by side with their men. Like Waiyzaro Menen, empresses who are coronated on the very same day as their Kings.

Monday, October 24, 2016

Dry Cry (Revised): A Writing From Prison

Dry Cry (Revision): A Short Story
by K. Omodele copyright 2004

This is a revision of a short story I submitted as a lesson for a correspondence/self-paced writing class I took through UNC-Chapel Hill, Friday Center. The lesson was description and the assignment was to describe the student's/writer's immediate setting.

12-24-04   
10:15 PM
I'm stuck in a block with twenty-six convicted felons who never shed no tears. Ever.
I'm not writing in my cell right now, I'm in the dayroom, a rock-hard twenty by thirty feet with a concrete-slab floor and solid-brick walls painted in more layers than make up on one of them frozen-faced geisha girls. Tables are lined in rows. Hanging in a locked, metal frame, a JVC boob tube lords down on its faithful followers. Even with earplugs, I can't drown out all the buzzing anticipation, the constant babbling and laughter leaking through as A.I. and Lebron shoot it out. A muted shout slips into my thoughts here, gasps of conversations seep through there.

Right outside the bathroom, Rasheed hangs up the wall-phone.
"Man, it's brick-cold up in Philly right now. What's up with all these warm-ass winters down South?"
His voice barely sifts through my earplugs. From my table in the back, it's like watching a drama with the volume turned way down.
'Sheed barks. "Yo Frizzle, Grab the horn."
Looking like JJ- Kid Dynomite from Good Times, Frizzle drops a pair of dice and hops on the phone. Must be calling Virginia Beach; yeah, he's cheesing bright as hell. Virginia Beach the only one can get him smiling like that.
The next man up in the dice game scoops the bones, shakes and tosses them against the wall.
'Sheed strolls over to the table right in front of mine. He meets my eyes, shakes his head, sighing under the heaviness of  bars and walls, missed birthdays and anniversaries.
I nod knowingly. Holidays are always rough up in here.

At a table to my left, Wolf and Bass shield hands from one another, dropping cards, piling and scooping them, then shuffling and dealing. Casino - every time you see them at a damn table. Bass is this ever-cool, surfer dude with skin that always looks sun burnt. Wolf is Grizzly Adams from the Mountains of West Virginia and when he opens his mouth, he sounds like a Harley, idling; smells like one too, exhaust fumes like stale Camels. Last week we jumped on him; made him hit the showers. 'Bout time for another fresh any day now.

The Uptown Saturday Night hip-hop mix on Power 98 outta Charlotte must be jumping because the younger Brothers got their headphones up on blast, doo-rags flopping, heads bopping and bouncing, while they catch the basketball game, or shoot dice or strategize over chessboards. They're spitting Jay-Z and Young Jeezy lyrics and, what the hell, I might as well pick smoking back up 'cause the room is totally fogged up - a mish-mash of Newport, Camel and Tops. My lungs are vex and I gotta suck some relief from my inhaler, quick.

Cornered up against a wall, this industrial microwave been humming morning, noon and night, ever since our holiday packages (ordered by loved ones) got hauled off a UPS truck last week. I hear The 'Ville - as in Vomitville, AKA the chow hall, looks like one of them ghost towns out a Louis L'Amour western right about now. Every few minutes the bell on the microwave DINGS and someone yells, "NEXT." The poor thing might stage a revolt any time now. Popcorn, salmon, garlic, jalapenos, sausage and cakes gang up, warring 'gainst a relentless tobacco stench.

In B-block, holidays bring a haunting like forgotten photos and left-behind toys in an abandoned building. Beneath our masks resides a longing only revealed in sunken eyes. Under cloaks of forced laughs and fake nonchalance, we hide our nakedness - our isolation from the world, and we vent this angst in raised brows, grumbles, grunts and gnashing teeth. Everything. Anything. But no tears.

Early tomorrow morning, the big and empty day, we'll rise from our bunks, methodically wash faces and routinely scrub our teeth. One by one we'll bleat, "Who got last?" for the phone. Then, when our turn finally comes around, we'll pull up a chair, burrow into the phone partition and wish our loved ones Merry this or Happy that. We'll carry on catching-up, tender conversations with family and kids. But always, with determination, we grin and smile and absolutely refuse to shed tears.
Never. Ever. Shed no tears.

Tuesday, October 18, 2016

Caribbean Poet Cicely A. Rodway's Worlds Away From Home

Worlds Away From Home (from her book Sunstreams and Sunsets)
by Cicely A. Rodway
Looking out at snow-capped trees
in the heart of Queens, Jamaica,
worlds away from home
yet home
the heartmind trembles,
rails at the ceilings
lowered by the
for whom the Lady's torch
does not shine bright.

In the heart of Jamaica
worlds away from home,
glimpses of possibilities
sporting chances
level fields
equal odds
dreams of undeferred dreams
fuel the need to challenge
the rigid ceilings
erected for the hounded
lowered on the shadowed
the old new prey
crouched
cramped
manacled
confined by carefully erected
low ceilings
in this new world
where the Lady's lamp shines
shines brightly
only on the chosen.

Cicely A. Rodway, Ed. D, LCSW, CASAC, is a retired English Professor of the Percy E. Sutton SEEK Program at Queens College, CUNY (City University of New York). Currently she functions in two roles: Coordinator of the SEEK Program's Academic Learning Center and the Coordinator of Vocational and Higher Education at HANDS ON Health Associates, an outpatient clinic for people in recovery in East New York, Brooklyn. A daughter of the Caribbean, she was born in St. Lucia, West Indies, and grew up in Guyana.
Sunstreams and Sunsets was published by African World Press, Inc.

Monday, October 17, 2016

The African Oral Tradition of Storytelling in Dancehall: Early B, The Doctor

        The African Oral Tradition of Storytelling in Dancehall: Early B, The Doctor
                    by Kaya Omodele 
(first published in Method Mecca Magazine for @ZigZee)

"When an old man (griot) dies, it is as if a library has burnt down." 
- African proverb

When it comes to storytelling, Early B - The Doctor had lyrics by the bag, plus style in his delivery. I've said it before, I rate a dancehall artist first and foremost by his/her lyrical content - I rate highly the artistry in spoken word. I love it when a lyricist communicates message, experience, and cultural relevance in song. And so, Earlando Arrington Neil was a modern-day griot the way he brought past events to life for his audience.

I first heard him chat back in The Eighties on one of my bredren's dancehall cassettes and I still remember how he related the story of His Imperial Majesty Haile Selassie I's visit to Jamaica in 1966. Since I hadn't even been born back then, my only knowledge of the emperor's visiting Jamdown came from Early B because up to that time I hadn't read any account of the event.
I will never forget the year because the griot sang
"It was the year nineteen sixty-six/ when Selassie I made a visit..."
The artist's words sketched and painted the scene for me.  I saw, vividly,  the rain dripping that day, then easing up once the Emperor's plane landed. I could hear the roar of tens of thousands of people. Early B's words painted the flock of wild birds flying down, then pitching on the plane's wing before Selassie stepped out
"...with him lion an' him stick
inna him military clothes with the sword 'pon him hip..."

Later on in life when I read the details of His Imperial Majesty's visit, the written account only affirmed my mental image which was first created by the storyteller's artistry. Early B, The Doctor, had many songs I will never forget because his descriptions and timing were colorful and exciting.

Other Early B songs that tell stories:

One Wheel Wheely - Early B heralds David Weller and Xavier Miranda (Jamaican National Team Cyclists) and give drama about a crew of youth cyclists riding through town


Sunday Dish - help Early B cook his Sunday dinner; he lists every delicious thing on his menu.

Wednesday, October 12, 2016

Chatting Lyrics: The Oral Tradition of Storytelling

The Oral Tradition of Story Telling 
(Spoken Word in Dancehall)
By Kaya Omodele
(first published as Lyricist Chat for Method Mecca @ZigZee)

The oral tradition of storytelling is intricately woven into African culture and throughout the ages griots/djeles/jelis have relayed didactic stories, ripe with history and moral values, from one generation to the next. Since many cultures in Africa had little or no written archives, these storytellers were revered, as it was they who transmitted the peoples' history, knowledge, wisdom, and moral understanding. An essential component in African oral tradition is its integration of music, which has continued in various cultures throughout the African Diaspora.

The spoken word aspect in dancehall, calypso, soca and other genres of Caribbean music communicates message, experience, social commentary and parody, much like the griots/djeles of old. And when it comes to dancehall, I rate an artist by lyrical content, first and foremost, even more than feeling the vibes of the song. Captivate me first with spoken imagery- make me think; then, the vibes in his/her style and flow can hold me.
Now don't get me wrong, I have liked songs now and again, when the artist not really saying nuttn much, but he/her is riding the riddim with style. And sometimes a song will grow on me if the lyricist's words have a great flow; because after all, it's not just what you say, it's also how you deliver. Like:

Ting-a-ling-a-ling, school bell ring/dee-jays' ears cock-up when them hear boom riddim... - Shabba Ranking

However, I highly rate the spoken word-sound as power; and since lyricists are supposed to be masters of words, I hope dancehall artists will continue the oral tradition of storytelling. Dancehall culture should never stray from the early years when dee-jays were street commentators, reporting the mood of the people live from the street, relating their experiences and carrying the flame of the African griots, the original sounders of the oral tradition, spoken word.

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