Dancehall songs glorifying speeding are now on the Broadcasting Commission’s banned list in Jamaica, and Fame 95 FM has found itself in hot water and having to air an apology after the station played songs promoting fast and reckless driving on the airwaves. The brand, which falls under the RJR Gleaner group, has been issuing an apology over the last few days for what it says are the transmission of illegal activities relating to excessive speeding.
“The Broadcasting Commission has determined that Fame 95 FM aired a song with lyrics that glorified driving at the excessive speed of 220 kilometers per hour while swerving on the highway. This was a glorification of speeding and reckless driving, both of which are illegal. Accordingly, the transmission breached the October 11, 2022 directive which prohibited the broadcast of content that promotes and/or glorifies illegal activity,” the apology states.
Jamaica’s Broadcast Commission’s directive in 2022 stated that television and radio stations operating on the island should halt “any audio or video recording, live song, or speech which promotes and/or glorifies scamming, illegal use or abuse of drugs (e.g., ‘Molly’), illegal or harmful use of guns or other offensive weapons, ‘jungle justice,’ or any other form of illegal or criminal activity.”
Since then, several songs have been released about speeding that have become popular on YouTube including Valiant and DJ Mac’s Speed Off surpassing 17 million views and topping the Jamaica Apple Music Chart. Javillani’s “Speed Gad” starts with the lyrics “Dog me nuh wul breaks,” and Chronic Law’s “Top Speed is among other popular songs glorifying speeding. “V6” by Malie Donn and Ireland Boss, which was last year’s top song on YouTube and Spotify in the Island took shots at the government’s new Road Traffic Act which requires a car seat for traveling babies by saying, “you nuh see we lifestyle reckless, Andrew weh you a go with car seat.”
Jamaica’s Minister of Culture, Gender, Entertainment, and Sports, Olivia “Babsy” Grange, recently emphasized the integral role of dancehall in Jamaican culture and society. Grange highlighted its significance beyond mere entertainment, acknowledging its capacity for social commentary, empowerment, and individual expression.
In a statement at the launch of the book Dancehall Queen by Professor Donna Hope she said, “Dancehall is very much a part of our culture, the lifestyle, and the music.”
Acknowledging its deep-rooted presence in Jamaican society. Despite its often controversial nature, she asserted its cultural relevance, drawing parallels to mento, an earlier form of Jamaican music known for its sometimes suggestive lyrics.
“It may be raunchy, there are things people might not like,” Grange conceded, recognizing the provocative nature of some dancehall content. However, she emphasized that amidst the controversy, there lies a deeper narrative—one that reflects the lived experiences of Jamaican people and provides an outlet for self-expression.
Importantly, Grange who brought to fame dancehall icon Patra in the 1990s when she was her manager highlighted dancehall’s role in empowering women, challenging conventional gender norms, and providing a space for female autonomy and agency. “More than anything else, it empowers our women,” she affirmed.
Grange said dancehall encompasses the freedom of expression and authenticity that it fosters. “When you go to the dancehall, you are free to dance any way you want to dance,” she declared, emphasizing the liberating atmosphere of dancehall spaces.
