It seems the Gay crusade to blight the image and reputation of Reggae Artistes who produce “murder music” has been thrown into high gear. 

During this summer in New York state, a number of popular Reggae summer festivals suffered the loss of sponsors and smaller events throughout the tri-state area experienced visible fallout in attendances. 

The ever popular Irie Jamboree reputably a family event was slightly overshadowed by the obvious presence of gay activists who attended the event to protest the anticipated appearance of Beenie Man. 

A few days earlier the much anticipated Reggae Carifest faced the withdrawal of Major sponsor Power 105 NY, days before the event. On the day of the event Activist with Banners and Horns protested outside the show’s venue on Randall Island, claiming main performers Buju Banton and Bounti Killa were producers of “Murder Music”. After his toned downed performance at Carifest, Buju Banton branded the activists as “ignorant and stupid” in an exclusive interview with NY1. 

It had been announced earlier this year with great fanfare that number of high profile Reggae Artistes had signed and agreed to comply with clauses in a document named “The Reggae Compassion Act”. 

Beenie Man, Capleton, Buju Banton and Sizzla were all named by GLAAD and its affiliated organizations as artistes who had signed this document and had proclaimed some sort of allegiance to the gay community. 

It was viewed as a milestone and ground breaking step in their war against “Murder Music”. The jubilation however, was short lived as once the news reached Jamaica; it was denied and disregarded by the performers in question. 

So who really signed the paper? 

According to Gay Activist, Peter Tatchell he has documented proof that all artistes in question have signed the Act. 

But if they did, why deny it? 

It seems this public denial has done nothing but to further intensify the efforts GLADD and its alliance, who have strategically move the war from the artiste to the event, and most importantly the sponsors, subsequently disrupting the US reggae market segment from which these and other artistes generate significant income. 

Their persistence for proof has done nothing but temporary martyrdom for the artistes in question and in effect understates the relevance and purpose of such a document. The  informality of the Reggae Industry creates one of the biggest challenges for Gay activist Groups as it has no head, No Board, No Committee that they can target to effectively get their message heard by makers of “Murder Music”.  

The Reggae Industry for them is simply “The Cockroach without a head”. And it’s the most effective offence we have in defending the art form against the onslaught of Gay Activism. 

http://www.petertatchell.net/popmusic/reggaecompassionatescan.htm

Gibbi Geraz
Senior Correspondent

http://www.riddimja.com