Wednesday, August 14, 2013

Introducing Singer/Songwriter Kemar 'Flim' Martin

Kemar 'Flim' Martin
In an era where it is so easy to create and release songs, only those with exceptional writing skills will stand the test of time. It is widely believed songwriting is about exhibiting anything or the first thing that comes to mind, complimented with rhymes, slurs and slangs that are usually trendy or catchy.  But young singer/songwriter Kemar “Flim” Martin's aim is to be different and recognized as one of his generation's most outstanding artiste in reggae and dancehall. Although Flim believes he can accomplish his wishes singing and writing songs for any genre of his choice his focus is dancehall and reggae.

Born September 9, 1992 to a musically inclined family, Kemar Martin's father played keyboard and was a member of a local church choir while other family members engaged in their respective church choirs or played various instruments. One cousin of his, Courtney Martin plays keyboard and work with reggae artistes Sizzla Kalonji and Capleton. Flim on the other hand, discovered he was a naturally talented singer/songwriter when he became a teen.   He recalled his first encounter with any form of music activity was at a time when he participated and subsequently became a member of his local Sunday school choir, he also played drums.  

Flim realized while in high school that he was passionate about writing music.  He attended the prominent school of Kingston College and grew interested in writing short stories and poems.  He would eventually learn how to incorporate his knowledge from writing stories and poem to writing songs.  As Flim honed his skills he who often engaged in lyrical battles with his fellow schoolmates and subsequently called himself ‘Intalek.’

In the months preceding his tenure at school, Flim met members of a local recording company, Truckback Records who made him a part of their team and helped him shaped his career. He met several artistes, producers, selectors and other members of the Jamaican music industry. Flim worked alongside internationally recognized Producer Teetimus, known for his creative production of hit songs ‘affairs of the heart’ by Damian 'Junior Gong' Marley and ‘Bruk it Dung’ by Mr. Vegas.  He personally assisted with the creation of the track, "Quint an Kotch" by local artiste New Kids and Baby Chris.
Kemar 'Flim' Martin

Flim recorded a few songs that he uploaded to YouTube and got some positive feedback but his career altered September 2011 when he enrolled in the University of The West Indies to study Biochemistry.  Well at least that's what he taught, Flim became a member of the university's UWI Steel Pan Orchestra and played drums.  The band band performed at several events and he became fond of performing in front of a large audience.   The experience and exposure was great and helped him to further develop his craft for him. Subsequently, Flim recorded a track called “Mass Murderer,” an impressive but controversial dancehall track aimed at evoking reaction from other dancehall artistes in the local industry. The track caught the attention of French dancehall producer Zaoundé of the Dirty Zone Production label whom Flim eventually recorded the track, 'Maintain Culture' currently playing across various radio stations.  

Kemar 'Flim' Martin currently resides in the United State of America.  It was after he migrated to the U.S. that he decided to call himself FLIM.  Engrossed in his music career, the 22 year old looks forward to releasing a few reggae/dancehall and acoustic freestyles. But his greatest conquest is to write a song in popular genres to include gospel, pop, country, rap, rnb , electro , soul, jazz and rock. Now that you have met him, he wants you to follow his career path. Flim music is fun, suggestive and taught provoking.  He's spontaneous and playful so fans should expect the unexpected.

Sunday, August 11, 2013

Vybz Kartel's Book "The Voice of The Jamaican Ghetto' Added to Universities Libraries Abroad But Rejected by Local Book Stores

The Jamaica STAR reported that Dancehall's most controversial and incarcerated artiste Adidja 'Vybz Kartel' Palmer book he co-authored with Michael Dawson entitled, 'The Voice of The Jamaican Ghetto' was added to the library of the Universities of Princeton, Vanderbilt and Duke. This is indeed an historic accomplishment for the Dancehall artiste not withstanding the fact that contents of his book is as controversial as this trendsetter which lead to its publication being 'rejected' by local book store owners.  But despite the negative implications one professor of the University of the West Indies of Jamaica Professor Carolyn Cooper, had recommended that the book, 'The Voice of The Jamaican Ghetto' be added to local school syllabus (click here to read Professor Cooper's recommendation)

Recently an article written by Hassani Walters and published in the local STAR highlighted the views of Michael Dawson who said he could not celebrate it's recent accomplishment with Vybz Kartel in Jail.  According to the article, Dawson explained what he believes is the reason local educators or the education system will not accept the book stating that it's "disruptive to the traditional education system" to which has a "main problem" that of not being able to "find a way to rationalise the inaccuracies, distortions and omissions in the traditional history books now being taught in schools."  He further explained that "the reality is that the book factually discredits some traditions - from Jonkonoo to the dominance of Euro-Christianity" and questioned the local education system's ability of handling "facts and empirical data" written in the book that proves much of what children are being taught in schools are fictitious. Dawson is said to have made reference to the nursery rhyme, Baa, Baa Black Sheep as "abusive to black children" to state his point.

Dawson also disclosed according to the article that Vybz Kartel told him that while "overseas educators and music critics laud him him for the power of his social commentary and realism in his music as they accept it as art, the Jamaican system criticises it because they prefer to sweep the things he sings about under the rug."

Source: The Jamaica STAR