In yesterday's STAR, local gay rights organisation J-FLAG was reported as saying that the dancehall artistes currently emerging have far less anti-gay lyrical content than the generation which preceded them.

In a press release, JFLAG stated:

"Despite the occasionally homophobic rant by rogue deejays, we have seen a general decline in the level of homophobia coming from new Jamaican artistes and in new music from Jamaica. We have also seen corporate sponsors withdrawing their support from music that promotes violence or discrimination against any group."

The members and supporters of JFLAG would, of course, feel encouraged by this decline, whether real or perceived, dancehall music being at the forefront of public expression against homosexuality in Jamaica.

However, they should be cautioned that the lyrical change does not necessarily reflect a change in attitude by the performers or the general public. What is likely to be the case is that the younger performers, all of whom have a connection to the generation before them through a producer or performer mentor, have seen what happened before them and are simply being strategic.

So having seen the continued effect of Boom Bye Bye on Buju Banton nearly two decades after it was released, they would not record an ant-gay song that might come back to haunt them later in life. And they are also more lyrically subtle than the generation before, while sending out the same message.

A change in lyrics, therefore, does not necessarily indicate a shift in attitude. In fact, it may well represent a strengthening in dancehall music's original territory, on sound systems at actual dances.