Carolyn Cooper | Claudette Kemp, fire mama from Comfort Hall

By the time I met Claudette Kemp, she was the skillful manager of Clifton ‘Capleton’ Bailey, the fireman. Capleton, also known as King Shango, King David and the prophet, had taken on the identity of biblical royalty. You might think that it could not have been easy for a mere commoner – and a woman at that – to guide the fiery artiste professionally.

But Claudette was no ordinary woman. She was a champion in the Jamaican music industry. Before Capleton, Claudette had been Beres Hammond’s manager for over a decade. She also managed Keith Poppin’s campaign for the 1980 Festival Song contest. Claudette was the producer of his song Jamdown Festival. He didn’t win. All the same, Claudette and Poppin put on a very good show.

Most of the managers of male artistes in Jamaica have also been male. Over the years, sensible men have recognised that female managers can do an excellent job promoting them. Andrea Davis, creative/cultural industries consultant and founder of International Reggae Day, highlighted several female managers in a 2021 article in The Observer, “Reggae’s Her-story”.

Davis herself was the manager of Toots & the Maytals. Minister of Culture, Gender, Entertainment and Sport, Olivia ‘Babsy’ Grange, managed Shabba Ranks and Leroy Sibbles. The late Louise Frazer Bennett was Ninjaman’s manager. Bridgett Anderson managed Garnett Silk. Another woman, Mervis Walsh, is now Beres Hammond’s manager.

“HEAD ABOVE THE WATER”

Last Wednesday, at the beautiful memorial service for Claudette who joined the ancestors on June 9, Capleton sang one of her favourite songs. It was his own composition, “Head above the water”:

“As long as I live

I’ll give and forgive

And do good I can wo-oah (let em know)

As I trod with my steps

I will never forget to do good again”

Capleton was accompanied to the platform by his flagman Fyah Stone, who waved with understandable restraint. His presence must have been comforting. In a moving tribute, Capleton declared, “We lose a real icon, a real legend, a real pioneer.” He described Claudette as “so generous, a real humanitarian”. And he acknowledged the way she fought, not just for him, but on principle: “She always on the battlefield, you know, she’s a real fighter, yeah, and she do it without fear, you know ah mean, she do it with love, honesty, discipline, diligence, humility, tolerance.”

It was in the insurance industry that Claudette sharpened her skill as a fighter and mediator. Crosby Clarke’s tribute, given on behalf of her former colleagues, confirmed her expertise: “Claudette later became a Mediator, one of the people who, as a team, look into accident cases to determine who was right or wrong in an accident.” Clarke added, “So, you see my friends, when Claudette entered the Music Industry, she was already a heavy-weight. She mastered the art of bringing enemies together and settle disputes peacefully.”

DIVINE DAMNATION

One of the major disputes Claudette had to try to settle was between Capleton and powerful non-Jamaicans who did not understand his use of symbolic language in his lyrics. In 2016, Claudette asked me to be an expert witness in the case of Capleton’s application for a visa. He was at risk of being turned down because of his use of “slew dem” in his lyrics.

In my letter to the embassy, I made the argument that, “Like the Biblical fire image that signifies divine damnation of sinners, the metaphor ‘slew’, as used in the Bible to mean ‘slay’, indicates the destruction of negative forces. So Capleton’s ‘slew dem [them]’ is, essentially, a metaphorical chant against evil. It is not a literal incitement to murder. Though dancehall lyrics often deploy language that appears to be violent, this verbal violence, like that of the Old Testament, is a warning of the destructive consequences of wrongdoing.”

A decade ago, another issue was preventing Capleton from performing at one of Europe’s major reggae/dancehall festivals. I got an email from Claudette which had come from a promoter: “Capleton made an entire segment with his homophobic tunes. Well, he didn’t sing the tunes entirely, but it was not necessary because the audience demonstrated to know/sing them perfectly ... Between the tunes: ‘bun out the chichi, and ‘lotion man.’”

The festival promoter sent that complaint to a European music agency. This was their response: “Just spoke to Miss Kemp, she’s very surprised about what you said and I’m as well as I would have heard something already as he’s coming next month in Europe.” When I asked Claudette about the controversy, her response was typically calm: “I sent him to youtube .... it is a set up to discredit Capleton and I found out some of the players .... good over evil jah is our guide .... bless.”

SUBSTANCE AND STYLE

Claudette lived up to the name of the district from which she came: Comfort Hall in Manchester. She was a blessing and comfort to those in need. As Capleton declared in his written tribute to his second mother, Claudette “invested most of her life in humanitarian work. With her compassionate heart and tireless dedication, she touched the lives of so many people around the world.”

Claudette was a woman of substance. And style! She was a fashionista from long time. The Swaby and Newman family said in their tribute, “You were a beautiful flower always dressed in your African prints.” Claudette was also clothed in righteousness. She gave and she forgave. She trod through creation doing good. She kept her head above the water. Fire mama sang in tune with her son Capleton. Give thanks and praises!

- Carolyn Cooper, PhD, is a teacher of English language and literature and a specialist on culture and development. Send feedback to columns@gleanerjm.com and karokupa@gmail.com