"Dons and Shottas: Performing Violent Masculinity in Dancehall Culture" — Donna Hope

Donna Hope's 2006 article in Social and Economic Studies on the deejays who built careers out of performing violence (Ninja Man, Super Cat, Josey Wales, Bounty Killer) and on the "Don" as a role in the dancehall rather than a description of a person.

Her definition is the useful part. The Jamaican Don borrows from the Mafia overlord of the Godfather films but is organised around an indigenous figure, the ghetto gunman, sometimes with political or narco-political linkages; it is a status available to men from the lower socio-economic levels and the inner city, and it is guarded as exclusively masculine in a way the "slackness" route to status open to Lady Saw or Tanya Stephens is not. The monikers are the evidence: Ninja Man the Front Teeth Gun Pon Teeth Don Gorgon, Super Cat the Wild Apache and Don Dadda, Josey Wales the Bad Bwoy Colonel, Bounty Killer the Warlord.

It also records the moment the performance and the thing itself collided in public: at Sting 2002, in the early hours of 27 December, Ninja Man handed a loaded Glock to Senior Superintendent Reneto Adams on stage.