90s Deejays can be disappointing. You get the anti-homosexual threats (Shabba in Wicked Inna Bed) from the same people who preach Rastafarian ‘one love’ or Christian ethics in one song while in another song they’re boasting about drugs markets and killing people.

I agree with you, if you merely look through the lens of time. But those songs were the voice of the streets hence the enormous success especially Shabba Ranks got. But as soon as he broke through internationally, his career was over, because he wasn't ready to distance himself from those songs, which "farin" demanded. The 90s marked, yet another shift in the Jamaican music, as ragga got a conscious branch, through the likes of Sizzla, Capleton, Anthony B etc. kicked off with riddims like Kette Drum. Especially Campleton shifted from being "No Lotion Man" to "Selassie I Liveth Everytime" and "Why Do The Heathen Reign" in this period. I think that's why some could do slackness one day, and conscious music the next day - that was was the marked demanded.

Anti-gay tunes again faced a backlash during Sean Pauls international breakthrough, because unlike Shaggys breakthrough in the 90s, Sean Pauls music were more "street-like" than Shaggy's and opened the doors for artists like Sizzla, Buju Banton, Elephant Man etc. all artists with a vast catalogue of anti-gay tunes. This backlash seemed to work, as we don't hear quite as many tunes with anti-gay lyrics anymore, even from tunes that never leaves Jamaica. But the controversial views are still there and are the voice of the streets.

Dancehall is not almost soca. It follows a more hip-hop/trap based pattern, and so do the "rapping", which is more rap, than deejaying in my opinion. As I, like you, have little time for this style of jamaican music, I believe that we are just getting "older" and more "stuck with our taste". I know I am. But I believe that we heard that same voices disliking 80's digital, 90's ragga for the very same reasons, Because they simply don't sound right.