The Vail Daily News, Vail, Colorado
WEST VAIL - The Yellow Wall Dub Squad, an original authentic roots reggae band comprised of Jamaican studio session musicians, tours to the Sandbar in West Vail Tuesday for a rocksteady party.
The band was formed by the late Fazal Prendergast along with reggae ambassador Amlak Tafari. Fazal, who passed away in a tragic car accident on April 1, was an original recording sessions musician who had been recording since 1974 in Kingston, Jamaica, working at Rockers International backing the Augustus Pablo in Rockers Allstars Band - the first original Dub band ever created.
The Yellow Wall Dub Squad consists of original members Stevie Love on guitar (Jamaica) and Alton "Sandrum" Vanhorn on drums (Jamaica) along with Peter Tomlinson on keyboards (Jamaica), Donavan "Itawe" Cunningham on bass (Jamaica), Balboa Becker on trambone (USA), Garrett Kobsef on saxaphone and flute (USA) and manager Robert Oyugi (East Africa).
The band presents an eclectic mix of music from the rock steady, ska and rockers era.
Itawe, also known as Donavan "Danny Gitz" Cunningham, was born and raised in the hills of St. Ann, Jamaica, in the farming community of Prickly Pole, just a few miles from the home where Bob Marley grew in Nine Mile. He began his musical career in 1992, where he was given the name "Danny Gita" or "Danny Gitz" due to his growing reputation as an outstanding guitarist. Since then he has recorded as a sessions musician and extensively toured Europe, Australia, North America, Mexico and the Caribbean playing the bass, rhythm guitar and singing harmony for artists such as Sugar Minott, Mystic Revelation of Rastafari, Gregory Isaacs, Everton Blender, Yami Bolo, Iqulah, Ini Kamoze and many more.
On any given day you can hear Itawe's guitar licks playing on the radio waves of IRIE FM all over Jamaica in taxi's, busses, clubs, schools and beaches. He has played rhythm for many major festivals and stage shows, backing every major artist, including Luciano, Tony Rebel, Warrior King, Richie Spice, Jah Mason, Junior Reid, Cocoa Tea, Beanie Man, Mikey General, Black Uhuru, Errol Dunkley, I Wayne, Kyan, Angie Angel, Queen Ifrika, Sugar Minott, Freddy Mcgregor, Fanton Mojah. "Danny Gitz" recorded with Morgan Heritage playing rhythm for their number one hit, "We feel love," as well as "She's Still Lovin' Me" and more. He has also recorded for Sugar Minott, Kyan, Capleton, Sizzla, Luciano and helped compose much of Iqulah's latest released album, "Rastafari Forever," on which the Marley brothers are featured.
Over the years Itawe has been writing, composing and laying tracks in Jamaica, Europe, and North America for his upcoming album, "Journey to Life." He recently released a single in France, "Babylon Bridge," with the popular reggae group Broussai.
For more information on the Yellow Dub Allstars show featuring Itawe, call the Sandbar at (970) 476-4314.
Friday, December 23, 2005
Friday, December 09, 2005
GG on theYear in REGGAE Music (2005)
Gregory Gondo Special Correspondent
Financial Gazette (Harare)
http://allafrica.com/
Well it sure feels great to be back doing what I can do best--talk about my favourite subject--reggae music. And this week I will cut straight to the chase. No punany business talk, girl lyrics or anything like that seen?
Before I go into the main feature of the week, let me recap on what happened during the past 12 months in the world of reggae music.
I start off on a sad note. You may recall that I informed you in this column of the death of singer Junior Delgado. Remember the lyrics:â-oeTricksters, Girls dem a tricksters, Nine months gone, No baby bornâ-oe? (How so true, if you ask me.) The man who the reggae world knew as Jooks died on April 11 at his residence in London.
Born Oscar Hibbert on August 25 1958 in Kingston Jamaica Junior Delgado, who was a close friend of the late Dennis Brown, was also known for his 1985 hit single Broadwater Farm In London which talked about crime and poverty on a north London housing estate of the same name.
As if that was not enough, on June 11 another reggae star went the way of the flesh. Her name was Jennifer Lara. She died in Kingston Public Hospital from brain haemorrhage. Jennifer Lara who was 52 years old at the time of her death, was probably best known for her hit single entitled Consider Me which was recorded on the rhythm track of Delroy Wilson's I Don't Know Why. She also provided backing vocals for the likes of the Ethiopians, Dennis Brown and Freddy McGregor.
Yes ,these stars are no more, but we give thanks and praises for the good music that they bequeathed to us. Their deaths truly hurt because they could have given us more of the inspiring music but we have to accept it as part of life's rich tapestry.
On a brighter note though, in July one of reggae music's leading veterans Little Roy returned to the stage for the first time in 26 years. The show was held at the Cable and Wireless Golf Academy on Knutsford Boulevard in Kingston. You might want to know that Freddy McGregor's Prophecy and George Nooks' Tribal War were remakes of Little Roy's originals.
Little Roy, who was born Earl Lowe, claims that although Toots Hibbert is credited for giving reggae music its name, he was infact the first to use the name reggae when he did a song entitled Reggae Soul for producer Prince Buster in 1967 which he also claims was the first song of the genre. He started out with two friends, Harold Burgess and Barrington Bailey both of whom now play in the horns section of Bunny Wailer's band.
During the period under review, Dub poet Mutabaruka, who was here last year for the Zimbabwe International Book Fair launched a collection of his poems. The volume is entitled The First Poems/The Next Poems. The poems, which Mutabaruka claims he wrote when he was about 16 years old, were first recorded between 1990 and 2000.
Not to be outdone, the in-demand musician, Lloyd Parks, leader of the 30-year-old We The People Band released his long-awaited CD called Genuine Gold.
It features artistes Lloyd Parks says he used to look up to. These include Marcia Griffiths, John Holt, Ken Boothe, Boris Gardner and Nadine Sutherland, among others. Lloyd Parks is the father of keyboardist Jacqueline better known as Tamika. It runs in the family as you can see.
And last but not least, around mid-year, Buju Banton of Boom Bye Bye fame scored a hit through a duet he did with Anthony Cruz. It would seem like when it comes to duets or collaborations as they call them in Rasta parlance, Buju Banton has the Midas touch.
His tune with Anthony Cruz entitled Place Too Bloody in June hit the number one spot on the B Mobile Mega Jamz Reggae and the South Florida Reggae Charts. It also made the top ten on the New York Reggae Chart. Previously Buju Banton had scored big hits with songs such as Pull It Up and Who Say both of which he did with Beresford Hammond, Too Young (with Cocoa Tea) and Second Class Love (with Carol Gonzales). That is all I had on some of the highlights on the reggae scene in the past 12 months.
This week I had intended to profile drummer Lowell Dunbar and bass player Robert Shakespeare better known as Sly and Robbie. But their handlers have not yet responded to my e-mail. As soon as I get the response I will feature this duo widely believed to be one of the world's best rhythm sections. Reggae music commentators call them the Rythm Twins.
Sly and Robbie have promoted, among others (through their Taxi label), Black Uhuru, Beenie Man and of course Red Dragon who, on one of his songs, talks about dresses that reveal as much as they should cover courtesy of the provocative slits. Remember him saying â-oewe call them scandal slits because it exposes the girlin you knowâ-oe
Be that as it may, we will never run out of ammunition. There is a lot to talk about in reggae music you know. You might also want to know that I received a positive response on the feature on Bounty Killer who had two shows in Babylon recently. The first show was held at Stratford Rex (London) on November 6 and the second one was held at Club Isis (Nottingham). My childhood friend with who I herded cattle back home in Mahusekwa (Marondera), Alexander Mharapara who owns Y2K Promotions and his Jamaican friend Chris of Chris Platinum Promotions promoted the shows.
Requests, requests, requests! They are coming in thick and fast. And this week most of you wanted me to feature the man who calls himself the High Priest of Rastafarian Movement. I am talking of Keith Blair better-known as Anthony B. To me personally, he is Peter Tosh reincarnated. Others say he is the personification of African consciousness in reggae. He dwells on the serious themes of hope, resistance and love.
Infact he is so big that according Jet Star Reggae News of January 1998, his single Nah Vote Again, was a major factor in making the Jamaican elections of 18 December 1997, the most peaceful one "since the insidious cancer of gun violence was introduced in West and Central Kingston, prior to the elections of 1967".
Anthony B himself admits that he was inspired by Peter Tosh. I remember that on one of his CDs entitled Live At The Battlefields he sang:â-oeLegalise marijuana, You will have a better world, Reaching out to my mentor, I 'n' I say this is the meaning of reggae music across the world, One love, equal rights and justice, Give it up for Peter Tosh, Everyone is crying out for peace, non is crying out for justice, But they will be no peace till there is equal rightsâ-oe
What is more, Anthony B is as controversial as the enigmatic Wailers founder member who was well known for his short-fuse temper. At Sting 2004 the firebrand chanter delivered a scathing criticism of the Jamaican Prime Minister PJ Patterson and the policies of his government. Shades of Peter Tosh at the 1978 One Love Peace Concert when he attacked the prime minister and the shistem. Infact, controversy should be Anthony B's middle name so to speak.
Check what he says on one of his songs on the Live At The Battlefields album . . . I 'n' I say rastafari is not here to confuse, Rastaman is here to teach you, Rastaman is here to educate you, Reggae music beat down the walls of Babylon, Wipe down oppression, Set the captives free, I wanna see people with love for humanity, I and I say burn the Queen of England for slavery and racial discrimination, I and I burn Pope John ina Vatican, I burn Bush and I burn Bill Clinton, I burn Hitler, Tony Blair, I burn Mussolini, I burn P J Patterson, I burn Seagaâ-oeNow you cannot get any more controversial than this. Can you?
Just like notable reggae singers such as Bob Marley (Mellow Moods) Peter Tosh (Bush Doctor) Toots Hibbert's Mytals (Monkey Man) Justin Hinds and The Dominoes (You Are A Jezebel), Twinkle Brothers (Chant Rastafari), Anthony B honed his vocals skills in the church and school choirs.
He made his debut as DJ with the Saggy Hi-Power Sound System after which he moved to Portmore in the parish of St Catharine in 1988 where the Lovers Choice Sound System was ruling the roost. There, he met with DJs such as Professor Nuts, Baby Wayne, Mad Cobra, Little Devon, Determine, Mega Banton, Ricky General and Terror Fabulous who collaborated with Nadine Sutherland on the international hit, Action.
But one thing distinguished Anthony B from his stable mates--he refused to do girl lyrics even though they were the in thing in the 1990s. It was not until 1993 therefore that the uncompromising Pan-Africanist achieved modest success with his debut single The Living Is Hard, which he did as a duet with the Half-Pint sound-alike, Little Devon. Even after this success most notable producers such as Black Scorpio and King Jammys were apparently not convinced and they were reluctant to immediately sign him on. It was only Garnett Silk's producer, Richard "Bello Bell" of the Star Trail Label who "took the risk" and signed Anthony B.
Hits started flowing in quick succession. These included Repentance, Fire Pon Rome and Raid Di Barn. This culminated in his landmark debut album Real Revolutionary. Then came the other albums, Universal Struggle, Street Knowledge, Power Of Creation and Live At The Battlefields. And Anthony B has never looked back. He is perched right at the top of the present wave of DJ music, tearing up the dancehalls.
In local dancehalls Anthony B's most popular tunes are Damage and Rumour. If you don't know these tunes, then you haven't been to the ball. Gwaan Anthony B. He has also done collaborations with Culture (Two Sevens Clash) and Mighty Diamonds (Pass The Kutchie).
A special thanks to all those who have supported this column, Dennis Wilson (UK), Dr Richard Guzha (US), Sheasby Huwait Saruwaka (New Zealand), Alexander Mharapara (UK), DJ Biscuit, Clutton Patsika, Motsi Sinyoro, Weston Mazhawidza, Alan Matsikure, Simba Chihono, Nicola Ndoro, George Chisoko and of course my significant other Auxilia and our beautiful children Chipo, Farai and Tinotenda. That will include all of you who I could not mention here. God Bless you all.
Hey folks I have enjoyed writing this as much as I should. Just remember that I love you and you and you baby.
My name is GG.
http://allafrica.com/
Financial Gazette (Harare)
http://allafrica.com/
Well it sure feels great to be back doing what I can do best--talk about my favourite subject--reggae music. And this week I will cut straight to the chase. No punany business talk, girl lyrics or anything like that seen?
Before I go into the main feature of the week, let me recap on what happened during the past 12 months in the world of reggae music.
I start off on a sad note. You may recall that I informed you in this column of the death of singer Junior Delgado. Remember the lyrics:â-oeTricksters, Girls dem a tricksters, Nine months gone, No baby bornâ-oe? (How so true, if you ask me.) The man who the reggae world knew as Jooks died on April 11 at his residence in London.
Born Oscar Hibbert on August 25 1958 in Kingston Jamaica Junior Delgado, who was a close friend of the late Dennis Brown, was also known for his 1985 hit single Broadwater Farm In London which talked about crime and poverty on a north London housing estate of the same name.
As if that was not enough, on June 11 another reggae star went the way of the flesh. Her name was Jennifer Lara. She died in Kingston Public Hospital from brain haemorrhage. Jennifer Lara who was 52 years old at the time of her death, was probably best known for her hit single entitled Consider Me which was recorded on the rhythm track of Delroy Wilson's I Don't Know Why. She also provided backing vocals for the likes of the Ethiopians, Dennis Brown and Freddy McGregor.
Yes ,these stars are no more, but we give thanks and praises for the good music that they bequeathed to us. Their deaths truly hurt because they could have given us more of the inspiring music but we have to accept it as part of life's rich tapestry.
On a brighter note though, in July one of reggae music's leading veterans Little Roy returned to the stage for the first time in 26 years. The show was held at the Cable and Wireless Golf Academy on Knutsford Boulevard in Kingston. You might want to know that Freddy McGregor's Prophecy and George Nooks' Tribal War were remakes of Little Roy's originals.
Little Roy, who was born Earl Lowe, claims that although Toots Hibbert is credited for giving reggae music its name, he was infact the first to use the name reggae when he did a song entitled Reggae Soul for producer Prince Buster in 1967 which he also claims was the first song of the genre. He started out with two friends, Harold Burgess and Barrington Bailey both of whom now play in the horns section of Bunny Wailer's band.
During the period under review, Dub poet Mutabaruka, who was here last year for the Zimbabwe International Book Fair launched a collection of his poems. The volume is entitled The First Poems/The Next Poems. The poems, which Mutabaruka claims he wrote when he was about 16 years old, were first recorded between 1990 and 2000.
Not to be outdone, the in-demand musician, Lloyd Parks, leader of the 30-year-old We The People Band released his long-awaited CD called Genuine Gold.
It features artistes Lloyd Parks says he used to look up to. These include Marcia Griffiths, John Holt, Ken Boothe, Boris Gardner and Nadine Sutherland, among others. Lloyd Parks is the father of keyboardist Jacqueline better known as Tamika. It runs in the family as you can see.
And last but not least, around mid-year, Buju Banton of Boom Bye Bye fame scored a hit through a duet he did with Anthony Cruz. It would seem like when it comes to duets or collaborations as they call them in Rasta parlance, Buju Banton has the Midas touch.
His tune with Anthony Cruz entitled Place Too Bloody in June hit the number one spot on the B Mobile Mega Jamz Reggae and the South Florida Reggae Charts. It also made the top ten on the New York Reggae Chart. Previously Buju Banton had scored big hits with songs such as Pull It Up and Who Say both of which he did with Beresford Hammond, Too Young (with Cocoa Tea) and Second Class Love (with Carol Gonzales). That is all I had on some of the highlights on the reggae scene in the past 12 months.
This week I had intended to profile drummer Lowell Dunbar and bass player Robert Shakespeare better known as Sly and Robbie. But their handlers have not yet responded to my e-mail. As soon as I get the response I will feature this duo widely believed to be one of the world's best rhythm sections. Reggae music commentators call them the Rythm Twins.
Sly and Robbie have promoted, among others (through their Taxi label), Black Uhuru, Beenie Man and of course Red Dragon who, on one of his songs, talks about dresses that reveal as much as they should cover courtesy of the provocative slits. Remember him saying â-oewe call them scandal slits because it exposes the girlin you knowâ-oe
Be that as it may, we will never run out of ammunition. There is a lot to talk about in reggae music you know. You might also want to know that I received a positive response on the feature on Bounty Killer who had two shows in Babylon recently. The first show was held at Stratford Rex (London) on November 6 and the second one was held at Club Isis (Nottingham). My childhood friend with who I herded cattle back home in Mahusekwa (Marondera), Alexander Mharapara who owns Y2K Promotions and his Jamaican friend Chris of Chris Platinum Promotions promoted the shows.
Requests, requests, requests! They are coming in thick and fast. And this week most of you wanted me to feature the man who calls himself the High Priest of Rastafarian Movement. I am talking of Keith Blair better-known as Anthony B. To me personally, he is Peter Tosh reincarnated. Others say he is the personification of African consciousness in reggae. He dwells on the serious themes of hope, resistance and love.
Infact he is so big that according Jet Star Reggae News of January 1998, his single Nah Vote Again, was a major factor in making the Jamaican elections of 18 December 1997, the most peaceful one "since the insidious cancer of gun violence was introduced in West and Central Kingston, prior to the elections of 1967".
Anthony B himself admits that he was inspired by Peter Tosh. I remember that on one of his CDs entitled Live At The Battlefields he sang:â-oeLegalise marijuana, You will have a better world, Reaching out to my mentor, I 'n' I say this is the meaning of reggae music across the world, One love, equal rights and justice, Give it up for Peter Tosh, Everyone is crying out for peace, non is crying out for justice, But they will be no peace till there is equal rightsâ-oe
What is more, Anthony B is as controversial as the enigmatic Wailers founder member who was well known for his short-fuse temper. At Sting 2004 the firebrand chanter delivered a scathing criticism of the Jamaican Prime Minister PJ Patterson and the policies of his government. Shades of Peter Tosh at the 1978 One Love Peace Concert when he attacked the prime minister and the shistem. Infact, controversy should be Anthony B's middle name so to speak.
Check what he says on one of his songs on the Live At The Battlefields album . . . I 'n' I say rastafari is not here to confuse, Rastaman is here to teach you, Rastaman is here to educate you, Reggae music beat down the walls of Babylon, Wipe down oppression, Set the captives free, I wanna see people with love for humanity, I and I say burn the Queen of England for slavery and racial discrimination, I and I burn Pope John ina Vatican, I burn Bush and I burn Bill Clinton, I burn Hitler, Tony Blair, I burn Mussolini, I burn P J Patterson, I burn Seagaâ-oeNow you cannot get any more controversial than this. Can you?
Just like notable reggae singers such as Bob Marley (Mellow Moods) Peter Tosh (Bush Doctor) Toots Hibbert's Mytals (Monkey Man) Justin Hinds and The Dominoes (You Are A Jezebel), Twinkle Brothers (Chant Rastafari), Anthony B honed his vocals skills in the church and school choirs.
He made his debut as DJ with the Saggy Hi-Power Sound System after which he moved to Portmore in the parish of St Catharine in 1988 where the Lovers Choice Sound System was ruling the roost. There, he met with DJs such as Professor Nuts, Baby Wayne, Mad Cobra, Little Devon, Determine, Mega Banton, Ricky General and Terror Fabulous who collaborated with Nadine Sutherland on the international hit, Action.
But one thing distinguished Anthony B from his stable mates--he refused to do girl lyrics even though they were the in thing in the 1990s. It was not until 1993 therefore that the uncompromising Pan-Africanist achieved modest success with his debut single The Living Is Hard, which he did as a duet with the Half-Pint sound-alike, Little Devon. Even after this success most notable producers such as Black Scorpio and King Jammys were apparently not convinced and they were reluctant to immediately sign him on. It was only Garnett Silk's producer, Richard "Bello Bell" of the Star Trail Label who "took the risk" and signed Anthony B.
Hits started flowing in quick succession. These included Repentance, Fire Pon Rome and Raid Di Barn. This culminated in his landmark debut album Real Revolutionary. Then came the other albums, Universal Struggle, Street Knowledge, Power Of Creation and Live At The Battlefields. And Anthony B has never looked back. He is perched right at the top of the present wave of DJ music, tearing up the dancehalls.
In local dancehalls Anthony B's most popular tunes are Damage and Rumour. If you don't know these tunes, then you haven't been to the ball. Gwaan Anthony B. He has also done collaborations with Culture (Two Sevens Clash) and Mighty Diamonds (Pass The Kutchie).
A special thanks to all those who have supported this column, Dennis Wilson (UK), Dr Richard Guzha (US), Sheasby Huwait Saruwaka (New Zealand), Alexander Mharapara (UK), DJ Biscuit, Clutton Patsika, Motsi Sinyoro, Weston Mazhawidza, Alan Matsikure, Simba Chihono, Nicola Ndoro, George Chisoko and of course my significant other Auxilia and our beautiful children Chipo, Farai and Tinotenda. That will include all of you who I could not mention here. God Bless you all.
Hey folks I have enjoyed writing this as much as I should. Just remember that I love you and you and you baby.
My name is GG.
http://allafrica.com/
Tuesday, November 22, 2005
Rastas to honor `Lion of Judah'
Community to mark anniversary of Selassie's ascension in Ethiopia.
By Alva James-Johnson
Staff Writer, Sun Sentinel
Posted November 5 2005
Ras Rainbow was yearning for a glimpse of God when the Ethiopian Emperor Haile Selassie I graced Jamaica with his presence. So at first, he did a double take.
"I was looking for a tall man, but he was short," Rainbow said, recalling the magical moment in 1966 when Selassie got off the plane. "A lot of people said, `How God so little?' But the Rasta said, `Don't worry 'bout that, he's the most powerful man in the world.'"
That was April 21, 1966, when thousands of Rastafarians made the pilgrimage from every corner of the island to witness the arrival of the man they consider "King of Kings, Lord of Lords and Conquering Lion of Judah" at Kingston Airport.
"It was a historic moment to see so many people come to see one person," said Rainbow, of Opa-locka. "It inspired me to come out of certain things. I'm not rich, but now I'm rich in spirit and I try to do my best anywhere I live."
At 61, Rainbow will celebrate another historic event in the Rastafarian community -- the 75th anniversary of Selassie's ascension to the Ethiopian throne, which drew dignitaries from far and wide to the African nation Nov. 2, 1930.
On Sunday, South Florida Rastas will re-enact the king's coronation at the Lauderdale Lakes Multi-purpose Center with a colorful display of royal pageantry. The event will feature seven custom-made symbols of kingship, including replicas of the triple crown of Ethiopia, the sword of Solomon, an imperial scepter and golden globe. Royal white attire is required.
Born Tafari Makonnenin, Selassie claimed to be the direct descendant of the queen of Sheba and King Solomon. He used the title "Ras," meaning prince, which when combined with "Tafari" led to the term "Rastafarian" adopted by his followers.
Haile Selassie means "Power of the Trinity." He never claimed to be God, but Rastafarians have considered him the black Messiah ever since the Jamaican black nationalist Marcus Garvey quoted the Bible as saying, "Princes would come out of Egypt and Ethiopia would stretch forth her hands unto God."
Selassie's reign ended in 1974 during a military coup. He died under house arrest in 1975, but Rastafarians are convinced he still lives.
"We know our flesh comes to stay a certain time, but the spirit in the flesh can never die," Rainbow said. "So we have him alive all the time, because we know his work and his spirit live in us."
While there are no official statistics on the number of Rastafarians living in South Florida, experts say there are thousands and the population is growing.
"This is the second-largest Caribbean community in the United States, so I wouldn't be surprised if it's the second-largest Rasta community," said Ras Michael Barnett, a professor of sociology and anthropology at Florida International University.
Adherents of the faith are mostly known for their knotty dreadlocks, strict vegetarian diets, smoking of ganja (marijuana) and the reggae music made popular by Bob Marley and other Jamaican artists. But Rastafarianism is also a movement that fights against injustice and what Rastafarians consider the "Babylonian" establishment that oppresses the poor and people of African descent.
"Rastafarians have seen religions to be as negative as often as they have been positive," said Don Rico Ricketts, a member of the South Florida Rasta community. "We like to say Rastafari is a way of life because it indicates a wider world view than just the religious world view."
Divided into three main houses or denominations, Rastafarians hold different views on issues ranging from divinity to lifestyle. The branches are: The Twelve Tribes of Israel, the BoboShante House and the Nyahbinghi Order.
Some Rastas attend weekly spiritual gatherings called "binghis" to practice their faith from sundown Friday to sundown Saturday. Others attend binghis only on special occasions to commemorate the birthdays of Garvey and Selassie and also Selassie's coronation and his trip to Jamaica.
Adwa Donovan, 31, lives in a North Lauderdale neighborhood with her boyfriend, Steven Gordon, who she calls her "Kingman."
"When I told my mother I want to be Rasta, she said not in my house," she recalled. "She's a traditional Pentecostal."
But Donovan said devotion to Selassie offered her freedom.
"We don't believe in following doctrine," she explained. "Jah [God] speaks to the heart of all of us."
Alva James-Johnson can be reached at ajjohnson@sun-sentinel.com or 954-356-4523.
By Alva James-Johnson
Staff Writer, Sun Sentinel
Posted November 5 2005
Ras Rainbow was yearning for a glimpse of God when the Ethiopian Emperor Haile Selassie I graced Jamaica with his presence. So at first, he did a double take.
"I was looking for a tall man, but he was short," Rainbow said, recalling the magical moment in 1966 when Selassie got off the plane. "A lot of people said, `How God so little?' But the Rasta said, `Don't worry 'bout that, he's the most powerful man in the world.'"
That was April 21, 1966, when thousands of Rastafarians made the pilgrimage from every corner of the island to witness the arrival of the man they consider "King of Kings, Lord of Lords and Conquering Lion of Judah" at Kingston Airport.
"It was a historic moment to see so many people come to see one person," said Rainbow, of Opa-locka. "It inspired me to come out of certain things. I'm not rich, but now I'm rich in spirit and I try to do my best anywhere I live."
At 61, Rainbow will celebrate another historic event in the Rastafarian community -- the 75th anniversary of Selassie's ascension to the Ethiopian throne, which drew dignitaries from far and wide to the African nation Nov. 2, 1930.
On Sunday, South Florida Rastas will re-enact the king's coronation at the Lauderdale Lakes Multi-purpose Center with a colorful display of royal pageantry. The event will feature seven custom-made symbols of kingship, including replicas of the triple crown of Ethiopia, the sword of Solomon, an imperial scepter and golden globe. Royal white attire is required.
Born Tafari Makonnenin, Selassie claimed to be the direct descendant of the queen of Sheba and King Solomon. He used the title "Ras," meaning prince, which when combined with "Tafari" led to the term "Rastafarian" adopted by his followers.
Haile Selassie means "Power of the Trinity." He never claimed to be God, but Rastafarians have considered him the black Messiah ever since the Jamaican black nationalist Marcus Garvey quoted the Bible as saying, "Princes would come out of Egypt and Ethiopia would stretch forth her hands unto God."
Selassie's reign ended in 1974 during a military coup. He died under house arrest in 1975, but Rastafarians are convinced he still lives.
"We know our flesh comes to stay a certain time, but the spirit in the flesh can never die," Rainbow said. "So we have him alive all the time, because we know his work and his spirit live in us."
While there are no official statistics on the number of Rastafarians living in South Florida, experts say there are thousands and the population is growing.
"This is the second-largest Caribbean community in the United States, so I wouldn't be surprised if it's the second-largest Rasta community," said Ras Michael Barnett, a professor of sociology and anthropology at Florida International University.
Adherents of the faith are mostly known for their knotty dreadlocks, strict vegetarian diets, smoking of ganja (marijuana) and the reggae music made popular by Bob Marley and other Jamaican artists. But Rastafarianism is also a movement that fights against injustice and what Rastafarians consider the "Babylonian" establishment that oppresses the poor and people of African descent.
"Rastafarians have seen religions to be as negative as often as they have been positive," said Don Rico Ricketts, a member of the South Florida Rasta community. "We like to say Rastafari is a way of life because it indicates a wider world view than just the religious world view."
Divided into three main houses or denominations, Rastafarians hold different views on issues ranging from divinity to lifestyle. The branches are: The Twelve Tribes of Israel, the BoboShante House and the Nyahbinghi Order.
Some Rastas attend weekly spiritual gatherings called "binghis" to practice their faith from sundown Friday to sundown Saturday. Others attend binghis only on special occasions to commemorate the birthdays of Garvey and Selassie and also Selassie's coronation and his trip to Jamaica.
Adwa Donovan, 31, lives in a North Lauderdale neighborhood with her boyfriend, Steven Gordon, who she calls her "Kingman."
"When I told my mother I want to be Rasta, she said not in my house," she recalled. "She's a traditional Pentecostal."
But Donovan said devotion to Selassie offered her freedom.
"We don't believe in following doctrine," she explained. "Jah [God] speaks to the heart of all of us."
Alva James-Johnson can be reached at ajjohnson@sun-sentinel.com or 954-356-4523.
Judge Not - Buju Banton Has Message Of Love, Hate
Note from REGGAE.com - we would like your thoughts on this one - who is man to judge? Judgement belongs to the Lord - Jah Rastafari!
November 22, 2005
By KENNETH PARTRIDGE, Special to the Courant
Buju Banton says his music, reggae music, is meant to "eradicate negativity from the minds of the people." He also says it's the "voice of God" and the music of the world - a sound designed to free you from shackles and point you in the direction of hope.
That is, of course, unless you're gay, since Banton, like fellow reggae artist Beanie Man, has recently come under fire for singing songs with violently homophobic lyrics. Banton is facing assault charges in Jamaica after the brutal beating of six gay men, a crime he's pleaded not guilty to.
The contradiction implicit in Banton's so-called positive message was on full display Sunday night at Toad's Place in New Haven, greeting concert-goers before they even stepped foot inside the club. Outside on York Street, protesters held signs and chanted, "Hey, hey, ho, ho; homophobia's got to go!" as fans lined up to see the show.
The protest was spearheaded by the Queer Political Action Committee of Yale, and organizer Hugh Baran said he hoped to send a clear message to Toad's.
"This is the first stop in our campaign to get Toad's to pledge never to have artists like Buju Banton," Baran said.
Despite the demonstration, Banton drew a strong crowd. For most of his set, he steered clear of controversy, hopping and twitching wildly across the stage while his dreadlocks swung freely and his voice - an earthy rasp that's part dancehall bark, part roots-reggae croon - was used for uniting, not dividing.
On "Not an Easy Road" and "Hills and Valleys," Banton sang for the oppressed, doubling over on certain lyrics as if their weightiness was weakening his knees. The audience joined in on "Untold Stories," which, with its simple guitar accompaniment, sounded like Bob Marley's "Redemption Song."
By the end of the set, though, Banton was ready to speak out. He ditched the tenderness of "Wanna Be Loved" and went into an unapologetic anti-gay tirade, calling those who could not procreate "heathens" and dismissing the idea of same-sex families.
Distressingly, the crowd seemed largely to support these statements, some fans waving Rastafarian flags and cheering loudly as he spoke. He followed his rant with an encore performance of the song "Love Sponge," though by then it was clear there was only one kind of love he was willing to tolerate, let alone soak into his heart.
November 22, 2005
By KENNETH PARTRIDGE, Special to the Courant
Buju Banton says his music, reggae music, is meant to "eradicate negativity from the minds of the people." He also says it's the "voice of God" and the music of the world - a sound designed to free you from shackles and point you in the direction of hope.
That is, of course, unless you're gay, since Banton, like fellow reggae artist Beanie Man, has recently come under fire for singing songs with violently homophobic lyrics. Banton is facing assault charges in Jamaica after the brutal beating of six gay men, a crime he's pleaded not guilty to.
The contradiction implicit in Banton's so-called positive message was on full display Sunday night at Toad's Place in New Haven, greeting concert-goers before they even stepped foot inside the club. Outside on York Street, protesters held signs and chanted, "Hey, hey, ho, ho; homophobia's got to go!" as fans lined up to see the show.
The protest was spearheaded by the Queer Political Action Committee of Yale, and organizer Hugh Baran said he hoped to send a clear message to Toad's.
"This is the first stop in our campaign to get Toad's to pledge never to have artists like Buju Banton," Baran said.
Despite the demonstration, Banton drew a strong crowd. For most of his set, he steered clear of controversy, hopping and twitching wildly across the stage while his dreadlocks swung freely and his voice - an earthy rasp that's part dancehall bark, part roots-reggae croon - was used for uniting, not dividing.
On "Not an Easy Road" and "Hills and Valleys," Banton sang for the oppressed, doubling over on certain lyrics as if their weightiness was weakening his knees. The audience joined in on "Untold Stories," which, with its simple guitar accompaniment, sounded like Bob Marley's "Redemption Song."
By the end of the set, though, Banton was ready to speak out. He ditched the tenderness of "Wanna Be Loved" and went into an unapologetic anti-gay tirade, calling those who could not procreate "heathens" and dismissing the idea of same-sex families.
Distressingly, the crowd seemed largely to support these statements, some fans waving Rastafarian flags and cheering loudly as he spoke. He followed his rant with an encore performance of the song "Love Sponge," though by then it was clear there was only one kind of love he was willing to tolerate, let alone soak into his heart.
Tuesday, November 08, 2005
BOB MARLEY'S YOUNGEST SON OFFERS THE `ORIGINAL' REGGAE MESSAGE
A rasta without dread
By Jim Harrington
Special to the Mercury News
There are at least a dozen good reasons why a young musician could be nervous about opening large arena shows for the mega-popular U2. Reggae star Damian ``Jr. Gong'' Marley, however, can't think of a single one.
``I don't see why opening for U2 should be a pressure,'' says the 27-year-old vocalist, who will set the stage for the legendary Irish rock band Tuesday and Wednesday at Oakland Coliseum Arena. ``It should be a joy. As an artist, that's what you want -- you want to get exposure like that.''
There's one major reason why Marley might be better equipped to handle pressure than other opening acts: He's spent his entire life dealing with the expectations that come from being the youngest son of Bob Marley and forged his own path in a genre still dominated by his father nearly 25 years after his death.
``There are a lot of bigger pressures in life than being Bob Marley's kid, to tell you the truth,'' says Marley, who will also do two more Bay Area shows, headlining Nov. 14 at the Independent in San Francisco and Nov. 15 at the Catalyst in Santa Cruz. ``In terms of my career, my father has always been a light. If somebody don't know about me, they still know, `OK, this is Bob Marley's kid, and so let me check him out.' ''
Marley's family tree isn't the only reason people are checking out the singer these days. He made a huge splash when his gritty hip-hop-meets-reggae single ``Welcome to Jamrock'' became the surprise radio hit of the summer.
Marley made good on the single's promise with his third full-length CD, also called ``Welcome to Jamrock,'' which made its September debut at No. 7 on the Billboard Top 200 albums chart. That was the highest debut for any reggae album in chart history, displacing Kevin Lyttle's self-titled debut at No. 8 in 2004.
Many of the 84,000 buyers who snatched up ``Welcome to Jamrock'' in its first week of release surely did so on the strength of that dizzying title track. What's particularly notable is that, while it draws from a number of modern urban styles, it also delivers the type of socially conscious message that most likely would have made Marley Sr. proud.
``This is a song that I think came from purely channeling the legacy of Bob Marley,'' says Osha B., host of the reggae show ``Radio Waves'' on KZSC-FM (88.1) in Santa Cruz. ``I'm amazed that it made it to the commercial stations, and MTV and all that. It's a song that speaks to the reality of the Jamaican culture.''
Harsh reality
While brochures for Jamaican resorts would have tourists believe that it's all frozen daiquiris and jet-ski rides, Marley shows with ``Jamrock'' that most Jamaicans face a harsher reality. ``What `Jamrock' is doing is exposing a different side of Jamaica that the tourist board don't expose,'' he says by phone from Miami. ``It's speaking about what average citizens live. There's not a lot of opportunity there for the younger generation coming up. If you don't sing or have some musical talent, for the most part you have to turn to a life of crime.''
Musical talent wasn't lacking in the Marley household. Damian and many of his siblings -- notably half-brothers Ziggy and Stephen -- showed interest in and aptitude for music at a very early age. ``I have photos of myself in Pampers with the guitar,'' Marley remembers with a laugh. ``We used to do little performances in our living room, when there were get-togethers. We'd throw on records and sing to the records and dance.''
The family living room proved a powerful training ground. Ziggy Marley, the oldest brother, was the first to rise out of his father's shadow with his backing band, the Melody Makers. He achieved stardom with the hit single ``Tomorrow People'' in 1988. Stephen Marley, an original member of the Melody Makers, served as a producer, songwriter and studio musician on the ``Jamrock'' CD. Many in the music industry are expecting big things from this Marley brother, who has recently released his own debut CD, ``Got Music?''
``The next guy to look out for is Stephen Marley,'' says Osha B. ``He's sort of the hidden star on `Jamrock.' The underground circles really like him. He's really channeling a Bob Marley thing.''
Success overdue
Tomorrow may belong to Stephen Marley, but Damian Marley's time appears to be right now. And some would say that it's overdue. The singer made his public performance debut in 1989 as a member of the Shepherds. He stayed with that group for a few years before launching his solo career.
His debut CD, ``Mr. Marley'' (1996) was acclaimed critically. The follow-up, ``Halfway Tree,'' which marked his entry into the U.S. market, hit stores in 2001. Though cheered by reviewers, it failed to garner a sizable mainstream audience. ``Welcome to Jamrock'' changed that as it infiltrated urban radio and attracted hip-hop listeners.
Still, Marley has taken some shots from reggae purists who don't approve of his use of non-Jamaican street beats. Marley counters, ``When you check my lyrics and what my songs are about, they are the original, authentic style of reggae, in terms of the message. You have a lot of people who have songs on reggae rhythms, but the message of what they are saying is not the original reggae. What I'm saying is the original reggae, even though my beats might have different influences. Where I might lose some of the original flavor on one side, I gain it on the other.''
Damian `Jr. Gong' MarleyOpening for U2
Where Oakland Coliseum Arena, Interstate 880 and Hegenberger Road
When 7:30 p.m. Tuesday-Wednesday
Tickets $52-$168
Call (408) 998-8497, or see www.ticketmaster.com
Also As headliner, 9 p.m. Nov. 14, the Independent, 628 Divisadero St., San Francisco, $23-$25, (866) 468-3399, www.ticketweb.com. And 8 p.m. Nov. 15, the Catalyst, 1011 Pacific Ave., Santa Cruz, $23-$26, (831) 423-1338, www.catalystclub.com
By Jim Harrington
Special to the Mercury News
There are at least a dozen good reasons why a young musician could be nervous about opening large arena shows for the mega-popular U2. Reggae star Damian ``Jr. Gong'' Marley, however, can't think of a single one.
``I don't see why opening for U2 should be a pressure,'' says the 27-year-old vocalist, who will set the stage for the legendary Irish rock band Tuesday and Wednesday at Oakland Coliseum Arena. ``It should be a joy. As an artist, that's what you want -- you want to get exposure like that.''
There's one major reason why Marley might be better equipped to handle pressure than other opening acts: He's spent his entire life dealing with the expectations that come from being the youngest son of Bob Marley and forged his own path in a genre still dominated by his father nearly 25 years after his death.
``There are a lot of bigger pressures in life than being Bob Marley's kid, to tell you the truth,'' says Marley, who will also do two more Bay Area shows, headlining Nov. 14 at the Independent in San Francisco and Nov. 15 at the Catalyst in Santa Cruz. ``In terms of my career, my father has always been a light. If somebody don't know about me, they still know, `OK, this is Bob Marley's kid, and so let me check him out.' ''
Marley's family tree isn't the only reason people are checking out the singer these days. He made a huge splash when his gritty hip-hop-meets-reggae single ``Welcome to Jamrock'' became the surprise radio hit of the summer.
Marley made good on the single's promise with his third full-length CD, also called ``Welcome to Jamrock,'' which made its September debut at No. 7 on the Billboard Top 200 albums chart. That was the highest debut for any reggae album in chart history, displacing Kevin Lyttle's self-titled debut at No. 8 in 2004.
Many of the 84,000 buyers who snatched up ``Welcome to Jamrock'' in its first week of release surely did so on the strength of that dizzying title track. What's particularly notable is that, while it draws from a number of modern urban styles, it also delivers the type of socially conscious message that most likely would have made Marley Sr. proud.
``This is a song that I think came from purely channeling the legacy of Bob Marley,'' says Osha B., host of the reggae show ``Radio Waves'' on KZSC-FM (88.1) in Santa Cruz. ``I'm amazed that it made it to the commercial stations, and MTV and all that. It's a song that speaks to the reality of the Jamaican culture.''
Harsh reality
While brochures for Jamaican resorts would have tourists believe that it's all frozen daiquiris and jet-ski rides, Marley shows with ``Jamrock'' that most Jamaicans face a harsher reality. ``What `Jamrock' is doing is exposing a different side of Jamaica that the tourist board don't expose,'' he says by phone from Miami. ``It's speaking about what average citizens live. There's not a lot of opportunity there for the younger generation coming up. If you don't sing or have some musical talent, for the most part you have to turn to a life of crime.''
Musical talent wasn't lacking in the Marley household. Damian and many of his siblings -- notably half-brothers Ziggy and Stephen -- showed interest in and aptitude for music at a very early age. ``I have photos of myself in Pampers with the guitar,'' Marley remembers with a laugh. ``We used to do little performances in our living room, when there were get-togethers. We'd throw on records and sing to the records and dance.''
The family living room proved a powerful training ground. Ziggy Marley, the oldest brother, was the first to rise out of his father's shadow with his backing band, the Melody Makers. He achieved stardom with the hit single ``Tomorrow People'' in 1988. Stephen Marley, an original member of the Melody Makers, served as a producer, songwriter and studio musician on the ``Jamrock'' CD. Many in the music industry are expecting big things from this Marley brother, who has recently released his own debut CD, ``Got Music?''
``The next guy to look out for is Stephen Marley,'' says Osha B. ``He's sort of the hidden star on `Jamrock.' The underground circles really like him. He's really channeling a Bob Marley thing.''
Success overdue
Tomorrow may belong to Stephen Marley, but Damian Marley's time appears to be right now. And some would say that it's overdue. The singer made his public performance debut in 1989 as a member of the Shepherds. He stayed with that group for a few years before launching his solo career.
His debut CD, ``Mr. Marley'' (1996) was acclaimed critically. The follow-up, ``Halfway Tree,'' which marked his entry into the U.S. market, hit stores in 2001. Though cheered by reviewers, it failed to garner a sizable mainstream audience. ``Welcome to Jamrock'' changed that as it infiltrated urban radio and attracted hip-hop listeners.
Still, Marley has taken some shots from reggae purists who don't approve of his use of non-Jamaican street beats. Marley counters, ``When you check my lyrics and what my songs are about, they are the original, authentic style of reggae, in terms of the message. You have a lot of people who have songs on reggae rhythms, but the message of what they are saying is not the original reggae. What I'm saying is the original reggae, even though my beats might have different influences. Where I might lose some of the original flavor on one side, I gain it on the other.''
Damian `Jr. Gong' MarleyOpening for U2
Where Oakland Coliseum Arena, Interstate 880 and Hegenberger Road
When 7:30 p.m. Tuesday-Wednesday
Tickets $52-$168
Call (408) 998-8497, or see www.ticketmaster.com
Also As headliner, 9 p.m. Nov. 14, the Independent, 628 Divisadero St., San Francisco, $23-$25, (866) 468-3399, www.ticketweb.com. And 8 p.m. Nov. 15, the Catalyst, 1011 Pacific Ave., Santa Cruz, $23-$26, (831) 423-1338, www.catalystclub.com
Sunday, November 06, 2005
Past, Present, and Future with Burning Spear
Feature Article/Interview - Our Music: Past, Present, and Future with
Burning Spear
By Douglas Heselgrave
"Changes in the music are no threat to Burning Spear. When I say that,it's because I'm dealing with something totally different than most people are dealing with in this time. Y'understand?"
In the thirty-six years between his chance meeting with Bob Marley on a country road in St. Ann's, Jamaica and this month's release of his new album Our Music, Winston Rodney, a.k.a. Burning Spear, has seen reggae experience a lot of growth and change. Styles have come and gone, and Spear's unique brand of roots-oriented reggae has moved in and out of fashion. Through it all, with a singularity of purpose that is staggering, Burning Spear has released dozens of albums, toured the world many times over, and played before more audiences than anyone else in the history of the genre. Indeed, if Bob Marley was the first artist to bring reggae to the attention of international audiences, Burning Spear's relentless recording and touring have kept it there.
Much to the music industry's surprise, recent dub and dance hall hits have made reggae trendy again, and the release of Our Music couldn't have come at a better time. Beautifully played, mixed, and engineered, the disc sounds more like classic '70s fare than anything that Burning Spear has released in well over a decade. Each track bubbles with heavy bass, reverb, and organ, and each contains the emphatic echo of the incomparable Burning Brass horn section as well as a melody for which any DJ surely would die to obtain. With Our Music, Spear has delivered a collection of songs that serves to remind the listener just how powerful a force reggae can be.
A lot of water has passed under the bridge musically, politically, and technologically, since a self-described "young and green" Spear walked into Studio One, the legendary Jamaican hit factory, and recorded Door Peep, his first single. Speaking from the perspective of pre-retirement, Spear muses reflectively on music, religion, politics, and his unique place in the history of reggae. In Spear's words, "You can count on your fingers how many people today know and can play that 1970s sound." Of the handful of artists who remain from reggae's golden age -- such as Jimmy Cliff, Culture, and the Mighty Diamonds -- Burning Spear is the only one who records and tours with any semblance of regularity.
This is an excerpt. To read the complete article, please visit:
http://www.musicbox-online.com/bspr-int.html
Burning Spear
By Douglas Heselgrave
"Changes in the music are no threat to Burning Spear. When I say that,it's because I'm dealing with something totally different than most people are dealing with in this time. Y'understand?"
In the thirty-six years between his chance meeting with Bob Marley on a country road in St. Ann's, Jamaica and this month's release of his new album Our Music, Winston Rodney, a.k.a. Burning Spear, has seen reggae experience a lot of growth and change. Styles have come and gone, and Spear's unique brand of roots-oriented reggae has moved in and out of fashion. Through it all, with a singularity of purpose that is staggering, Burning Spear has released dozens of albums, toured the world many times over, and played before more audiences than anyone else in the history of the genre. Indeed, if Bob Marley was the first artist to bring reggae to the attention of international audiences, Burning Spear's relentless recording and touring have kept it there.
Much to the music industry's surprise, recent dub and dance hall hits have made reggae trendy again, and the release of Our Music couldn't have come at a better time. Beautifully played, mixed, and engineered, the disc sounds more like classic '70s fare than anything that Burning Spear has released in well over a decade. Each track bubbles with heavy bass, reverb, and organ, and each contains the emphatic echo of the incomparable Burning Brass horn section as well as a melody for which any DJ surely would die to obtain. With Our Music, Spear has delivered a collection of songs that serves to remind the listener just how powerful a force reggae can be.
A lot of water has passed under the bridge musically, politically, and technologically, since a self-described "young and green" Spear walked into Studio One, the legendary Jamaican hit factory, and recorded Door Peep, his first single. Speaking from the perspective of pre-retirement, Spear muses reflectively on music, religion, politics, and his unique place in the history of reggae. In Spear's words, "You can count on your fingers how many people today know and can play that 1970s sound." Of the handful of artists who remain from reggae's golden age -- such as Jimmy Cliff, Culture, and the Mighty Diamonds -- Burning Spear is the only one who records and tours with any semblance of regularity.
This is an excerpt. To read the complete article, please visit:
http://www.musicbox-online.com/bspr-int.html
Rastas to honor `Lion of Judah'
Community to mark anniversary of Selassie's ascension in Ethiopia.
By Alva James-Johnson
Staff Writer
Posted November 5 2005
Ras Rainbow was yearning for a glimpse of God when the Ethiopian Emperor Haile Selassie I graced Jamaica with his presence. So at first, he did a double take.
"I was looking for a tall man, but he was short," Rainbow said, recalling the magical moment in 1966 when Selassie got off the plane. "A lot of people said, `How God so little?' But the Rasta said, `Don't worry 'bout that, he's the most powerful man in the world.'"
That was April 21, 1966, when thousands of Rastafarians made the pilgrimage from every corner of the island to witness the arrival of the man they consider "King of Kings, Lord of Lords and Conquering Lion of Judah" at Kingston Airport.
"It was a historic moment to see so many people come to see one person," said Rainbow, of Opa-locka. "It inspired me to come out of certain things. I'm not rich, but now I'm rich in spirit and I try to do my best anywhere I live."
At 61, Rainbow will celebrate another historic event in the Rastafarian community -- the 75th anniversary of Selassie's ascension to the Ethiopian throne, which drew dignitaries from far and wide to the African nation Nov. 2, 1930.
On Sunday, South Florida Rastas will re-enact the king's coronation at the Lauderdale Lakes Multi-purpose Center with a colorful display of royal pageantry. The event will feature seven custom-made symbols of kingship, including replicas of the triple crown of Ethiopia, the sword of Solomon, an imperial scepter and golden globe. Royal white attire is required.
Born Tafari Makonnenin, Selassie claimed to be the direct descendant of the queen of Sheba and King Solomon. He used the title "Ras," meaning prince, which when combined with "Tafari" led to the term "Rastafarian" adopted by his followers.
Haile Selassie means "Power of the Trinity." He never claimed to be God, but Rastafarians have considered him the black Messiah ever since the Jamaican black nationalist Marcus Garvey quoted the Bible as saying, "Princes would come out of Egypt and Ethiopia would stretch forth her hands unto God."
Selassie's reign ended in 1974 during a military coup. He died under house arrest in 1975, but Rastafarians are convinced he still lives.
"We know our flesh comes to stay a certain time, but the spirit in the flesh can never die," Rainbow said. "So we have him alive all the time, because we know his work and his spirit live in us."
While there are no official statistics on the number of Rastafarians living in South Florida, experts say there are thousands and the population is growing.
"This is the second-largest Caribbean community in the United States, so I wouldn't be surprised if it's the second-largest Rasta community," said Ras Michael Barnett, a professor of sociology and anthropology at Florida International University.
Adherents of the faith are mostly known for their knotty dreadlocks, strict vegetarian diets, smoking of ganja (marijuana) and the reggae music made popular by Bob Marley and other Jamaican artists. But Rastafarianism is also a movement that fights against injustice and what Rastafarians consider the "Babylonian" establishment that oppresses the poor and people of African descent.
"Rastafarians have seen religions to be as negative as often as they have been positive," said Don Rico Ricketts, a member of the South Florida Rasta community. "We like to say Rastafari is a way of life because it indicates a wider world view than just the religious world view."
Divided into three main houses or denominations, Rastafarians hold different views on issues ranging from divinity to lifestyle. The branches are: The Twelve Tribes of Israel, the BoboShante House and the Nyahbinghi Order.
Some Rastas attend weekly spiritual gatherings called "binghis" to practice their faith from sundown Friday to sundown Saturday. Others attend binghis only on special occasions to commemorate the birthdays of Garvey and Selassie and also Selassie's coronation and his trip to Jamaica.
Adwa Donovan, 31, lives in a North Lauderdale neighborhood with her boyfriend, Steven Gordon, who she calls her "Kingman."
"When I told my mother I want to be Rasta, she said not in my house," she recalled. "She's a traditional Pentecostal."
But Donovan said devotion to Selassie offered her freedom.
"We don't believe in following doctrine," she explained. "Jah [God] speaks to the heart of all of us."
Alva James-Johnson can be reached at ajjohnson@sun-sentinel.com or 954-356-4523.
By Alva James-Johnson
Staff Writer
Posted November 5 2005
Ras Rainbow was yearning for a glimpse of God when the Ethiopian Emperor Haile Selassie I graced Jamaica with his presence. So at first, he did a double take.
"I was looking for a tall man, but he was short," Rainbow said, recalling the magical moment in 1966 when Selassie got off the plane. "A lot of people said, `How God so little?' But the Rasta said, `Don't worry 'bout that, he's the most powerful man in the world.'"
That was April 21, 1966, when thousands of Rastafarians made the pilgrimage from every corner of the island to witness the arrival of the man they consider "King of Kings, Lord of Lords and Conquering Lion of Judah" at Kingston Airport.
"It was a historic moment to see so many people come to see one person," said Rainbow, of Opa-locka. "It inspired me to come out of certain things. I'm not rich, but now I'm rich in spirit and I try to do my best anywhere I live."
At 61, Rainbow will celebrate another historic event in the Rastafarian community -- the 75th anniversary of Selassie's ascension to the Ethiopian throne, which drew dignitaries from far and wide to the African nation Nov. 2, 1930.
On Sunday, South Florida Rastas will re-enact the king's coronation at the Lauderdale Lakes Multi-purpose Center with a colorful display of royal pageantry. The event will feature seven custom-made symbols of kingship, including replicas of the triple crown of Ethiopia, the sword of Solomon, an imperial scepter and golden globe. Royal white attire is required.
Born Tafari Makonnenin, Selassie claimed to be the direct descendant of the queen of Sheba and King Solomon. He used the title "Ras," meaning prince, which when combined with "Tafari" led to the term "Rastafarian" adopted by his followers.
Haile Selassie means "Power of the Trinity." He never claimed to be God, but Rastafarians have considered him the black Messiah ever since the Jamaican black nationalist Marcus Garvey quoted the Bible as saying, "Princes would come out of Egypt and Ethiopia would stretch forth her hands unto God."
Selassie's reign ended in 1974 during a military coup. He died under house arrest in 1975, but Rastafarians are convinced he still lives.
"We know our flesh comes to stay a certain time, but the spirit in the flesh can never die," Rainbow said. "So we have him alive all the time, because we know his work and his spirit live in us."
While there are no official statistics on the number of Rastafarians living in South Florida, experts say there are thousands and the population is growing.
"This is the second-largest Caribbean community in the United States, so I wouldn't be surprised if it's the second-largest Rasta community," said Ras Michael Barnett, a professor of sociology and anthropology at Florida International University.
Adherents of the faith are mostly known for their knotty dreadlocks, strict vegetarian diets, smoking of ganja (marijuana) and the reggae music made popular by Bob Marley and other Jamaican artists. But Rastafarianism is also a movement that fights against injustice and what Rastafarians consider the "Babylonian" establishment that oppresses the poor and people of African descent.
"Rastafarians have seen religions to be as negative as often as they have been positive," said Don Rico Ricketts, a member of the South Florida Rasta community. "We like to say Rastafari is a way of life because it indicates a wider world view than just the religious world view."
Divided into three main houses or denominations, Rastafarians hold different views on issues ranging from divinity to lifestyle. The branches are: The Twelve Tribes of Israel, the BoboShante House and the Nyahbinghi Order.
Some Rastas attend weekly spiritual gatherings called "binghis" to practice their faith from sundown Friday to sundown Saturday. Others attend binghis only on special occasions to commemorate the birthdays of Garvey and Selassie and also Selassie's coronation and his trip to Jamaica.
Adwa Donovan, 31, lives in a North Lauderdale neighborhood with her boyfriend, Steven Gordon, who she calls her "Kingman."
"When I told my mother I want to be Rasta, she said not in my house," she recalled. "She's a traditional Pentecostal."
But Donovan said devotion to Selassie offered her freedom.
"We don't believe in following doctrine," she explained. "Jah [God] speaks to the heart of all of us."
Alva James-Johnson can be reached at ajjohnson@sun-sentinel.com or 954-356-4523.
Bob's Son Fuels Conscious Reggae's Rebirth
Damian Marley
Welcome to Jamrock(Tuff Gong/Ghetto Youth/Universal)
By: Jeff Chang
November 1, 2005
Welcome to Jamrock may be the best album any son of Bob Marley has ever made. Yet it labors under an almost unbearable burden -- his father's massive legacy. How does one break from a tradition when it's part of the family inheritance?
The record opens with an outsized spectacle. A Rastafarian royal drum booms, Bunny Wailer, Haile Selassie, and Marcus Garvey issue urgent calls, and Wagnerian strings blast while the 27-year-old Marley evokes his own generation's uprising: "Searching for the sign, and the sign is us / Searching for the truth, all you find is us." The inescapable title track is built from an Ini Kamoze/Sly and Robbie riddim made after Bob's death, and it succinctly revisits the themes of Damian's 1999 breakthrough, "More Justice": "To see the sufferation sick me / Dem suit nuh fit me." Unlike his tenement-yard-raised father, the youngest Marley is an Uptown rebel with sympathies for the downtrodden, a Che Guevara for a Viacom world if he wants to be.
Or perhaps he is just the next global pop hero, a phenomenon his father made possible. Damian continues to re-version the Wailers' catalog with half-brother Stephen on "Move!," a surprisingly solid update of "Exodus," and the samba-ized "Pimpa's Paradise." He has other models, too. The ska-flavored "All Night" nods to crossover king Shaggy. With Eek-A-Mouse and Bounty Killer aboard, "Khaki Suit" rewinds late-'70s/early-'80s Channel One dancehall. In the bloodline-roots style of the Melody Makers or Morgan Heritage, "We're Gonna Make It" throws a socially conscious party -- and just in time, considering that Jamaica's fickle winds are again favoring the tradition of I Wayne over Elephant Man. But the neo-ragga pop of "Hey Girl" cools Damian's characteristic exuberance into the bland efficiency of a Rihanna or Rupee.
In a 21st-century world of reggae no longer dominated by one voice, versatility may be a virtue. But when Nas effortlessly steals "Road to Zion," it's clear that Damian doesn't yet possess his father's force of personality. He sounds more in his element on "There for You," a sweet, understated affirmation of familial love. Welcome to Jamrock does not herald a new generation’s Athenian arrival. Yet, only from a Marley might we expect such an achievement, when a very good album is enough.
Launch Damian Marley Jamrock Media Player
Welcome to Jamrock(Tuff Gong/Ghetto Youth/Universal)
By: Jeff Chang
November 1, 2005
Welcome to Jamrock may be the best album any son of Bob Marley has ever made. Yet it labors under an almost unbearable burden -- his father's massive legacy. How does one break from a tradition when it's part of the family inheritance?
The record opens with an outsized spectacle. A Rastafarian royal drum booms, Bunny Wailer, Haile Selassie, and Marcus Garvey issue urgent calls, and Wagnerian strings blast while the 27-year-old Marley evokes his own generation's uprising: "Searching for the sign, and the sign is us / Searching for the truth, all you find is us." The inescapable title track is built from an Ini Kamoze/Sly and Robbie riddim made after Bob's death, and it succinctly revisits the themes of Damian's 1999 breakthrough, "More Justice": "To see the sufferation sick me / Dem suit nuh fit me." Unlike his tenement-yard-raised father, the youngest Marley is an Uptown rebel with sympathies for the downtrodden, a Che Guevara for a Viacom world if he wants to be.
Or perhaps he is just the next global pop hero, a phenomenon his father made possible. Damian continues to re-version the Wailers' catalog with half-brother Stephen on "Move!," a surprisingly solid update of "Exodus," and the samba-ized "Pimpa's Paradise." He has other models, too. The ska-flavored "All Night" nods to crossover king Shaggy. With Eek-A-Mouse and Bounty Killer aboard, "Khaki Suit" rewinds late-'70s/early-'80s Channel One dancehall. In the bloodline-roots style of the Melody Makers or Morgan Heritage, "We're Gonna Make It" throws a socially conscious party -- and just in time, considering that Jamaica's fickle winds are again favoring the tradition of I Wayne over Elephant Man. But the neo-ragga pop of "Hey Girl" cools Damian's characteristic exuberance into the bland efficiency of a Rihanna or Rupee.
In a 21st-century world of reggae no longer dominated by one voice, versatility may be a virtue. But when Nas effortlessly steals "Road to Zion," it's clear that Damian doesn't yet possess his father's force of personality. He sounds more in his element on "There for You," a sweet, understated affirmation of familial love. Welcome to Jamrock does not herald a new generation’s Athenian arrival. Yet, only from a Marley might we expect such an achievement, when a very good album is enough.
Launch Damian Marley Jamrock Media Player
Tuesday, October 18, 2005
NEVILLE GARRICK: BOB MARLEY PHOTOGRAPHS
November 5th – December 17th, 2005
Opening Reception with the Artist: Saturday November 5th 6pm-10pm
Robert Nesta Marley, better known as Bob Marley, was a Jamaican singer, guitarist, songwriter and activist. He is the most widely known Reggae musician of all time, famous for popularizing the genre outside of Jamaica. Much of his work deals with the struggles of the impoverished and/or powerless. Bob Marley's music and legend have gone from strength to strength in the years since his early death in 1981, whilst also bringing him a nearly mythic status in music history. He remains enormously popular and well known all over the world, and particularly so in Africa.
Neville Garrick joined Bob Marley in his Rasta crusade, touring with the Wailers and concentrating his talents on the visual side of things. He designed many of the Bob Marley and the Wailers album covers including Rastaman Vibration and Exodus. He was responsible for the backdrops and lighting for live shows, even joining in on percussion when the opportunity arose. These black and white photographs taken by Neville, document the heyday of Marley’s career, including the famous Rastaman Vibes photos from 1974, a concert at New York’s Central Park in 1975 and Marley's visit to Zimbabwe in 1980.
Drkrm.
Lab, Studio & Gallery
2121 N. San Fernando Road #3 Los Angeles 90065
323-223-6867 fax 323-221-4784
E-mail, drkrm@mac.com Web site, http://www.drkrm.com
Opening Reception with the Artist: Saturday November 5th 6pm-10pm
Robert Nesta Marley, better known as Bob Marley, was a Jamaican singer, guitarist, songwriter and activist. He is the most widely known Reggae musician of all time, famous for popularizing the genre outside of Jamaica. Much of his work deals with the struggles of the impoverished and/or powerless. Bob Marley's music and legend have gone from strength to strength in the years since his early death in 1981, whilst also bringing him a nearly mythic status in music history. He remains enormously popular and well known all over the world, and particularly so in Africa.
Neville Garrick joined Bob Marley in his Rasta crusade, touring with the Wailers and concentrating his talents on the visual side of things. He designed many of the Bob Marley and the Wailers album covers including Rastaman Vibration and Exodus. He was responsible for the backdrops and lighting for live shows, even joining in on percussion when the opportunity arose. These black and white photographs taken by Neville, document the heyday of Marley’s career, including the famous Rastaman Vibes photos from 1974, a concert at New York’s Central Park in 1975 and Marley's visit to Zimbabwe in 1980.
Drkrm.
Lab, Studio & Gallery
2121 N. San Fernando Road #3 Los Angeles 90065
323-223-6867 fax 323-221-4784
E-mail, drkrm@mac.com Web site, http://www.drkrm.com
''Slogans,'' First New Official Bob Marley Recording in More Than a Decade, Plus Two New Remixes, Highlight Africa Unite: the Singles Collection
Monday October 17, 9:00 am ET
Also Live! At The Rainbow Concert Homevideo Adds Caribbean Nights Documentary And Exclusive Extras For Its DVD Debut
LOS ANGELES--(BUSINESS WIRE)--Oct. 17, 2005--In the year Bob Marley would have turned 60, the past, present and future of his music are celebrated not only with the first Bob Marley & The Wailers greatest hits package to include both his early sides and his Island Records hits but also a new recording and two new remixes. Along with 17 vintage tracks, Africa Unite: The Singles Collection (Island/Tuff Gong/UMe), released November 8, 2005, spotlights "Slogans," the first new official Marley track released in more than a decade. It is believed Marley recorded the song in a Miami bedroom in 1979. The tapes were kept at Marley's mother's house and last year the reggae legend's sons Stephen and Ziggy revisited the acoustic demo. In 2005, Stephen overdubbed the tracks with other instruments, including guitar by Eric Clapton. Stephen and Ziggy produced "Slogans" specifically for this release.
Another new recording is a remix of "Africa Unite," whose original was heard on the 1979 album Survival. The song is presented here in an anthemic remix by will.i.am of The Black Eyed Peas, who was personally invited to create the remix by Rita Marley, Bob's wife. Also new is the Ashley Beedle Remix of "Get Up, Stand Up Vs. Jamrock," a mash-up of Bob's classic and "Welcome To Jamrock," the 2005 hit from youngest son Damian.
Africa Unite: The Singles Collection commemorates Marley's life on record just as the 2005 Africa Unite concert in Addis Ababa, Ethiopia, on his 60th birthday (February 6) commemorated it on stage. Africa Unite: The Singles Collection includes the early classics "Soul Rebel," "Lively Up Yourself," "Trenchtown Rock" and "Concrete Jungle" alongside the Island hits "I Shot The Sheriff," "Get Up, Stand Up," "No Woman, No Cry," "Exodus," "Jamming," "Could You Be Loved," "One Love/People Get Ready," "Roots, Rock, Reggae," "Waiting In Vain," "The Sun Is Shining," "Is This Love," "Three Little Birds" and "Buffalo Soldier."
Also issued is the DVD premiere of Live! At The Rainbow in a two-disc package that adds to the 1986 concert homevideo more than 20 minutes of exclusive interviews and footage recently shot in Kingston, Jamaica, of a visit to The Bob Marley Museum and Tuff Gong Studios, plus the award-winning 1988 documentary Caribbean Nights: The Bob Marley Story. The latter includes interviews with family and friends, and rare archival footage, and has been augmented for this edition by 20-plus minutes of exclusive interviews and new video of Marley's birthplace and final resting place, Nine Mile.
For the 1977 concert at London's Rainbow Theatre, the group performed quintessential versions of "No Woman, No Cry," "Lively Up Yourself," "Rebel Music" and more. For its DVD debut, Live! At The Rainbow's video has been digitally enhanced and its audio digitally remastered in both 5.1 Surround Sound and stereo.
Marley's stature in music grows with each passing year. Africa Unite: The Singles Collection and Live! At The Rainbow continue his legacy.
Also Live! At The Rainbow Concert Homevideo Adds Caribbean Nights Documentary And Exclusive Extras For Its DVD Debut
LOS ANGELES--(BUSINESS WIRE)--Oct. 17, 2005--In the year Bob Marley would have turned 60, the past, present and future of his music are celebrated not only with the first Bob Marley & The Wailers greatest hits package to include both his early sides and his Island Records hits but also a new recording and two new remixes. Along with 17 vintage tracks, Africa Unite: The Singles Collection (Island/Tuff Gong/UMe), released November 8, 2005, spotlights "Slogans," the first new official Marley track released in more than a decade. It is believed Marley recorded the song in a Miami bedroom in 1979. The tapes were kept at Marley's mother's house and last year the reggae legend's sons Stephen and Ziggy revisited the acoustic demo. In 2005, Stephen overdubbed the tracks with other instruments, including guitar by Eric Clapton. Stephen and Ziggy produced "Slogans" specifically for this release.
Another new recording is a remix of "Africa Unite," whose original was heard on the 1979 album Survival. The song is presented here in an anthemic remix by will.i.am of The Black Eyed Peas, who was personally invited to create the remix by Rita Marley, Bob's wife. Also new is the Ashley Beedle Remix of "Get Up, Stand Up Vs. Jamrock," a mash-up of Bob's classic and "Welcome To Jamrock," the 2005 hit from youngest son Damian.
Africa Unite: The Singles Collection commemorates Marley's life on record just as the 2005 Africa Unite concert in Addis Ababa, Ethiopia, on his 60th birthday (February 6) commemorated it on stage. Africa Unite: The Singles Collection includes the early classics "Soul Rebel," "Lively Up Yourself," "Trenchtown Rock" and "Concrete Jungle" alongside the Island hits "I Shot The Sheriff," "Get Up, Stand Up," "No Woman, No Cry," "Exodus," "Jamming," "Could You Be Loved," "One Love/People Get Ready," "Roots, Rock, Reggae," "Waiting In Vain," "The Sun Is Shining," "Is This Love," "Three Little Birds" and "Buffalo Soldier."
Also issued is the DVD premiere of Live! At The Rainbow in a two-disc package that adds to the 1986 concert homevideo more than 20 minutes of exclusive interviews and footage recently shot in Kingston, Jamaica, of a visit to The Bob Marley Museum and Tuff Gong Studios, plus the award-winning 1988 documentary Caribbean Nights: The Bob Marley Story. The latter includes interviews with family and friends, and rare archival footage, and has been augmented for this edition by 20-plus minutes of exclusive interviews and new video of Marley's birthplace and final resting place, Nine Mile.
For the 1977 concert at London's Rainbow Theatre, the group performed quintessential versions of "No Woman, No Cry," "Lively Up Yourself," "Rebel Music" and more. For its DVD debut, Live! At The Rainbow's video has been digitally enhanced and its audio digitally remastered in both 5.1 Surround Sound and stereo.
Marley's stature in music grows with each passing year. Africa Unite: The Singles Collection and Live! At The Rainbow continue his legacy.
Jamaica Honors Saxophonist Headley Bennett
By Associated Press
KINGSTON, Jamaica -- The Jamaican government has bestowed one of its highest civic honors on a saxophonist who played on the first song recorded by reggae icon Bob Marley.
Saxophonist Headley Bennett, 74, was awarded the Order of Distinction on Monday along with 157 other people during the annual National Honors and Awards ceremony.
Bennett is one of Jamaica's most prolific musicians. He has worked with some of the biggest names in reggae, including Bunny Wailer and Peter Tosh, co-founders with Marley of the band The Wailers.
Marley was a 17-year-old solo act in 1962 when Bennett played on his first song, "Judge Not," a ska number produced by Leslie Kong.
Also receiving the Order of Distinction, Jamaica's sixth highest civic honor, were keyboardist Michael "Ibo" Cooper and guitarist Stephen "Cat" Coore, co-founders of reggae band Third World.
KINGSTON, Jamaica -- The Jamaican government has bestowed one of its highest civic honors on a saxophonist who played on the first song recorded by reggae icon Bob Marley.
Saxophonist Headley Bennett, 74, was awarded the Order of Distinction on Monday along with 157 other people during the annual National Honors and Awards ceremony.
Bennett is one of Jamaica's most prolific musicians. He has worked with some of the biggest names in reggae, including Bunny Wailer and Peter Tosh, co-founders with Marley of the band The Wailers.
Marley was a 17-year-old solo act in 1962 when Bennett played on his first song, "Judge Not," a ska number produced by Leslie Kong.
Also receiving the Order of Distinction, Jamaica's sixth highest civic honor, were keyboardist Michael "Ibo" Cooper and guitarist Stephen "Cat" Coore, co-founders of reggae band Third World.
Wednesday, October 12, 2005
Lee "Scratch" Perry Alive and Well
Lee 'Scratch' Perry, The Custard Factory, Birmingham
Review by Martin Longley
Published: 12 October 2005
Lee "Scratch" Perry dwells in a curious state of being at once one of reggae's pivotal producers while also being a true cult figure. He's always been eccentric, but in his early days he shaped a callow Bob Marley and recorded some of the most commercial singles to come out of Jamaica. In the Seventies, Perry was a leading innovator in the creation of dub, a radically minimalist mixing-desk art that retains some power over all worthwhile dance music.
The problem with Perry's live shows is matching up to the legend. The first time I saw him, at this venue in 2003, his performance was more subdued, the backing band more conventional. This time, Perry is wired up with a palpable tension, clearly in the mood for being a more forceful front-man.
He bobs onstage looking like a reconstruction of a Pearly King and a tiny jockey, garlanded with shiny trinkets. He's a shamanic priest, carrying a bottle stuffed with smoking incense, flicking it about above his head as if he's sanctifying venue and audience.
Perry uses the first number to introduce himself. The tumbling phonetics and burred tones would be impressive enough without the absurdist lyrical content. Surely Mark E Smith of The Fall must have picked up some of his own rambling surrealism and confrontational hectoring from Perry.
Earlier in the evening, Neal "The Mad Professor" Fraser had been celebrating 25 years of his Ariwa Sounds label. Now, surely, Fraser must be manning the mixing desk, cutting and throwing around the live band's drums, bass, keyboards and guitar, manipulating Perry's vocals with extreme echo trimmings. Fraser and Perry first worked together 20 years ago, and the bond is now tight, the two of them touring together regularly.
"War in a Babylon" is a highlight, the tune Perry created with Max Romeo updated to reflect the current global climate. A couple of tunes push their rhythms away from reggae, opening up to a faster, hybridised descendent.
Few performers are able to spread such a sense of complete spontaneity. He is nothing like a conventional singer, but Perry's is one of modern music's most distinctive voices.
Review by Martin Longley
Published: 12 October 2005
Lee "Scratch" Perry dwells in a curious state of being at once one of reggae's pivotal producers while also being a true cult figure. He's always been eccentric, but in his early days he shaped a callow Bob Marley and recorded some of the most commercial singles to come out of Jamaica. In the Seventies, Perry was a leading innovator in the creation of dub, a radically minimalist mixing-desk art that retains some power over all worthwhile dance music.
The problem with Perry's live shows is matching up to the legend. The first time I saw him, at this venue in 2003, his performance was more subdued, the backing band more conventional. This time, Perry is wired up with a palpable tension, clearly in the mood for being a more forceful front-man.
He bobs onstage looking like a reconstruction of a Pearly King and a tiny jockey, garlanded with shiny trinkets. He's a shamanic priest, carrying a bottle stuffed with smoking incense, flicking it about above his head as if he's sanctifying venue and audience.
Perry uses the first number to introduce himself. The tumbling phonetics and burred tones would be impressive enough without the absurdist lyrical content. Surely Mark E Smith of The Fall must have picked up some of his own rambling surrealism and confrontational hectoring from Perry.
Earlier in the evening, Neal "The Mad Professor" Fraser had been celebrating 25 years of his Ariwa Sounds label. Now, surely, Fraser must be manning the mixing desk, cutting and throwing around the live band's drums, bass, keyboards and guitar, manipulating Perry's vocals with extreme echo trimmings. Fraser and Perry first worked together 20 years ago, and the bond is now tight, the two of them touring together regularly.
"War in a Babylon" is a highlight, the tune Perry created with Max Romeo updated to reflect the current global climate. A couple of tunes push their rhythms away from reggae, opening up to a faster, hybridised descendent.
Few performers are able to spread such a sense of complete spontaneity. He is nothing like a conventional singer, but Perry's is one of modern music's most distinctive voices.
Sunday, October 02, 2005
Reggae scion Damian Marley builds buzz for big Reggae Hit!
By Todd Martens Fri Sep 30, 6:37 PM ET
LOS ANGELES (Billboard) - Damian "Jr. Gong" Marley took the U.S. pop charts by storm earlier this month, when "Welcome to Jamrock" bowed at No. 7 on Billboard 200, the highest debut for a reggae release since Nielsen SoundScan starting collating data in 1991.
Marley already has a Grammy Award for best reggae album for his 2003 effort, "Halfway Tree," on Universal's Motown Records. Yet the album failed to produce a radio hit, and has sold only 92,000 copies in the States, according to Nielsen SoundScan.
After "Halfway Tree," Motown dropped Marley from its roster. But his Universal status changed with the title track to "Welcome to Jamrock." Christy Barber, president of Kingston, Jamaica-based Tuff Gong -- the label started by the young artist's father, Bob Marley, in 1965 -- sent the song to U.S. radio in March. After securing play on R&B/hip-hop WQHT (Hot 97) New York and placing the video on BET, Barber found that Universal was looking to rekindle its relationship with Tuff Gong and Marley.
"He was on Motown," Barber says, "and he was -- what's the nice word -- released? But he was still on the family label."
Barber says the Tuff Gong-affiliated Ghetto Youth imprint, which was founded by Marley's older brothers Ziggy and Stephen, maintained its joint venture with Motown. The labels were prepping the solo debut from Stephen, a co-producer on "Welcome to Jamrock," when Damian's song started to take off at radio.
"We had every major label in a bidding war," Barber says. "We chose Universal because we felt like we wanted to keep the family under one umbrella. Damian did feel a little reluctant, but Bob's catalog is there, and Stephen is there, and there were enough good people who cheerleaded for us, so it made sense."
It appears to have paid off, with a top 10 debut and 86,000 units sold. Marley also set a family record, besting the No. 8 high posted by his father's "Rastaman Vibration" in 1976.
Reggae artists have not been strangers to The Billboard 200 in recent years, with albums charting by Sean Paul, Shaggy, Beenie Man and Elephant Man, among others. With Paul's "The Trinity" (Atlantic) hitting store shelves September 27, retailers are counting on reggae to be a consistent seller this holiday season.
Barber began setting up Marley's third full-length release in October 2004, when Tuff Gong released a 7-inch of the single. A video was shot in December, and Barber worked the song in Jamaica before submitting it to Bobby Konders' radio show on WQHT.
"They really jumped on it," Barber says. "They're not really a key station in breaking reggae. It usually comes out of Boston or Miami."
Tuff Gong hired an independent promoter to help work the single, and soon had a clip on mtvU and BET. What followed was a three-month bidding war to sign Marley.
"I was actually getting married when I was in the middle of negotiating this," Barber says. "I wasn't even at my own rehearsal dinner. I was in the parking lot on my cell phone. On the day of my wedding, I had my cell phone off for the ceremony, but had it on during the reception."
Barber was married June 25, and the new deal with Universal was closed in early July. In November, Marley will open for U2. "They came to us," Barber says. This month Marley will be a guest on "MTV Unplugged:
Alicia Keys."
With his crossover appeal, success in the United States was not entirely a surprise. But Barber will not deny an advantage. "The Marley name always helps," she says.
Reuters/Billboard
LOS ANGELES (Billboard) - Damian "Jr. Gong" Marley took the U.S. pop charts by storm earlier this month, when "Welcome to Jamrock" bowed at No. 7 on Billboard 200, the highest debut for a reggae release since Nielsen SoundScan starting collating data in 1991.
Marley already has a Grammy Award for best reggae album for his 2003 effort, "Halfway Tree," on Universal's Motown Records. Yet the album failed to produce a radio hit, and has sold only 92,000 copies in the States, according to Nielsen SoundScan.
After "Halfway Tree," Motown dropped Marley from its roster. But his Universal status changed with the title track to "Welcome to Jamrock." Christy Barber, president of Kingston, Jamaica-based Tuff Gong -- the label started by the young artist's father, Bob Marley, in 1965 -- sent the song to U.S. radio in March. After securing play on R&B/hip-hop WQHT (Hot 97) New York and placing the video on BET, Barber found that Universal was looking to rekindle its relationship with Tuff Gong and Marley.
"He was on Motown," Barber says, "and he was -- what's the nice word -- released? But he was still on the family label."
Barber says the Tuff Gong-affiliated Ghetto Youth imprint, which was founded by Marley's older brothers Ziggy and Stephen, maintained its joint venture with Motown. The labels were prepping the solo debut from Stephen, a co-producer on "Welcome to Jamrock," when Damian's song started to take off at radio.
"We had every major label in a bidding war," Barber says. "We chose Universal because we felt like we wanted to keep the family under one umbrella. Damian did feel a little reluctant, but Bob's catalog is there, and Stephen is there, and there were enough good people who cheerleaded for us, so it made sense."
It appears to have paid off, with a top 10 debut and 86,000 units sold. Marley also set a family record, besting the No. 8 high posted by his father's "Rastaman Vibration" in 1976.
Reggae artists have not been strangers to The Billboard 200 in recent years, with albums charting by Sean Paul, Shaggy, Beenie Man and Elephant Man, among others. With Paul's "The Trinity" (Atlantic) hitting store shelves September 27, retailers are counting on reggae to be a consistent seller this holiday season.
Barber began setting up Marley's third full-length release in October 2004, when Tuff Gong released a 7-inch of the single. A video was shot in December, and Barber worked the song in Jamaica before submitting it to Bobby Konders' radio show on WQHT.
"They really jumped on it," Barber says. "They're not really a key station in breaking reggae. It usually comes out of Boston or Miami."
Tuff Gong hired an independent promoter to help work the single, and soon had a clip on mtvU and BET. What followed was a three-month bidding war to sign Marley.
"I was actually getting married when I was in the middle of negotiating this," Barber says. "I wasn't even at my own rehearsal dinner. I was in the parking lot on my cell phone. On the day of my wedding, I had my cell phone off for the ceremony, but had it on during the reception."
Barber was married June 25, and the new deal with Universal was closed in early July. In November, Marley will open for U2. "They came to us," Barber says. This month Marley will be a guest on "MTV Unplugged:
Alicia Keys."
With his crossover appeal, success in the United States was not entirely a surprise. But Barber will not deny an advantage. "The Marley name always helps," she says.
Reuters/Billboard
The Rise of a Movement
A GNA Feature By Cephas Amevor (AIJC Intern)
Accra, Sept 27, GNA- "All the days of his vow, no razor shall come upon his head; until the time is completed for which he separates himself to the Lord, he shall be holy, he shall let the locks of his hair grow long."- Numbers 6:5.
The above quotation in the Bible backs the idea for any person to put on dreadlocks, provided he or she wants to become a Nazarene. That person could also be called a Rastafarian.
Starting in Jamaica in the 1930s by Joseph Hibbert, Archibald Dunkley, Ferdinand Rickets, Vernal Davis and Leonard Hewell Rastafarianism and its movement spread to the United Kingdom, Canada and the United States and to other Caribbean islands.
In Ghana Rastafarians are found in all the 10 regions. And in the media, mention Ras Black Santino of Vibe FM; Ras Culture B (Korku Adinkra Apetu) of Joy FM and, Daddy Bosco of Adom FM. When it began, the Rastafarian Movement was named after Tafari Makonnen, which was the original name of Haile Selassie I, a prince who in 1930 was crowned Emperor of Ethiopia. Ras means "Lord" in the Amharic language.
The long, matted locks known as dreadlocks easily identify Rastafarians. Many Rastafarians also wear beads around their necks, hand and legs signifying their love for local made artefacts. They also carry along badges of Haile Selassie, Marcus Garvey, a Pan-Africanist and sometimes Osagyefo Dr Kwame Nkrumah, First President of the Republic of Ghana.
In Ghana, a number of tour guides are Rastafarians. They sometimes wear knitted caps of red, gold, green, and black -the colours of the Ethiopian flag, which have symbolic significance for members of the movement.
They also observe Hebrew dietary laws, abstaining from certain items in their diet, and eating only those foods considered pure. Sometimes, Rastafarians tend to have a rather low public image. They are seen as mentally derailed and often denied jobs as a result of wearing dreads.
But if the Constitution and the electoral laws accept Rastafarians votes, taxes and other roles in national development, why are they discriminated against when it comes to giving jobs and positions for which they are qualified?
There is no need to neglect and scorn Rastafarians. Speaking to the GNA Aswad Nkrabia, Organizer of Rastarafari Unity Home and Abroad (RUHA), an NGO championing the Rasatafarian cause, advised Rastafarians, who have rather made roaming their daily schedule, to leave the streets and use their God given hands to do something profitably for themselves and the nation.
He said being a Rastafarian was entering into a covenant with God, hence one needed to be neat. Jesus Christ is believed to be a Rastafarian because he observed all the vows that were now known as Rastafarian vows.
The central doctrine of Rastafarianism, also known as Rasta, is that Haile Selassie is the Christ of the black race. This belief continued to be held even after his death in 1975.
The Ras Tafari movement is thought to be a strand of the "Back to Africa" movement created by Jamaican leader Marcus Garvey after he moved to the United States and settled in New York City in 1916.
Garvey preached black pride and black emancipation, and advocated a return of black Americans to Africa, their ancestral homeland, and particularly to Liberia, Sierra Leone and Ghana.
According to a widely believed report, Garvey told his followers in Jamaica, at his departure for the United States, "Look to Africa where a Black King shall be crowned; he shall be your redeemer.
"After the coronation of Haile Selassie, many Garvey followers began to search the Bible for confirmation of the prophecy. The confirmation was found in Revelation 19:16, which reads: "And he hath on his vesture and on his thigh a name written, King of Kings, and Lord of Lords." With these events the Rastafarian movement was born.
Rastafarianism is a millenarian movement emphasizing the belief that, through the power of a supernatural being, oppressed people would miraculously be led from oppression to a new heaven on Earth where all problems would be solved in peace.
To believers, Haile Selassie I is the reincarnated Jesus Christ with supreme powers; through him they looked for an immediate return to Ethiopia - the promised land- and the biblical name for Africa. Rastafarians have developed an elaborate ritual system using marijuana (ganja) as a sacrament, as Christians use bread and wine. They have adopted the law of the biblical Nazarites, which prohibits the cutting of their hair.
The conversion of reggae singer Bob Marley to Rastafarianism in 1967 helped to propagate the Rastafarian message and become widespread during the 1970s and early 1980s as Marley and reggae achieved mainstream popularity.
After Marley's death in 1981 other reggae musicians, inspired by the Rastafarian message, also communicated it through their music. Because of its revolutionary stance the Rastafarian movement has been controversial since its emergence. It is unequivocally a black-consciousness movement.
The creed itself is generally peaceful, and Rasta has become increasingly accepted by mainstream organizations as a legitimate religious movement. However, Rastafarians say it is a movement that teaches moral uprightness, humanity and love for one another worldwide. The ritual use of marijuana has contributed to some unfavourable perceptions of the movement, especially in countries where the use of marijuana is illegal.
Marijuana, some scientist s say, has negative implications on the human body. However, Rastafarians debunk the claim saying it is a good herbal medicine, which was created by God. Some scientists say it could reduce high blood pressure and the tendency of becoming asthmatic.
Accra, Sept 27, GNA- "All the days of his vow, no razor shall come upon his head; until the time is completed for which he separates himself to the Lord, he shall be holy, he shall let the locks of his hair grow long."- Numbers 6:5.
The above quotation in the Bible backs the idea for any person to put on dreadlocks, provided he or she wants to become a Nazarene. That person could also be called a Rastafarian.
Starting in Jamaica in the 1930s by Joseph Hibbert, Archibald Dunkley, Ferdinand Rickets, Vernal Davis and Leonard Hewell Rastafarianism and its movement spread to the United Kingdom, Canada and the United States and to other Caribbean islands.
In Ghana Rastafarians are found in all the 10 regions. And in the media, mention Ras Black Santino of Vibe FM; Ras Culture B (Korku Adinkra Apetu) of Joy FM and, Daddy Bosco of Adom FM. When it began, the Rastafarian Movement was named after Tafari Makonnen, which was the original name of Haile Selassie I, a prince who in 1930 was crowned Emperor of Ethiopia. Ras means "Lord" in the Amharic language.
The long, matted locks known as dreadlocks easily identify Rastafarians. Many Rastafarians also wear beads around their necks, hand and legs signifying their love for local made artefacts. They also carry along badges of Haile Selassie, Marcus Garvey, a Pan-Africanist and sometimes Osagyefo Dr Kwame Nkrumah, First President of the Republic of Ghana.
In Ghana, a number of tour guides are Rastafarians. They sometimes wear knitted caps of red, gold, green, and black -the colours of the Ethiopian flag, which have symbolic significance for members of the movement.
They also observe Hebrew dietary laws, abstaining from certain items in their diet, and eating only those foods considered pure. Sometimes, Rastafarians tend to have a rather low public image. They are seen as mentally derailed and often denied jobs as a result of wearing dreads.
But if the Constitution and the electoral laws accept Rastafarians votes, taxes and other roles in national development, why are they discriminated against when it comes to giving jobs and positions for which they are qualified?
There is no need to neglect and scorn Rastafarians. Speaking to the GNA Aswad Nkrabia, Organizer of Rastarafari Unity Home and Abroad (RUHA), an NGO championing the Rasatafarian cause, advised Rastafarians, who have rather made roaming their daily schedule, to leave the streets and use their God given hands to do something profitably for themselves and the nation.
He said being a Rastafarian was entering into a covenant with God, hence one needed to be neat. Jesus Christ is believed to be a Rastafarian because he observed all the vows that were now known as Rastafarian vows.
The central doctrine of Rastafarianism, also known as Rasta, is that Haile Selassie is the Christ of the black race. This belief continued to be held even after his death in 1975.
The Ras Tafari movement is thought to be a strand of the "Back to Africa" movement created by Jamaican leader Marcus Garvey after he moved to the United States and settled in New York City in 1916.
Garvey preached black pride and black emancipation, and advocated a return of black Americans to Africa, their ancestral homeland, and particularly to Liberia, Sierra Leone and Ghana.
According to a widely believed report, Garvey told his followers in Jamaica, at his departure for the United States, "Look to Africa where a Black King shall be crowned; he shall be your redeemer.
"After the coronation of Haile Selassie, many Garvey followers began to search the Bible for confirmation of the prophecy. The confirmation was found in Revelation 19:16, which reads: "And he hath on his vesture and on his thigh a name written, King of Kings, and Lord of Lords." With these events the Rastafarian movement was born.
Rastafarianism is a millenarian movement emphasizing the belief that, through the power of a supernatural being, oppressed people would miraculously be led from oppression to a new heaven on Earth where all problems would be solved in peace.
To believers, Haile Selassie I is the reincarnated Jesus Christ with supreme powers; through him they looked for an immediate return to Ethiopia - the promised land- and the biblical name for Africa. Rastafarians have developed an elaborate ritual system using marijuana (ganja) as a sacrament, as Christians use bread and wine. They have adopted the law of the biblical Nazarites, which prohibits the cutting of their hair.
The conversion of reggae singer Bob Marley to Rastafarianism in 1967 helped to propagate the Rastafarian message and become widespread during the 1970s and early 1980s as Marley and reggae achieved mainstream popularity.
After Marley's death in 1981 other reggae musicians, inspired by the Rastafarian message, also communicated it through their music. Because of its revolutionary stance the Rastafarian movement has been controversial since its emergence. It is unequivocally a black-consciousness movement.
The creed itself is generally peaceful, and Rasta has become increasingly accepted by mainstream organizations as a legitimate religious movement. However, Rastafarians say it is a movement that teaches moral uprightness, humanity and love for one another worldwide. The ritual use of marijuana has contributed to some unfavourable perceptions of the movement, especially in countries where the use of marijuana is illegal.
Marijuana, some scientist s say, has negative implications on the human body. However, Rastafarians debunk the claim saying it is a good herbal medicine, which was created by God. Some scientists say it could reduce high blood pressure and the tendency of becoming asthmatic.
Wednesday, September 14, 2005
Damian Marley Releases "Welcome To Jamrock"
Marley's son returns reggae to roots
MARK LELINWALLA
Associated Press
NEW YORK - Being an icon's son isn't easy. Yet Damian Marley is doing just fine. The son of Bob is leading reggae back to its roots with his enthralling summer anthem, "Welcome To Jamrock," and new album.
The articulate, socially conscious artist known as "Jr. Gong" spoke to The Associated Press about the return of traditional reggae, gang violence, working with Alicia Keys and continuing his father's legacy.
AP: Since the "Welcome To Jamrock" single is so big, what do you expect from the album?
Marley: It can expose people to what we're speaking about and what the music stands for in a moral and lyrical sense. It's about what's going on in the world, not just my life.
AP: There has been a real return to traditional grassroots reggae. How do you feel about that?
Marley: In Jamaica, it was never dormant, but what you see right now is a lot of roots music becoming a national representation of the music once again, as opposed to the last few years when it was dancehall and club stuff.
AP: What's your opinion on reggaeton?
Marley: To tell you the truth, I'm not so up on it to say. I'm not real familiar with it because first of all I don't understand what a lot of it is saying because I don't speak Spanish. I can tell you that the best form of flattery is imitation, in terms of other people using our culture - dancehall and reggae culture and music. That's flattery.
AP: What do you think about Sean Paul, Elephant Man and Shaggy, reggae dancehall artists who have hit mainstream success here in the United States?
Marley: Good for them. I don't have a problem with any of them.
AP: Do you like their music?
Marley: There are some songs I don't care for and some songs I like. There's definitely another side of (reggae) music that those artists don't represent. Those songs aren't full representation of reggae music. They're not the full ambassadors of reggae music. They're not the FULL representation.
AP: Gang violence has been a problem in Jamaica. What's the state of it right now?
Marley: Poverty breeds a lot of things. When people are desperate and trying to survive, they do drastic things. That's what a lot of people feel like in Jamaica. That's what we're trying to say in our music, that's there's not that much being done about it. Sending a whole swarm of police into our area to shoot up the place is not going to make anything better. It's going to create more enemies.
AP: If you were in charge, what would you do?
Marley: There is a lot of ways, but I'm not in charge. There are people in charge and I want them to do their job. I'm not a politician, I'm a musician. The gang violence you see in Jamaica was something seeded from politics. So, first politicians need to stop the violence because it has become a way of life in Jamaica. It's the thing to do - be violent in Jamaica.
AP: There have been protests against reggae artists that use homophobic lyrics. What's your take on that?
Marley: We can find better things to talk about right now than people's lyrics and that's all I have to say about that.
AP: How was it working with Alicia Keys for her MTV Unplugged special?
Marley: I'm a fan of her music. What I really appreciate about her music is the whole live aspect. She's very hands-on and musical. Reggae musicians appreciate that because we use more live instrumentation.
AP: How was it working with Nas and The Roots?
Marley: It was a big honor. We all stand for the same things in our music and we speak on things that are positive. What I love about their music is it's positive, but it's about life in dark places. They're making music for the hungry. They try to feed people that are hungry, rather than feed people who are fed.
AP: How much of an influence do your brothers have on your albums?
Marley: Well, first of all my big brother Steve is my producer. I'm actually very active as a producer for this album also, so we basically produced it together. We work as a team.
AP: How are things between Lauryn Hill and her husband, your brother Rohan?
marley: That's none of my business.
AP: To set the record straight, how many children did your father have?
Marley: A lot. A lot.
AP: When you record, do you and your brothers feel like you're continuing your father's legacy?
Marley: Yea, but more so because the work that we're doing is Rasta work. His music was not pop music. It was struggle music and uplifting from that struggle.
MARK LELINWALLA
Associated Press
NEW YORK - Being an icon's son isn't easy. Yet Damian Marley is doing just fine. The son of Bob is leading reggae back to its roots with his enthralling summer anthem, "Welcome To Jamrock," and new album.
The articulate, socially conscious artist known as "Jr. Gong" spoke to The Associated Press about the return of traditional reggae, gang violence, working with Alicia Keys and continuing his father's legacy.
AP: Since the "Welcome To Jamrock" single is so big, what do you expect from the album?
Marley: It can expose people to what we're speaking about and what the music stands for in a moral and lyrical sense. It's about what's going on in the world, not just my life.
AP: There has been a real return to traditional grassroots reggae. How do you feel about that?
Marley: In Jamaica, it was never dormant, but what you see right now is a lot of roots music becoming a national representation of the music once again, as opposed to the last few years when it was dancehall and club stuff.
AP: What's your opinion on reggaeton?
Marley: To tell you the truth, I'm not so up on it to say. I'm not real familiar with it because first of all I don't understand what a lot of it is saying because I don't speak Spanish. I can tell you that the best form of flattery is imitation, in terms of other people using our culture - dancehall and reggae culture and music. That's flattery.
AP: What do you think about Sean Paul, Elephant Man and Shaggy, reggae dancehall artists who have hit mainstream success here in the United States?
Marley: Good for them. I don't have a problem with any of them.
AP: Do you like their music?
Marley: There are some songs I don't care for and some songs I like. There's definitely another side of (reggae) music that those artists don't represent. Those songs aren't full representation of reggae music. They're not the full ambassadors of reggae music. They're not the FULL representation.
AP: Gang violence has been a problem in Jamaica. What's the state of it right now?
Marley: Poverty breeds a lot of things. When people are desperate and trying to survive, they do drastic things. That's what a lot of people feel like in Jamaica. That's what we're trying to say in our music, that's there's not that much being done about it. Sending a whole swarm of police into our area to shoot up the place is not going to make anything better. It's going to create more enemies.
AP: If you were in charge, what would you do?
Marley: There is a lot of ways, but I'm not in charge. There are people in charge and I want them to do their job. I'm not a politician, I'm a musician. The gang violence you see in Jamaica was something seeded from politics. So, first politicians need to stop the violence because it has become a way of life in Jamaica. It's the thing to do - be violent in Jamaica.
AP: There have been protests against reggae artists that use homophobic lyrics. What's your take on that?
Marley: We can find better things to talk about right now than people's lyrics and that's all I have to say about that.
AP: How was it working with Alicia Keys for her MTV Unplugged special?
Marley: I'm a fan of her music. What I really appreciate about her music is the whole live aspect. She's very hands-on and musical. Reggae musicians appreciate that because we use more live instrumentation.
AP: How was it working with Nas and The Roots?
Marley: It was a big honor. We all stand for the same things in our music and we speak on things that are positive. What I love about their music is it's positive, but it's about life in dark places. They're making music for the hungry. They try to feed people that are hungry, rather than feed people who are fed.
AP: How much of an influence do your brothers have on your albums?
Marley: Well, first of all my big brother Steve is my producer. I'm actually very active as a producer for this album also, so we basically produced it together. We work as a team.
AP: How are things between Lauryn Hill and her husband, your brother Rohan?
marley: That's none of my business.
AP: To set the record straight, how many children did your father have?
Marley: A lot. A lot.
AP: When you record, do you and your brothers feel like you're continuing your father's legacy?
Marley: Yea, but more so because the work that we're doing is Rasta work. His music was not pop music. It was struggle music and uplifting from that struggle.
Friday, August 12, 2005
Broadway Play on Life of Bob Marley Being Planned
Basil Walters, Observer staff reporter
Friday, August 12, 2005
MARLEY. a year of activities being held to mark the 60th anniversary of his birth.
Just over 30 years after Bob Marley recorded the single Reggae On Broadway for CBS Records, his family is planning to mount a play on the Jamaican reggae superstar on Broadway, the world famous American threatre district known for top quality productions.
".A Broadway play on Bob Marley is supposed to be the next big project I'll be working on with the (Marley) family," Neville Garrick, Marley's former artistic director, told Splash in an exclusive interview Saturday night after he received the Independence Award from Prime Minister P J Patterson at Jamaica House.
The play, he said, would feature Marley's early years in music and is one of a number of projects being undertaken by the Marley family for the remainder of this year's observance of the 60th anniversary of the musical legend's birth.
Mounting a play on Broadway could be a huge cultural and economic fillip for the Marley Foundation, particularly if the work becomes popular among audiences.
GARRICK. we might call the play Trench Town Rock
Successful Broadway plays can reap millions of dollars for producers, not only in ticket sales but in merchandising, an area into which the Marley Foundation has already ventured.
Disney's The Lion King, for instance, one of the most popular productions that has been playing Broadway for many years now, grossed, for the weekend ending August 7 this year, US$1,213,397.
According to data from Broadway's official website, the production's weekend earning potential is US$1,264,960. The average price paid per ticket is US$83.33, while top ticket prices sit at US$100.
Attendance for The Lion King's eight weekend performances in the New Amsterdam theatre totalled 14,562. The threatre seats 1,801, but standing spaces are also sold.
"Since 1993, we've been looking at this Bob Marley movie which never came to fruition," Garrick said. "But we feel a play, which. we might call Trench Town Rock. It will be about the era of the coming of age of Bob Marley.
"So it would really enlighten people about where he came from and how he grew to become a world-beater in the field of music."
In September 1998, several persons attended auditions at the Countryside Club in Kingston for parts in the planned Bob Marley movie.
But by November of that year, giant filmmakers Warner Brothers backed out of the much anticipated movie because of a disagreement with producer Ron Shelton over the size of the budget.
Warner Brothers, apparently stung by two major flops at the time, refused to approve the US$30-million budget prepared by Shelton, whose original figure was US$60 million.
At the time, Roger Steffens, a noted Marley and reggae archivist, who was the consultant/script adviser for the movie, said: "It's on indefinite hold. That's the formal term they (Warner Brothers) used."
On Saturday night, Garrick, who is also an artist and who now lives in Los Angeles, California, gave some details of other projects planned by the late singer's family.
"I'm coming back towards the end of the month, because Bob Marley's mother is creating in Ocho Rios a cafe called Mama Marley, inclusive of a gallery featuring my work, with a sports lounge and a gift shop," said Garrick, who is also a consultant to the Marley Foundation headed by the superstar's widow, Rita.
"I'm also going to Nine Miles to upgrade (it) to create a kind of gallery area where people can see images of Bob. I don't know if you know that I was the only person who took pictures of Bob in Nine Miles with the people, like the farmers, so it will kind of show Bob's attachment to Nine Miles."
Marley, who died on May 11, 1981, was laid to rest in a mausoleum at Nine Miles in St Ann, the district where he was born in February 1945.
His body can be viewed at the mausoleum, which is a tourist attraction.
Garrick was a consultant for the Africa Unite concert staged last February in Addis Ababa, Ehtiopia. It was one of the events in the 60th anniversary celebrations.
"After being with Bob for about seven years on the road I've never been in a crowd of 300,000 people," Garrick said.
"While we were preparing for the concert, setting up the stage and the sound, days before the event about 6,000 to 10,000 people would come every night just to watch the work in progress. So when we have 300,000 on the day of the concert it was quite remarkable," he said adding that the event was incident free.
"In Ethiopia there are only statutes for past emperors," he said. "While I was there, they dedicated a square called Bob Marley Square where they intend to build a statue of Bob Marley."
At the Unity Concert, the Ethiopian government made Rita Marley an honorary citizen in recognition of the Marley family's role in reggae music and its subsequent impact on Ethiopia.
Friday, August 12, 2005
MARLEY. a year of activities being held to mark the 60th anniversary of his birth.
Just over 30 years after Bob Marley recorded the single Reggae On Broadway for CBS Records, his family is planning to mount a play on the Jamaican reggae superstar on Broadway, the world famous American threatre district known for top quality productions.
".A Broadway play on Bob Marley is supposed to be the next big project I'll be working on with the (Marley) family," Neville Garrick, Marley's former artistic director, told Splash in an exclusive interview Saturday night after he received the Independence Award from Prime Minister P J Patterson at Jamaica House.
The play, he said, would feature Marley's early years in music and is one of a number of projects being undertaken by the Marley family for the remainder of this year's observance of the 60th anniversary of the musical legend's birth.
Mounting a play on Broadway could be a huge cultural and economic fillip for the Marley Foundation, particularly if the work becomes popular among audiences.
GARRICK. we might call the play Trench Town Rock
Successful Broadway plays can reap millions of dollars for producers, not only in ticket sales but in merchandising, an area into which the Marley Foundation has already ventured.
Disney's The Lion King, for instance, one of the most popular productions that has been playing Broadway for many years now, grossed, for the weekend ending August 7 this year, US$1,213,397.
According to data from Broadway's official website, the production's weekend earning potential is US$1,264,960. The average price paid per ticket is US$83.33, while top ticket prices sit at US$100.
Attendance for The Lion King's eight weekend performances in the New Amsterdam theatre totalled 14,562. The threatre seats 1,801, but standing spaces are also sold.
"Since 1993, we've been looking at this Bob Marley movie which never came to fruition," Garrick said. "But we feel a play, which. we might call Trench Town Rock. It will be about the era of the coming of age of Bob Marley.
"So it would really enlighten people about where he came from and how he grew to become a world-beater in the field of music."
In September 1998, several persons attended auditions at the Countryside Club in Kingston for parts in the planned Bob Marley movie.
But by November of that year, giant filmmakers Warner Brothers backed out of the much anticipated movie because of a disagreement with producer Ron Shelton over the size of the budget.
Warner Brothers, apparently stung by two major flops at the time, refused to approve the US$30-million budget prepared by Shelton, whose original figure was US$60 million.
At the time, Roger Steffens, a noted Marley and reggae archivist, who was the consultant/script adviser for the movie, said: "It's on indefinite hold. That's the formal term they (Warner Brothers) used."
On Saturday night, Garrick, who is also an artist and who now lives in Los Angeles, California, gave some details of other projects planned by the late singer's family.
"I'm coming back towards the end of the month, because Bob Marley's mother is creating in Ocho Rios a cafe called Mama Marley, inclusive of a gallery featuring my work, with a sports lounge and a gift shop," said Garrick, who is also a consultant to the Marley Foundation headed by the superstar's widow, Rita.
"I'm also going to Nine Miles to upgrade (it) to create a kind of gallery area where people can see images of Bob. I don't know if you know that I was the only person who took pictures of Bob in Nine Miles with the people, like the farmers, so it will kind of show Bob's attachment to Nine Miles."
Marley, who died on May 11, 1981, was laid to rest in a mausoleum at Nine Miles in St Ann, the district where he was born in February 1945.
His body can be viewed at the mausoleum, which is a tourist attraction.
Garrick was a consultant for the Africa Unite concert staged last February in Addis Ababa, Ehtiopia. It was one of the events in the 60th anniversary celebrations.
"After being with Bob for about seven years on the road I've never been in a crowd of 300,000 people," Garrick said.
"While we were preparing for the concert, setting up the stage and the sound, days before the event about 6,000 to 10,000 people would come every night just to watch the work in progress. So when we have 300,000 on the day of the concert it was quite remarkable," he said adding that the event was incident free.
"In Ethiopia there are only statutes for past emperors," he said. "While I was there, they dedicated a square called Bob Marley Square where they intend to build a statue of Bob Marley."
At the Unity Concert, the Ethiopian government made Rita Marley an honorary citizen in recognition of the Marley family's role in reggae music and its subsequent impact on Ethiopia.
Wednesday, August 10, 2005
Roots Reggae Rules PM's Independence Gala
Michael A Edwards, Observer writer
Wednesday, August 10, 2005
Prime Minister P J Patterson (left) presents the Independence Award for 2005 to Joseph Hill of the group Culture. (Photos: Garfield Robinson)
After overcoming a difficult opening third, the 2005 edition of the Prime Minister's Independence Gala at Jamaica House Saturday night admirably found its footing as a roots reggae showcase and a fitting tribute to late reggae king Robert Nesta Marley.
A colourful and busy opening panorama featured dance and acrobatic troupes going through their paces amongst the Carifolk Singers, who sang versions of Marley classics like Lik Samba and culminating in a somewhat subdued live performance of Coming In From The Cold by Roy Rayon.
Multiple Festival Song winner Rayon would return to give a more typically high-energy rendition of his Festival winners, including Love Fever and a modified Give Thanks And Praises in which he sings 'we are still alive' rather than 'we are 25' - as he has been doing since 1988, a year after the song won when Jamaica celebrated 25 years of Independence.
He was preceded by the night's first awardee, concert pianist Orett Rhoden, who did an intricate reading of Marley's One Love that he followed up with Chopin's Waltz No14 in E minor. Chopin, arguably, is Rhoden's favourite composer.
Neville Garrick (right), former art director and confidante of Reggae great Bob Marley, accepts the Independence Award for 2005 from Prime Minister P J Patterson.
The first section also included the first of two on-stage "raps" between Marley's long-time art director and confidante Neville Garrick, and the reggae icon's granddaughter Donisha Prendergast. After Rayon's set (which survived a brief power failure), the evening hit it's main low point in a dance and drum tribute entitled Nyabhinghi, performed by L'Acadco.
What could well have been a stirring exposition of one of the foundations of the reggae culture fell victim to excess (not to mention sub-par sound) and came close to bathos, with some members of the audience politely applauding to signal their desire for a premature end.
The next act, however, former I-Three Judy Mowatt, took the proceedings back toward transcendency. After opening in urgent manner with We Need Jesus and Heal Our Land (an extrapolation from 1 Chronicles chapter 7), she rounded out the set with three timeless gems from the roots reggae era.
First up, her own peerless Black Woman with its irresistible "la-da-da, la-da-da" vocal hook. Then, taking time to greet Marley's widow, Rita, in the front row, she invited her former I-Threes colleague to join her on-stage for the next number.
Sly Dunbar (left) and Robbie Shakespeare display their Independence Awards presented to them by Prime Minister Patterson last Saturday night at the Prime Minister's Independence Gala at Jamaica House.
Rita Marley declined, however, to which Mowatt responded by dedicating Marley's No Woman No Cry to her before closing with a high-spirited rendition of Redemption Song.
Though his first moments were somewhat tentative, Bajan reedman Arturo Tappin proved to be the night's "Most Valuable Player" delivering an impassioned set on several instruments. First up on tenor sax, he did the classic Jammin with much flair, evoking the "honking" style made famous by late jazz master Illinois Jacquet.
He was then joined by Judi Emmanuel, herself in sparkling form, for a romp through the salacious Guava Jelly (famously covered by Barbra Streisand, among others).
This time playing flute, Tapping thrilled the audience by scatting over his own notes on the mouthpiece in an extended solo. He would pick up soprano sax before returning to the tenor, where he closed that segment with an ebullient 'no-hands' solo of sheer blowing prowess. An added treat was the un-billed appearance of Irish rocker Sinead O' Connor, who delivered a suitably impassioned reading of War.
The Carifolk Singers would return with more of ska-era Marley, such as Simmer Down, and musical director Peter Ashbourne led the band through his own tribute to Marley. Both those sets followed a much improved second appearance from the pair of Garrick and Prendergast, this one focussing largely on Marley's triumphal entry into Zimbabwe for that nation's inaugural Independence ceremonies in 1980.
Garrick related that many of the country's poor and working-class had stormed the ceremony upon hearing Marley's concert, to which the authorities responded with tear gas.
"However, through to Jah works," he closed, "the tear gas was steered toward the royal box."
The "riddim twins" Sly Dunbar and Robbie Shakespeare, on drums and bass respectively, then took the stage and gave a welcome exposition of the syncopative skills that have landed them on a reported 200,000 recordings over their long and storied careers. Their on-stage audio snapshot included instrumentals of Murder She Wrote, Worl' A Reggae and perhaps the finest of them all, Unmetered Taxi.
The final featured act was the indefatigable Joseph Hill and Culture. Sharply dressed in black and white combos (Hill's ensemble included spats), he gave yet another sterling representation of the globally felt force that is roots reggae, laying down gems like Stop The Fussing and Fighting, See Them A Come and the controversial Two Sevens Clash throwing in the '80s hit She Want Money for a good measure of levity.
Garrick, Tappin, Rhoden, Culture and Sly & Robbie received the Independence Award for 2005, and a magnificent looking Gene Pearson sculpture was presented to Rita Marley on her late husband's behalf.
With the entire cast back on stage and the opening salvos of the now customary fireworks filling the air, the audience filed out of the Jamaica House grounds having gotten a powerful reminder of the music which propelled Independent Jamaica onto the world stage.
Wednesday, August 10, 2005
Prime Minister P J Patterson (left) presents the Independence Award for 2005 to Joseph Hill of the group Culture. (Photos: Garfield Robinson)
After overcoming a difficult opening third, the 2005 edition of the Prime Minister's Independence Gala at Jamaica House Saturday night admirably found its footing as a roots reggae showcase and a fitting tribute to late reggae king Robert Nesta Marley.
A colourful and busy opening panorama featured dance and acrobatic troupes going through their paces amongst the Carifolk Singers, who sang versions of Marley classics like Lik Samba and culminating in a somewhat subdued live performance of Coming In From The Cold by Roy Rayon.
Multiple Festival Song winner Rayon would return to give a more typically high-energy rendition of his Festival winners, including Love Fever and a modified Give Thanks And Praises in which he sings 'we are still alive' rather than 'we are 25' - as he has been doing since 1988, a year after the song won when Jamaica celebrated 25 years of Independence.
He was preceded by the night's first awardee, concert pianist Orett Rhoden, who did an intricate reading of Marley's One Love that he followed up with Chopin's Waltz No14 in E minor. Chopin, arguably, is Rhoden's favourite composer.
Neville Garrick (right), former art director and confidante of Reggae great Bob Marley, accepts the Independence Award for 2005 from Prime Minister P J Patterson.
The first section also included the first of two on-stage "raps" between Marley's long-time art director and confidante Neville Garrick, and the reggae icon's granddaughter Donisha Prendergast. After Rayon's set (which survived a brief power failure), the evening hit it's main low point in a dance and drum tribute entitled Nyabhinghi, performed by L'Acadco.
What could well have been a stirring exposition of one of the foundations of the reggae culture fell victim to excess (not to mention sub-par sound) and came close to bathos, with some members of the audience politely applauding to signal their desire for a premature end.
The next act, however, former I-Three Judy Mowatt, took the proceedings back toward transcendency. After opening in urgent manner with We Need Jesus and Heal Our Land (an extrapolation from 1 Chronicles chapter 7), she rounded out the set with three timeless gems from the roots reggae era.
First up, her own peerless Black Woman with its irresistible "la-da-da, la-da-da" vocal hook. Then, taking time to greet Marley's widow, Rita, in the front row, she invited her former I-Threes colleague to join her on-stage for the next number.
Sly Dunbar (left) and Robbie Shakespeare display their Independence Awards presented to them by Prime Minister Patterson last Saturday night at the Prime Minister's Independence Gala at Jamaica House.
Rita Marley declined, however, to which Mowatt responded by dedicating Marley's No Woman No Cry to her before closing with a high-spirited rendition of Redemption Song.
Though his first moments were somewhat tentative, Bajan reedman Arturo Tappin proved to be the night's "Most Valuable Player" delivering an impassioned set on several instruments. First up on tenor sax, he did the classic Jammin with much flair, evoking the "honking" style made famous by late jazz master Illinois Jacquet.
He was then joined by Judi Emmanuel, herself in sparkling form, for a romp through the salacious Guava Jelly (famously covered by Barbra Streisand, among others).
This time playing flute, Tapping thrilled the audience by scatting over his own notes on the mouthpiece in an extended solo. He would pick up soprano sax before returning to the tenor, where he closed that segment with an ebullient 'no-hands' solo of sheer blowing prowess. An added treat was the un-billed appearance of Irish rocker Sinead O' Connor, who delivered a suitably impassioned reading of War.
The Carifolk Singers would return with more of ska-era Marley, such as Simmer Down, and musical director Peter Ashbourne led the band through his own tribute to Marley. Both those sets followed a much improved second appearance from the pair of Garrick and Prendergast, this one focussing largely on Marley's triumphal entry into Zimbabwe for that nation's inaugural Independence ceremonies in 1980.
Garrick related that many of the country's poor and working-class had stormed the ceremony upon hearing Marley's concert, to which the authorities responded with tear gas.
"However, through to Jah works," he closed, "the tear gas was steered toward the royal box."
The "riddim twins" Sly Dunbar and Robbie Shakespeare, on drums and bass respectively, then took the stage and gave a welcome exposition of the syncopative skills that have landed them on a reported 200,000 recordings over their long and storied careers. Their on-stage audio snapshot included instrumentals of Murder She Wrote, Worl' A Reggae and perhaps the finest of them all, Unmetered Taxi.
The final featured act was the indefatigable Joseph Hill and Culture. Sharply dressed in black and white combos (Hill's ensemble included spats), he gave yet another sterling representation of the globally felt force that is roots reggae, laying down gems like Stop The Fussing and Fighting, See Them A Come and the controversial Two Sevens Clash throwing in the '80s hit She Want Money for a good measure of levity.
Garrick, Tappin, Rhoden, Culture and Sly & Robbie received the Independence Award for 2005, and a magnificent looking Gene Pearson sculpture was presented to Rita Marley on her late husband's behalf.
With the entire cast back on stage and the opening salvos of the now customary fireworks filling the air, the audience filed out of the Jamaica House grounds having gotten a powerful reminder of the music which propelled Independent Jamaica onto the world stage.
Monday, August 08, 2005
Big UP to Neville Garrick and Happy Independance Day to JA
KINGSTON, Jamaica (AP) - An artist who designed several album covers for late reggae star Bob Marley was among a group recognized by Jamaica's government in a ceremony marking the island's independence anniversary.
Prime Minister P.J. Patterson presented Neville Garrick with his Award for Excellence on Saturday night, in honour of his contribution to Jamaican music.
"I want to say thanks to brother Bob, it was great working with you. If people would live by your words, Jamaica would be a better place," Garrick said after accepting his award in Kingston.
Garrick, a Kingston native, graduated with a degree in graphic design from the University of California at Los Angeles and later served as Marley's art director from 1976 until the singer's death in 1981.
A close confidante of the reggae legend, Garrick toured with his band, The Wailers, and designed seven of their album covers, including Rastaman Vibration and Exodus.
The well-known Jamaican producing team Sly and Robbie, Barbadian saxophonist Arturo Tappin, concert pianist Orret Rhoden and the roots-reggae group Culture also received excellence awards during celebrations to observe Jamaica's 43rd year of independence from Britain.
Sly and Robbie later performed a version of the Marley song War accompanied by Irish singer Sinead O'Connor, who recorded an album of reggae covers in Jamaica earlier this year.
Prime Minister P.J. Patterson presented Neville Garrick with his Award for Excellence on Saturday night, in honour of his contribution to Jamaican music.
"I want to say thanks to brother Bob, it was great working with you. If people would live by your words, Jamaica would be a better place," Garrick said after accepting his award in Kingston.
Garrick, a Kingston native, graduated with a degree in graphic design from the University of California at Los Angeles and later served as Marley's art director from 1976 until the singer's death in 1981.
A close confidante of the reggae legend, Garrick toured with his band, The Wailers, and designed seven of their album covers, including Rastaman Vibration and Exodus.
The well-known Jamaican producing team Sly and Robbie, Barbadian saxophonist Arturo Tappin, concert pianist Orret Rhoden and the roots-reggae group Culture also received excellence awards during celebrations to observe Jamaica's 43rd year of independence from Britain.
Sly and Robbie later performed a version of the Marley song War accompanied by Irish singer Sinead O'Connor, who recorded an album of reggae covers in Jamaica earlier this year.
Wednesday, July 27, 2005
Bob Marley School for the Arts Institute
Bob Marley School for the Arts Institute - Flamingo Beach, Falmouth P.O., Trelawny Telephone 876-327-9991 e-mail: astor@bobartsinstitute.edu
Tuesday, July 26, 2005
Greetings,
Re: The Reggae Walk of Fame Offer of Partnership.
Our Reggae Ambassadors use the Official Music to make our Jamaica the One Love Island and in recognition, the Reggae Walk of Fame committee will induct one or two ambassadors each month.
The Courtleigh Theatre in New Kingston lends itself as the ideal venue for monthly induction ceremonies for our Reggae personalities on the Reggae walk of Fame which will be seen on Reggae Sun TV locally and on the internet on http://www.bobartsinstitute.edu and on http://www.reggaesun.tv.
The Reggae Walk of Fame which will be located at the Bob Marley School for the Arts Institute on Flamingo Beach in Trelawny as an attraction for visitors. The Bob School will offer tuition assisted education in arts.
Artiste Management, PRO, Events Manager, Radio & TV Manager, please accept our offer of partnership and give it a favourable response, seen?
One love
Astor Black
Ras Astor Black
Founder/Chairman of the Board
“One love” Song of the millennium “Exodus” Album of the century
These are unprecedented honours for the Son of a small Island
– Mrs. Pat Frances, President, JAMPRO
http://www.reggae.com
Tuesday, July 26, 2005
Greetings,
Re: The Reggae Walk of Fame Offer of Partnership.
Our Reggae Ambassadors use the Official Music to make our Jamaica the One Love Island and in recognition, the Reggae Walk of Fame committee will induct one or two ambassadors each month.
The Courtleigh Theatre in New Kingston lends itself as the ideal venue for monthly induction ceremonies for our Reggae personalities on the Reggae walk of Fame which will be seen on Reggae Sun TV locally and on the internet on http://www.bobartsinstitute.edu and on http://www.reggaesun.tv.
The Reggae Walk of Fame which will be located at the Bob Marley School for the Arts Institute on Flamingo Beach in Trelawny as an attraction for visitors. The Bob School will offer tuition assisted education in arts.
Artiste Management, PRO, Events Manager, Radio & TV Manager, please accept our offer of partnership and give it a favourable response, seen?
One love
Astor Black
Ras Astor Black
Founder/Chairman of the Board
“One love” Song of the millennium “Exodus” Album of the century
These are unprecedented honours for the Son of a small Island
– Mrs. Pat Frances, President, JAMPRO
http://www.reggae.com
Saturday, July 23, 2005
One’s love for the joys of Jamaica
editorial@hamhigh.co.uk
22 July 2005
Producer returns to familiar territory to make a film that captures the feel-good factor of the Caribbean, writes Bridget Galton
YVONNE Deutschman was 15 when her parents moved to Jamaica. It was the early 70s and Bob Marley's pulsating reggae beats were taking the music world by storm.
Her formative decade in the birthplace of reggae was an exciting round of music, parties and optimism borne out of Marley's Rastafarian values of peace and love.
Those years left a lasting impression on the white English girl, who left the Caribbean island aged 25 to attend film school in Britain.
Now she has returned to the foothills of Jamaica's blue mountains as co-producer of One Love, a film starring one of Marley's 11 offspring - Ky-mani.
Ms Deutschman, who lives in Belsize Avenue, Belsize Park, said: "My teenage years were a fantastic time. The whole reggae scene was exploding and there was music absolutely everywhere, all the best bands playing at parties in hotels and houses. There was so much optimism and hope for the future."
Deutschman dreamed up the story for One Love - a musical set in the 70s about a Rastafarian reggae singer who falls for a Christian gospel singer - in the hope of rehabilitating Jamaica's recent image.
"Because of the economy they have had a couple of tough decades and I wanted to get away from the negative stereotypes about guns and violence and recapture that positive spirit I knew when I lived there."
She continued: "99.9 per cent of Jamaicans are ordinary, law abiding, warm people yet there is this lack of wholesome role models that ordinary people can identify with. Black actors usually play bad guys, pimps or prostitutes but this is a feel-good family film that captures the beauty and exotic nature of Jamaica - there is not a ghetto in sight."
Deutschman, who worked for years at the BBC directing programmes as varied as Antiques Roadshow and Casualty, says the film has proved equally popular with black and white audiences: "It transcends colour. It is a real crossover film."
She conceived the idea for One Love years ago, but unable to secure funding, she turned the story into a stage musical and set up a training project in Bristol - teaching performance skills to unemployed youths over six months - then touring the show throughout Britain, Germany, Kenya and Jamaica.
She finally got money from the UK Film Council to make her One Love, which was hailed as "the best Jamaican film ever" and played for 12 weeks in all seven cinemas on the island with every Jamaican seeing it twice.
Deutschman says Jamaica is now picking itself back up and is glad to see the old colonial attitude of "everyone has their place" replaced by a more entrepreneurial spirit.
"Jamaicans are highly inventive. They developed reggae from their take on the swing, be-bop and RnB records they heard from America and they came up with the language that the youth use today, words like 'wicked' and 'chill'," she says.
With the BBC, Deutschman also made landmark cultural documentaries about the ethnic minorities and was the series creator of Ebony - the first Afro Caribbean series on British TV.
She says in the past she has been criticised as a white woman making black films - with distrust from both sides.
"When people see that I really believe what I am doing, it's hard to criticise. I have lived in Jamaica, half my friends are black and half white. I live in a multicultural world and I enjoy the best of both cultures.
"When I came to England I realised there wasn't a voice for the black people in this country and as a communicator there were stories and voices I had the means of channelling and putting out on TV, creating opportunities for people to speak."
She says Marley's son, who has released several records of his own, auditioned for the lead role - a Bob Marley-type character - and was easily the best actor for the job.
"He has a natural charisma, he is a Rasta and obviously looks and sounds like his dad. He totally identified with the story that had happened in his own life. In fact Rita Marley said that was her story with Bob because she was a gospel singer."
Deutschman is returning to Jamaica for her next project - "a romantic thriller that's a cross between Gone With The Wind and Angel Heart, Jamaica-style."
o One Love is out in selected cinemas this month.
22 July 2005
Producer returns to familiar territory to make a film that captures the feel-good factor of the Caribbean, writes Bridget Galton
YVONNE Deutschman was 15 when her parents moved to Jamaica. It was the early 70s and Bob Marley's pulsating reggae beats were taking the music world by storm.
Her formative decade in the birthplace of reggae was an exciting round of music, parties and optimism borne out of Marley's Rastafarian values of peace and love.
Those years left a lasting impression on the white English girl, who left the Caribbean island aged 25 to attend film school in Britain.
Now she has returned to the foothills of Jamaica's blue mountains as co-producer of One Love, a film starring one of Marley's 11 offspring - Ky-mani.
Ms Deutschman, who lives in Belsize Avenue, Belsize Park, said: "My teenage years were a fantastic time. The whole reggae scene was exploding and there was music absolutely everywhere, all the best bands playing at parties in hotels and houses. There was so much optimism and hope for the future."
Deutschman dreamed up the story for One Love - a musical set in the 70s about a Rastafarian reggae singer who falls for a Christian gospel singer - in the hope of rehabilitating Jamaica's recent image.
"Because of the economy they have had a couple of tough decades and I wanted to get away from the negative stereotypes about guns and violence and recapture that positive spirit I knew when I lived there."
She continued: "99.9 per cent of Jamaicans are ordinary, law abiding, warm people yet there is this lack of wholesome role models that ordinary people can identify with. Black actors usually play bad guys, pimps or prostitutes but this is a feel-good family film that captures the beauty and exotic nature of Jamaica - there is not a ghetto in sight."
Deutschman, who worked for years at the BBC directing programmes as varied as Antiques Roadshow and Casualty, says the film has proved equally popular with black and white audiences: "It transcends colour. It is a real crossover film."
She conceived the idea for One Love years ago, but unable to secure funding, she turned the story into a stage musical and set up a training project in Bristol - teaching performance skills to unemployed youths over six months - then touring the show throughout Britain, Germany, Kenya and Jamaica.
She finally got money from the UK Film Council to make her One Love, which was hailed as "the best Jamaican film ever" and played for 12 weeks in all seven cinemas on the island with every Jamaican seeing it twice.
Deutschman says Jamaica is now picking itself back up and is glad to see the old colonial attitude of "everyone has their place" replaced by a more entrepreneurial spirit.
"Jamaicans are highly inventive. They developed reggae from their take on the swing, be-bop and RnB records they heard from America and they came up with the language that the youth use today, words like 'wicked' and 'chill'," she says.
With the BBC, Deutschman also made landmark cultural documentaries about the ethnic minorities and was the series creator of Ebony - the first Afro Caribbean series on British TV.
She says in the past she has been criticised as a white woman making black films - with distrust from both sides.
"When people see that I really believe what I am doing, it's hard to criticise. I have lived in Jamaica, half my friends are black and half white. I live in a multicultural world and I enjoy the best of both cultures.
"When I came to England I realised there wasn't a voice for the black people in this country and as a communicator there were stories and voices I had the means of channelling and putting out on TV, creating opportunities for people to speak."
She says Marley's son, who has released several records of his own, auditioned for the lead role - a Bob Marley-type character - and was easily the best actor for the job.
"He has a natural charisma, he is a Rasta and obviously looks and sounds like his dad. He totally identified with the story that had happened in his own life. In fact Rita Marley said that was her story with Bob because she was a gospel singer."
Deutschman is returning to Jamaica for her next project - "a romantic thriller that's a cross between Gone With The Wind and Angel Heart, Jamaica-style."
o One Love is out in selected cinemas this month.
Adirondack Forest Festival Announced
Cowclops and HIGH TIMES(TM) present The Adirondack Forest Festival!
One-of-a-kind festival lineup features Arrested Development, BURNING SPEAR, TRUMYSTIC, DUB IS A WEAPON, the Slip, Jen Durkin & Bomb Squad, Sam Kininger Band, Mecca Bodega, SeepeopleS, U-Melt, TruMystic and More!
Lyonsdale, NY - Cowclops Productions, HIGH TIMES Magazine and Igor Management bring you the inaugural Adirondack Forest Festival, September 23-25 at Moose River Park in Lyonsdale, NY. The lineup will feature Burning Spear, a rare northeast performance from progressive rap collective Arrested Development, The Slip, Jen Durkin & The Bomb Squad, Sam Kininger Band, Mecca Bodega and More! Up-to-date lineup and band bios can be found at www.amf2005.com.
With a special focus on Northeast favorites, The Adirondack Forest Festival is unlike any other this festival season. Aside from the festival's unique lineup, AFF will focus on raising money for Bands For Lands (www.bandsforlands.org), a non-profit organization focused on preserving pristine lands vital to sustain life, through music and creative arts. More than half of the proceeds received from this event will directly benefit endangered lands in the New York region.
The gorgeous and secluded Moose River Park, which for years hosted the Adirondack Music Festival, was established in 1968 and is located on a spring-fed lake in Lyonsdale NY, part of the 6-million acre Adirondack Park in upstate New York. There is no better place to experience a festival--imagine being serenaded from the lakefront amphitheater as the sun goes down, while basking in your own semi-private campsite. In addition, sports enthusiasts can indulge in whitewater rafting, hiking, biking and swimming, all within the park!
With something for everyone, this year's Adirondack Forest Festival is not to be missed. Plus, festival-goers will be doing their part to preserve local endangered land. Act quickly: the first 1,000 tickets are $55, $75 until the 22nd and $90 at the gate. Tickets include weekend camping. For tickets, information and more, visit www.amf2005.com. See you at the park!
Current Lineup (more acts TBD, check web site for details):
BURNING SPEAR
Arrested Development
TRUMYSTIC
The Slip
Jen Durkin & The Bomb Squad
Sam Kininger Band
DUB IS A WEAPON
Moon Boot Lover
Brotherhood of Groove
Mecca Bodega
SeepeopleS
U-Melt
Furley
Reverend Tor Band
Strut
Next Tribe
Band B
Sven Hooson
JoMama and the Funkdaddies
Downtown Brown
CONTACT: Victoria Karol, 828-335-6035, igor@victoriakarol.com
One-of-a-kind festival lineup features Arrested Development, BURNING SPEAR, TRUMYSTIC, DUB IS A WEAPON, the Slip, Jen Durkin & Bomb Squad, Sam Kininger Band, Mecca Bodega, SeepeopleS, U-Melt, TruMystic and More!
Lyonsdale, NY - Cowclops Productions, HIGH TIMES Magazine and Igor Management bring you the inaugural Adirondack Forest Festival, September 23-25 at Moose River Park in Lyonsdale, NY. The lineup will feature Burning Spear, a rare northeast performance from progressive rap collective Arrested Development, The Slip, Jen Durkin & The Bomb Squad, Sam Kininger Band, Mecca Bodega and More! Up-to-date lineup and band bios can be found at www.amf2005.com.
With a special focus on Northeast favorites, The Adirondack Forest Festival is unlike any other this festival season. Aside from the festival's unique lineup, AFF will focus on raising money for Bands For Lands (www.bandsforlands.org), a non-profit organization focused on preserving pristine lands vital to sustain life, through music and creative arts. More than half of the proceeds received from this event will directly benefit endangered lands in the New York region.
The gorgeous and secluded Moose River Park, which for years hosted the Adirondack Music Festival, was established in 1968 and is located on a spring-fed lake in Lyonsdale NY, part of the 6-million acre Adirondack Park in upstate New York. There is no better place to experience a festival--imagine being serenaded from the lakefront amphitheater as the sun goes down, while basking in your own semi-private campsite. In addition, sports enthusiasts can indulge in whitewater rafting, hiking, biking and swimming, all within the park!
With something for everyone, this year's Adirondack Forest Festival is not to be missed. Plus, festival-goers will be doing their part to preserve local endangered land. Act quickly: the first 1,000 tickets are $55, $75 until the 22nd and $90 at the gate. Tickets include weekend camping. For tickets, information and more, visit www.amf2005.com. See you at the park!
Current Lineup (more acts TBD, check web site for details):
BURNING SPEAR
Arrested Development
TRUMYSTIC
The Slip
Jen Durkin & The Bomb Squad
Sam Kininger Band
DUB IS A WEAPON
Moon Boot Lover
Brotherhood of Groove
Mecca Bodega
SeepeopleS
U-Melt
Furley
Reverend Tor Band
Strut
Next Tribe
Band B
Sven Hooson
JoMama and the Funkdaddies
Downtown Brown
CONTACT: Victoria Karol, 828-335-6035, igor@victoriakarol.com
Monday, July 18, 2005
Reggae SumFest 2005
 Visit www.ReggaeSumfest.com Featuring international recording stars * Kip Rich* Tami Chynn* Tarrus Riley* John Holt* Alton Ellis* Gregory Isaacs MONTEGO BAY, JAMAICA Montego Bay, Jamaica:— Red Stripe Reggae Sumfest, Although patrons will be dancing under the stars of the friendly city at night, they can also partake of what this wonderful city has to offer during the day. Montego Bay has been named as one of the top tourist locations in Jamaica, boasting white sand beaches, crystal blue waters and a hip strip that promises more enjoyment than one can handle. The famed Doctor’s Cave Bathing Club is located in the middle of the Hip Strip and visitors are encouraged to relax, unwind and sunbathe in the therapeutic waters or take a chance on the wild side with the wide variety of watersports that are offered. For those who want to visit Mobay’s colourful underwater world, there are several companies that offer this service such as Cool Aqua Divers. Located at the Rose Hall Beach, they offer scuba diving and snorkeling. Montego Bay is also a very historical town; the Rose Hall Great House is one of Jamaica’s premier historical attractions. This restored great house takes you back in time to the English Planter days, the ghost of the former mistress Annie Palmer is still said to roam the halls. For the ultimate music lover, there is the Bob Marley Experience located at the Half Moon Village, which features a theatre with a special multi media presentation about the reggae superstar. For those who want a true taste of Montego Bay, visit the city’s top rated restaurants. Pier 1 On The Waterfront is a must for seafood lovers, overlooking Montego Bay’s harbour, visitors will love the ambience this restaurant offers. Authentic Jamaican food is the order of the day at the Native restaurant where visitors can sample the famed rice and peas and jerk chicken. Also located on the hip strip is the Pelican Restaurant, which specializes in international and Jamaica cuisine. After a hard night on the town, visitors can relax at the all-inclusive Holiday Inn Resort or at the ultra exclusive Half Moon Hotel. Both resorts boast prime beaches and wonderful cuisine. Overall Montego Bay is the optimal location for the young and the young at heart, with activities ranging from horseback riding to scuba diving, one will never lack having fun. Red Stripe Reggae Sumfest is offering special travel packages which include hotel accommodation and round trip airport and hotel transfers. For more information on the friendly city, check out the website |
Sunday, June 12, 2005
RHINO CELEBRATES 30 YEARS OF STEEL PULSE!
Expanded & Remastered Versions of Reggae Classics True Democracy and Earth Crisis hit Stores June 7th
LOS ANGELES - Reggae fans have reason to rejoice on June 7 with Rhino/Elektra reissues of Steel Pulse's TRUE DEMOCRACY and EARTH CRISIS. Both of these classic albums have been remastered and supplemented with bonus tracks.
The acclaimed 1982 set TRUE DEMOCRACY was Steel Pulse's first studio album for Elektra/Asylum Records, and the first to make an impact in the American marketplace (it made both the Pop and R&B charts here). In addition to the original album's ten tracks, the new CD features four previously unreleased bonus selections 12" versions of "Ravers" and "Leggo Beast" and dub versions of "Your House" and "A Who Responsible?"
Steel Pulse's 1984 follow-up, EARTH CRISIS, brought Jimmy Haynes in for production, applying further polish to the band's sound. Like its predecessor, it earned the group a gold record. Joining the eight songs on the original album are four bonus tracks drawn from promo-only 12" singles - dub and extended versions of "Steppin' Out" and remix and dub versions of "Roller Skates."
The new reissues of TRUE DEMOCRACY and EARTH CRISIS include liner notes from renowned reggae writer Roger Steffens (who worked these albums on their original release while a staffer at Elektra) as well as complete lyrics. Both will be available at retail outlets and at www.rhino.com for a suggested list price of $11.98.
One of Britain's greatest reggae groups, Steel Pulse arose from Birmingham's Handsworth slum in 1975. Led by singer/guitarist/songwriter David Hinds, Steel Pulse blended roots grooves and Rastafarian politics – a mix that proved popular with a growing punk audience. The group signed with Island Records, issuing their debut album, the landmark Handsworth Revolution, in 1978. In the intervening years the band has released more than a dozen albums, earning several Grammy nominations in the process (and a win for 1986's Babylon The Bandit). Still going strong in their 30th anniversary year, Steel Pulse are currently touring in support of their 2004 album, the Grammy-nominated African Holocaust.
STEEL PULSE IN CONCERT!
June Brings 30th Anniversary Tour and Reissues of True Democracy and Earth Crisis
LOS ANGELES -- One of the greatest reggae bands of the last three decades celebrates 30 years together with a summer U.S. tour. The group hits the road in June just as reissues of their classic TRUE DEMOCRACY and EARTH CRISIS albums arrive in stores.
The acclaimed 1982 set TRUE DEMOCRACY was Steel Pulse's first studio album for Elektra/Asylum Records, and the first to make an impact in the American marketplace. Steel Pulse's 1984 follow-up, EARTH CRISIS, brought Jimmy Haynes in for production, applying further polish to the band's sound. Like its predecessor, it earned the group a gold record. The new reissues of these have been remastered and supplemented with bonus tracks and liner notes from renowned reggae writer Roger Steffens.
Steel Pulse arose from the Handsworth slum of Birmingham, England, in 1975. Led by singer/guitarist/songwriter David Hinds, Steel Pulse blended roots grooves and Rastafarian politics for their debut album, 1978's landmark Handsworth Revolution. In the intervening years the band has released more than a dozen albums, earning several Grammy nominations in the process for such discs as Babylon The Bandit (a Grammy winner in 1986) and their most recent release, last year's African Holocaust.
The following dates are confirmed and additional dates may be announced.
6/10 Uncasville, CT Mohegan Sun Casino
6/11 Huntington, NY Inter-Media Arts Center
6/12 Amagansett, NY Stephen Talkhouse
6/14 Hollywood, CA The Roxy Theatre
6/16 Las Vegas, NV Skin Pool Lounge @ The Palms
6/17 Ventura, CA Ventura Theatre
6/18 Del Mar, CA Del Mar Fairgrounds
6/19 Angels Camp, CA Sierra Nevada World Music Festival
6/21 Saratoga, CA Montalvo Arts Center
6/22 Saratoga, CA Montalvo Arts Center w/The Neville Bros.
6/23 Aspen, CO Rio Grande Park
7/4 Milwaukee, WI Summerfest
7/7 Cincinnati, OH Annie's
7/8 Portsmouth, VA NTELOS Pavilion @ Harbor Center
LOS ANGELES - Reggae fans have reason to rejoice on June 7 with Rhino/Elektra reissues of Steel Pulse's TRUE DEMOCRACY and EARTH CRISIS. Both of these classic albums have been remastered and supplemented with bonus tracks.
The acclaimed 1982 set TRUE DEMOCRACY was Steel Pulse's first studio album for Elektra/Asylum Records, and the first to make an impact in the American marketplace (it made both the Pop and R&B charts here). In addition to the original album's ten tracks, the new CD features four previously unreleased bonus selections 12" versions of "Ravers" and "Leggo Beast" and dub versions of "Your House" and "A Who Responsible?"
Steel Pulse's 1984 follow-up, EARTH CRISIS, brought Jimmy Haynes in for production, applying further polish to the band's sound. Like its predecessor, it earned the group a gold record. Joining the eight songs on the original album are four bonus tracks drawn from promo-only 12" singles - dub and extended versions of "Steppin' Out" and remix and dub versions of "Roller Skates."
The new reissues of TRUE DEMOCRACY and EARTH CRISIS include liner notes from renowned reggae writer Roger Steffens (who worked these albums on their original release while a staffer at Elektra) as well as complete lyrics. Both will be available at retail outlets and at www.rhino.com for a suggested list price of $11.98.
One of Britain's greatest reggae groups, Steel Pulse arose from Birmingham's Handsworth slum in 1975. Led by singer/guitarist/songwriter David Hinds, Steel Pulse blended roots grooves and Rastafarian politics – a mix that proved popular with a growing punk audience. The group signed with Island Records, issuing their debut album, the landmark Handsworth Revolution, in 1978. In the intervening years the band has released more than a dozen albums, earning several Grammy nominations in the process (and a win for 1986's Babylon The Bandit). Still going strong in their 30th anniversary year, Steel Pulse are currently touring in support of their 2004 album, the Grammy-nominated African Holocaust.
STEEL PULSE IN CONCERT!
June Brings 30th Anniversary Tour and Reissues of True Democracy and Earth Crisis
LOS ANGELES -- One of the greatest reggae bands of the last three decades celebrates 30 years together with a summer U.S. tour. The group hits the road in June just as reissues of their classic TRUE DEMOCRACY and EARTH CRISIS albums arrive in stores.
The acclaimed 1982 set TRUE DEMOCRACY was Steel Pulse's first studio album for Elektra/Asylum Records, and the first to make an impact in the American marketplace. Steel Pulse's 1984 follow-up, EARTH CRISIS, brought Jimmy Haynes in for production, applying further polish to the band's sound. Like its predecessor, it earned the group a gold record. The new reissues of these have been remastered and supplemented with bonus tracks and liner notes from renowned reggae writer Roger Steffens.
Steel Pulse arose from the Handsworth slum of Birmingham, England, in 1975. Led by singer/guitarist/songwriter David Hinds, Steel Pulse blended roots grooves and Rastafarian politics for their debut album, 1978's landmark Handsworth Revolution. In the intervening years the band has released more than a dozen albums, earning several Grammy nominations in the process for such discs as Babylon The Bandit (a Grammy winner in 1986) and their most recent release, last year's African Holocaust.
The following dates are confirmed and additional dates may be announced.
6/10 Uncasville, CT Mohegan Sun Casino
6/11 Huntington, NY Inter-Media Arts Center
6/12 Amagansett, NY Stephen Talkhouse
6/14 Hollywood, CA The Roxy Theatre
6/16 Las Vegas, NV Skin Pool Lounge @ The Palms
6/17 Ventura, CA Ventura Theatre
6/18 Del Mar, CA Del Mar Fairgrounds
6/19 Angels Camp, CA Sierra Nevada World Music Festival
6/21 Saratoga, CA Montalvo Arts Center
6/22 Saratoga, CA Montalvo Arts Center w/The Neville Bros.
6/23 Aspen, CO Rio Grande Park
7/4 Milwaukee, WI Summerfest
7/7 Cincinnati, OH Annie's
7/8 Portsmouth, VA NTELOS Pavilion @ Harbor Center
| RHINO CELEBRATES 30 YEARS OF STEEL PULSE!
Steel Pulse Discount Purchase Link: |
Wednesday, May 11, 2005
Luciano Going Strong and Righteous with Jah Words
WINS FOUR AWARDS AT THE
INTERNATIONAL REGGAE & WORLD MUSIC AWARDS
NEW ALBUM
Jah Words
Just Released April 26th
Exclusive Interview and Feature Pick Article soon come at REGGAE.com
Fresh from his sweep of the 24th annual International Reggae & World Music Awards where he took home more honors than anyone else, reggae dancehall crooner Luciano returns to the road early next month to kick off the final leg of his latest tour. After a recent performance at Jazz Fest in New Orleans, Luciano is currently scheduled to appear at the Sierra Nevada World Music Festival and Reggae Carifest at New York City's Randall's Island, as well as headlining a number of shows along the way. At the IRWMA, held last weekend in New York, Luciano won four awards in the categories of Best Male Vocalist, Best Album, Most Cultural/Educational Entertainer and the coveted Emperor Haile Selassie I Award for Spiritual Service Through Music.
Amidst the recent controversy surrounding reggae's dancehall subgenre came the new album from Luciano, signaling a promising return to the origin and core message of reggae. One of the genre's most soulful and spiritual singers, Luciano's Jah Words (released to stores on April 26th via RAS/Sanctuary) is steeped in lyrical messages that are always positive, peppered with themes of hope, devotion and fortification - a far cry from some of his more extremist, negative counterparts.
Bob Dylan's "Knocking On Heaven's Door" is seen from a new perspective, "Feed The World" and "Cry For Justice" beg for change, and Luciano's mix of soul, gospel and reggae shine on "Angel" and "In God Or Man." And a video for the dancehall driven single "Why Should I" has just been shot in Jamaica. His early years spent singing in a Jamaican church choir are felt throughout the album, both in the lyrical content of his songs as well as the deeply heartfelt delivery. Always pushing the creative boundaries of dancehall and reggae, Luciano has spent his critically-acclaimed career seamlessly weaving elements of doo-wop, gospel and r&b into his songs.
Luciano "Jah Words" Tour Dates:
06/05 WESTCHESTER, NY REGGAE FEST
06/06 CLEVELAND, OH HOUSE OF BLUES
06/07 GRAND RAPIDS, MI THE INTERSECTION
06/08 ANN ARBOR, MI BLIND PIG
06/09 COLUMBUS, OH ALROSA VILLAGE
06/10 CHICAGO, IL JOE'S PUB
06/11 ST. LOUIS, MO KIENER PLAZA PARK
06/12 KANSAS CITY, MO WESTPORT BEACH CLUB
06/14 BOULDER, CO FOX THEATER
06/15 PARK CITY, UT SUEDE
06/17 LAKE TAHOE, NV BILTMORE / BREEZE CLUB
06/18 ANGELS CAMP, CA SIERRA NEVADA WORLD
MUSIC FESTIVAL
06/19 LONG BEACH, CA QUEEN MARY PARK
06/21 SAN DIEGO, CA HOUSE OF BLUES
06/23 ALBUQUERUE, NM SUNSHINE THEATRE
06/24 HOUSTON, TX CLUB RIDDIM
06/24 AUSTIN, TX FLAMINGO CANTINA
06/26 NEW ORLEANS, LA HOUSE OF BLUES
06/29 JACKSONVILLEL, FL DA REAL THING CAFÉ
06/30 TAMPA, FL JANNUS LANDING
07/01 ATLANTA, GA CLUB LEGACY
07/02 RALEIGH, NC LINCOLN THEATER
07/03 CHARLOTTE, NC AMO'S
07/04 NORFOLK, VA NORVA THEATRE
07/06 NEW YORK, NY SOB's
07/07 TRENTON, NJ MAXINES 11
07/08 MARTHA'S VINEYARD, MA HOT TIN ROOF
07/09 BOSTON, MA SUFFOLKS DOWNS
07/10 RANDALLS ISLAND, NY DOWNING STADIUM/REGGAE CARIFEST
07/11 MATUNUCK, RI OCEAN MIST
07/12 NEW HAVEN, CT TOAD'S PLACE
07/13 BURLINGTON, VT HIGHER GROUND
07/14 POUGHKEEPSIE, NY THE CHANCE
07/15 NEW ROCHELLE, NY CLUB CARIB
07/16 WASHINGTON, DC H2O
07/17 WILMINGTON, DE BIG KAHUNA
INTERNATIONAL REGGAE & WORLD MUSIC AWARDS
NEW ALBUM
Jah Words
Just Released April 26th
Exclusive Interview and Feature Pick Article soon come at REGGAE.com
Fresh from his sweep of the 24th annual International Reggae & World Music Awards where he took home more honors than anyone else, reggae dancehall crooner Luciano returns to the road early next month to kick off the final leg of his latest tour. After a recent performance at Jazz Fest in New Orleans, Luciano is currently scheduled to appear at the Sierra Nevada World Music Festival and Reggae Carifest at New York City's Randall's Island, as well as headlining a number of shows along the way. At the IRWMA, held last weekend in New York, Luciano won four awards in the categories of Best Male Vocalist, Best Album, Most Cultural/Educational Entertainer and the coveted Emperor Haile Selassie I Award for Spiritual Service Through Music.
Amidst the recent controversy surrounding reggae's dancehall subgenre came the new album from Luciano, signaling a promising return to the origin and core message of reggae. One of the genre's most soulful and spiritual singers, Luciano's Jah Words (released to stores on April 26th via RAS/Sanctuary) is steeped in lyrical messages that are always positive, peppered with themes of hope, devotion and fortification - a far cry from some of his more extremist, negative counterparts.
Bob Dylan's "Knocking On Heaven's Door" is seen from a new perspective, "Feed The World" and "Cry For Justice" beg for change, and Luciano's mix of soul, gospel and reggae shine on "Angel" and "In God Or Man." And a video for the dancehall driven single "Why Should I" has just been shot in Jamaica. His early years spent singing in a Jamaican church choir are felt throughout the album, both in the lyrical content of his songs as well as the deeply heartfelt delivery. Always pushing the creative boundaries of dancehall and reggae, Luciano has spent his critically-acclaimed career seamlessly weaving elements of doo-wop, gospel and r&b into his songs.
Luciano "Jah Words" Tour Dates:
06/05 WESTCHESTER, NY REGGAE FEST
06/06 CLEVELAND, OH HOUSE OF BLUES
06/07 GRAND RAPIDS, MI THE INTERSECTION
06/08 ANN ARBOR, MI BLIND PIG
06/09 COLUMBUS, OH ALROSA VILLAGE
06/10 CHICAGO, IL JOE'S PUB
06/11 ST. LOUIS, MO KIENER PLAZA PARK
06/12 KANSAS CITY, MO WESTPORT BEACH CLUB
06/14 BOULDER, CO FOX THEATER
06/15 PARK CITY, UT SUEDE
06/17 LAKE TAHOE, NV BILTMORE / BREEZE CLUB
06/18 ANGELS CAMP, CA SIERRA NEVADA WORLD
MUSIC FESTIVAL
06/19 LONG BEACH, CA QUEEN MARY PARK
06/21 SAN DIEGO, CA HOUSE OF BLUES
06/23 ALBUQUERUE, NM SUNSHINE THEATRE
06/24 HOUSTON, TX CLUB RIDDIM
06/24 AUSTIN, TX FLAMINGO CANTINA
06/26 NEW ORLEANS, LA HOUSE OF BLUES
06/29 JACKSONVILLEL, FL DA REAL THING CAFÉ
06/30 TAMPA, FL JANNUS LANDING
07/01 ATLANTA, GA CLUB LEGACY
07/02 RALEIGH, NC LINCOLN THEATER
07/03 CHARLOTTE, NC AMO'S
07/04 NORFOLK, VA NORVA THEATRE
07/06 NEW YORK, NY SOB's
07/07 TRENTON, NJ MAXINES 11
07/08 MARTHA'S VINEYARD, MA HOT TIN ROOF
07/09 BOSTON, MA SUFFOLKS DOWNS
07/10 RANDALLS ISLAND, NY DOWNING STADIUM/REGGAE CARIFEST
07/11 MATUNUCK, RI OCEAN MIST
07/12 NEW HAVEN, CT TOAD'S PLACE
07/13 BURLINGTON, VT HIGHER GROUND
07/14 POUGHKEEPSIE, NY THE CHANCE
07/15 NEW ROCHELLE, NY CLUB CARIB
07/16 WASHINGTON, DC H2O
07/17 WILMINGTON, DE BIG KAHUNA
Monday, April 18, 2005
Rastafari Never Fail I Yet
published: Sunday | April 17, 2005
Cedric Wilson, Guest Columnist
THE BALLOTS have been counted, the votes tallied and the results yield no surprise. Bruce Golding, leader of the Jamaica Labour Party (JLP), has emerged miles ahead of his three rivals in the West Kingston by-election.
Such is the reality of garrison politics in Jamaica. It is easier to have a hurricane in January or for it to snow in Montego Bay than for voters in a garrison to elect a representative from a different party.
Yet, for all the certainty of the outcome at last Thursday's poll, if we consider Ras Astor Black, the man who got eight votes against Mr. Golding's 8,000, it is evident that the by-election was not entirely about garrison politics.
It's not the first time Ras Black of the Jamaica Alliance Movement has offered to serve as a member of Parliament. In March 2001 in the Northeast St. Ann by-election, he was there as a candidate Shahine Robinson of the JLP won. He also ran in the October 2002 General Election for the Northwest St. James parliamentary seat in which Dr. Horace Chang of the JLP emerged victorious.
Historically, third parties have failed to impact Jamaican politics, yet Ras Black entered the race. Never mind the fact that he lacked the resources to mount a serious campaign - and don't introduce the impossibility of a garrison constituency to an outsider - what is striking about Ras Black is his remarkable tenacity and his indomitable belief that the life of the ordinary Jamaican nan be far better.
STRUGGLE OF RASTAFARI
Ras Black draws inspiration from his faith in Rastafari. Four years ago, during the run up to the Northeast St. Ann by-election, RJR talk show host, Barbara Gloudon interviewed him. She asked him why he was so confident of victory in the election. His laconic response was 'Rastafari never fail I yet'.
More than anything, Rastafari genius lies in its symbolism. Indeed, its contribution to the forging of a Jamaican consciousness is derived from the fact that it recreated the dominant images of Christianity in the likeness of the black man and therefore it substituted the Emperor Halie Selassie for a blond, blue-eyed Jesus. It hailed Marcus Garvey, a man despised by many middle and upper-class Jamaicans before the 1960s, as a prophet. It tapped into the indigenous rhythms of the people and used reggae as a vehicle to bring to the foreground the lamentations and the hopes of the oppressed and the dispossessed. Indeed, Bob Marley, perhaps the most well-known apostle of the faith, is embraced internationally through his songs because the struggle of Rastafari is universal. And like the seventeenth century French philosopher Rene Descartes, who reaffirmed his existence when he declared 'Cognito, ergosum: I think, therefore I am', Rastafari proclaims the pride in the black identity in the assertion of 'I and I'. In stating 'I and I', the rastaman blurs the definition between the first person and the third person; he discards the distinction between 'me and you' because there is the implicit knowledge that one man's existence cannot be separated from that of the other man. It is in this respect Rastafari, through the manipulation of symbols and use of language, brought the social issues of the people at the base of the society from the background to the foreground and created the mood, the rethinking of the socio-economic model of the 1960s and 70s.
The question is: What are the policies Ras Black and the Jamaica Alliance Movement propose? At the launch of the movement October 2001, Ras Black proclaimed a message of love stated that the goal is to downsize the parliament to 14 members; cease the repayment of debt for 20 years in order to rebuild the country's infrastructure; remove all taxes from imports; abolish income taxes and increase the general consumption tax to 17 per cent.
IMPRACTICAL POLICY PRESCRIPTION
Certainly, the budget should be smaller with fewer parliamentarians, but the policy prescription is at best impractical. The implications are grave when the implications for balancing the budget, addressing a massive balance of payment imbalance and the reaction of the international community a default by Jamaica in payments of its debt.
And yet, we cannot deny that behind Ras Black and his movement is a hope that most Jamaicans cherish - the elimination of the paralysing violence and a desire for economic prosperity.
When Ras Black journeyed from his home in Trelawny to run as a candidate in West Kingston, the very birth place of the Rastafari faith, it was a symbolic trip. And in doing what many would never dare to even contemplate, he epitomises the soul of Jamaica.
There was no way he could ever win and yet he believes that there is the possibility for change. Maybe when he says victory is sure because "Rastafari never fail I yet" he really means for any people 'hope will never fail'.
Cedric Wilson is an economics consultant who specialises in market regulation. Send your comments to conoswil@hotmail.com.
Link to original article -
http://www.jamaica-gleaner.com/gleaner/20050417/cleisure/cleisure5.html
Cedric Wilson, Guest Columnist
THE BALLOTS have been counted, the votes tallied and the results yield no surprise. Bruce Golding, leader of the Jamaica Labour Party (JLP), has emerged miles ahead of his three rivals in the West Kingston by-election.
Such is the reality of garrison politics in Jamaica. It is easier to have a hurricane in January or for it to snow in Montego Bay than for voters in a garrison to elect a representative from a different party.
Yet, for all the certainty of the outcome at last Thursday's poll, if we consider Ras Astor Black, the man who got eight votes against Mr. Golding's 8,000, it is evident that the by-election was not entirely about garrison politics.
It's not the first time Ras Black of the Jamaica Alliance Movement has offered to serve as a member of Parliament. In March 2001 in the Northeast St. Ann by-election, he was there as a candidate Shahine Robinson of the JLP won. He also ran in the October 2002 General Election for the Northwest St. James parliamentary seat in which Dr. Horace Chang of the JLP emerged victorious.
Historically, third parties have failed to impact Jamaican politics, yet Ras Black entered the race. Never mind the fact that he lacked the resources to mount a serious campaign - and don't introduce the impossibility of a garrison constituency to an outsider - what is striking about Ras Black is his remarkable tenacity and his indomitable belief that the life of the ordinary Jamaican nan be far better.
STRUGGLE OF RASTAFARI
Ras Black draws inspiration from his faith in Rastafari. Four years ago, during the run up to the Northeast St. Ann by-election, RJR talk show host, Barbara Gloudon interviewed him. She asked him why he was so confident of victory in the election. His laconic response was 'Rastafari never fail I yet'.
More than anything, Rastafari genius lies in its symbolism. Indeed, its contribution to the forging of a Jamaican consciousness is derived from the fact that it recreated the dominant images of Christianity in the likeness of the black man and therefore it substituted the Emperor Halie Selassie for a blond, blue-eyed Jesus. It hailed Marcus Garvey, a man despised by many middle and upper-class Jamaicans before the 1960s, as a prophet. It tapped into the indigenous rhythms of the people and used reggae as a vehicle to bring to the foreground the lamentations and the hopes of the oppressed and the dispossessed. Indeed, Bob Marley, perhaps the most well-known apostle of the faith, is embraced internationally through his songs because the struggle of Rastafari is universal. And like the seventeenth century French philosopher Rene Descartes, who reaffirmed his existence when he declared 'Cognito, ergosum: I think, therefore I am', Rastafari proclaims the pride in the black identity in the assertion of 'I and I'. In stating 'I and I', the rastaman blurs the definition between the first person and the third person; he discards the distinction between 'me and you' because there is the implicit knowledge that one man's existence cannot be separated from that of the other man. It is in this respect Rastafari, through the manipulation of symbols and use of language, brought the social issues of the people at the base of the society from the background to the foreground and created the mood, the rethinking of the socio-economic model of the 1960s and 70s.
The question is: What are the policies Ras Black and the Jamaica Alliance Movement propose? At the launch of the movement October 2001, Ras Black proclaimed a message of love stated that the goal is to downsize the parliament to 14 members; cease the repayment of debt for 20 years in order to rebuild the country's infrastructure; remove all taxes from imports; abolish income taxes and increase the general consumption tax to 17 per cent.
IMPRACTICAL POLICY PRESCRIPTION
Certainly, the budget should be smaller with fewer parliamentarians, but the policy prescription is at best impractical. The implications are grave when the implications for balancing the budget, addressing a massive balance of payment imbalance and the reaction of the international community a default by Jamaica in payments of its debt.
And yet, we cannot deny that behind Ras Black and his movement is a hope that most Jamaicans cherish - the elimination of the paralysing violence and a desire for economic prosperity.
When Ras Black journeyed from his home in Trelawny to run as a candidate in West Kingston, the very birth place of the Rastafari faith, it was a symbolic trip. And in doing what many would never dare to even contemplate, he epitomises the soul of Jamaica.
There was no way he could ever win and yet he believes that there is the possibility for change. Maybe when he says victory is sure because "Rastafari never fail I yet" he really means for any people 'hope will never fail'.
Cedric Wilson is an economics consultant who specialises in market regulation. Send your comments to conoswil@hotmail.com.
Link to original article -
http://www.jamaica-gleaner.com/gleaner/20050417/cleisure/cleisure5.html
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