Vintage Saturdays a brand new night out for all the reggae families, each and every Saturday.. watch our video featuring Taurus Riley who will let you know what to expect. Stay tuned for the latest updates.

Reggae Sumfest 2023: Freddie McGregor Delivers Emotional Performance Following Stroke

Freddie McGregor

Veteran Reggae singer and the Captain of the ‘Big Ship’ Freddie McGregor broke down in tears as he addressed his adoring fans at Reggae Sumfest sometime after midnight. 

The entertainer, who was seated, was supported by his sons Chino and Stephen ‘Di Genius’.

The world was left stunned eight months ago after McGregor suffered a stroke. He is still undergoing therapy to deal with the effects, but as of now, he is doing live shows.

Give thanks to the Almighty…God is good, God is great,” he began before the tears set in. “When I got sick last year, Mr. Bogdanovich asked me if I could do Sumfest and I said I would try…It’s through the Spirit of Christ I’m here tonight. I thank you all for your prayers. I love you!”

After a melodic 30-minute set, a representative from Red Stripe presented McGregor with a Living Legend Award to mark his decades of contribution to Reggae music across the globe.

Just last week, the singer joined the Mighty Crown sound system on their Far East Reggae Cruise. In an interview with the Jamaica Observer, McGregor had reported that the set lived up to his, and fan’s’ expectations.

Japan was ready for me, and I was ready for them, never seen so many people cry. Both happy for my recovery, and happy to see me,” he said.

His set inside Catherine Hall lacked nothing. The entertainer sounded just as he normally would, despite not being as mobile as he would have liked. His supporters endorsed him the entire time with whistles, vuvuzelas and screams. 

Last year, it was reported that the Big Ship Label founder is also getting ready to release his album in early 2023, A Breath of Fresh Air, produced by British company Stingray Records.

For the past four decades, McGregor has been one of reggae’s front-runners. He is known for songs including Big Ship, Push Comes to Shove, Just Don’t Want to be Lonely, and I’m A Winner.

In This Story: Chino McGregor, Freddie McGregor, Stephen 'Di Genius' McGregor

Reggae Sumfest 2023: Minister Marion Hall Urges Montego Bay Scammers To “Find Another Job”

Minister Marion Hall

Unlike in in her days as Lady Saw in 2015,  where she hyped up lottery scammers in Montego Bay, before lyrically turning the tables on them in her Scamma Man song, Minister Marion Hall frontally rebuked the city’s ‘chappas’ and called for them to stop practicing Obeah, during her performance at Reggae Sumfest.

In the first few minutes of her closing performance at the Reggae festival on Sunday morning, Hall had declared that she was ready to “teck back di whole a Mobay” as unclean spirits “must run away”.  Moments later, she asked for the scammers in the “choppa hotbed”, whom she said were her brothers and sisters, to heed God’s words.

“Weh di chappa dem deh?  Weh mi chappa fren dem deh?  Yuh know oonu a mi bredda an mi sista, right?  Suh yuh think mi woulda leave di chappa dem out?” she asked the audience. 

“Chappa, chappa, chappa tappa: find anada job!  Caw right now yuh get Maasa God mad!  Dash weh di dutty guard ring weh yuh have!  Dash weh di dutty obeah ring weh yuh have!  Caw dat caan keep yuh outta body bag!” she deejayed in the cautionary freestyle.

Back in 2015, Hall’s Scamma Man song, had come in for much condemnation by persons who did not listen to it in its entirety. In the first verses, she had adulated the scammers in song, expressing her desire for a Montegonian man involved in the practice to be her lover, promising to give him her body on a daily basis in exchange for his loads of cash.

“Mi want a scamma man from Mobay. Cah mi hear sey dem money set a way, mi woulda gi him my body every day cah mi know sey money afi pay… Mi want a big money thief, caw mi want a big money jeep.  Mi love money bad mi nuh cheap, and my scammer man him haffi bleach”, she had sung.

But in the final verse of Scamma Man, the St. Mary native had lyrically changed course, cautioning that scamming is a crime, noting that she had just changed her mind, that she was already wealthy, and that scammers would inevitably face incarceration.

She sang:

“Yo know wa, mi just change mi mind
Because when mi check back scamming is a crime
Me too hot fi go do nuh prison time
Mi work hard fi mi money suh mi fine

“Mi a money gyal
Mi nuh come cheap
An mi nuh business boyt a bwoy who a bleach
Suh scamma, yuh deh pan yuh own”

In 2015, The Star had reported that radio stations shunned the Scamma Man single which was recorded on the Hot Steel juggling riddim, which also featured songs by Capleton, Bramma, Ffurious, Da’Plan and CeeGee.

According to the tabloid, the track had been sidelined by some radio DJs who believe the song was “too controversial for the public”. 

The Star had also reported back then that the producers of the song Digital Vibez Entertainment, producers of Chronixx’s Odd Ras, had claimed that “radio wants no part” in the promotion of Scamma Man.

According to The Star, the label had also complained that the song had been “misunderstood” and that only Jamaican radio personalities are against it.

The Star had quoted said Gary ‘Shanguly’ Samuels of Digital Vibez Entertainment as saying that “the song is just a fun song that’s taking too seriously” and that it was “just Lady Saw being herself and putting a twist on a controversial topic”.

“If you listen to the song from start to the end, you would hear that she’s just playing around with a controversial topic. To also add, the song has no issues with any other radio stations worldwide just in Jamaica,” Samuels had told The Star.

Lady Saw, at the time, had also said that she was “simply having fun with a trendy topic and does not condone scamming.”

“I record the song Scamma, because scamming is a big thing right now. I came up with the title after performing at a show in Mobay. It was funny and it is a joke, I knew it was going to be controversial, but it was all about fun, it’s not anything serious, simply fun,” she had said.

In This Story: Minister Marion Hall

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Masicka Calls On Chronic Law, Yaksta For Back To School Event In His Hometown

Masicka

Dancehall star Masicka is ensuring the kids in his hometown of Portmore are equipped and geared before heading back into the classroom come this September. 

The Leader deejay, through his ‘Umbrellas Up Foundation’, recruited fellow acts Chronic Law, Yaksta Bush Lawd, Nervz, and a few other young artists to raise proceeds for the back-to-school initiative.

On Thursday, days before his impressive performance at Reggae Sumfest, Masicka, and his celebrity friends delivered a star-studded show to entertain a horde of cheering fans in the St. Catherine community. 

For Yaksta, participating in the cause was a no-brainer. “That’s a must for a star they made us what we are so we make them feel appreciated for changing our lives. The proceeds was from Masicka and his camp but as musical brothers, myself and Chronic Law and extension of new voices lent a helping hand to support his cause”, Bush Lawd shared with Kaboom Magazine. 

Further adding, “The youth was once us and as advocates of the new generation, it’s our business to make sure the youths are led in a correct accord.”

On Saturday, Masicka delivered one of the night’s standout performances at Reggae Sumfest 2023. The 1Syde artist who declared, “Mi a di baddest artiste in ah Jamaica” took the stage, following the Uptop Boss, Teejay, to perform a catalog of his tracks in a one-hour-long set.

Masicka’s latest track Tyrant, which dropped just over a month ago, was received well by Sumfest fans. Since its May release, the track has accumulated more than 6.1 million YouTube views. 

Fans of the deejay will be happy to know that his sophomore album will be released this year. Though he did not specify the date, Masicka said it is complete and waiting to be packaged for a sendoff to his supporters.

In the meantime, the Umbrella deejay is keeping busy with several upcoming performances. Next week, he will perform at Heaven on Earth– an All White Party in Maryland on July 30, then later at Guyana Cup in Guyana on August 13, and the O2 Arena in London on September 15.

Beenie Man’s ‘Happy Life’ And Nine New Songs

There’s always time for good music, and in this iteration of our music roundup, we deliver all the good stuff in music you may have missed, from Skeng’s long-awaited return, Beenie Man’s latest summer adventures and offerings, and Alkaline’s inimitable self-confidence.

Check out the tracks below.

Beenie Man and Twinkle Brain deliver all the feel-good vibes for summer in their happy-go-lucky single, Happy Life. Produced by TP Records, the song, which is accompanied by a just-as-vibrant music video, captures the two artists in a fun-filled and light-hearted celebration of summer, at the center of which are the typical references to women, partying and having a good time

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From Wikipedia, the free encyclopediaJump to navigationJump to searchDing Dong RaversBirth nameKemar Christopher Dwaine OtteyAlso known asDing DongBornKingston, JamaicaOriginNannyville, KingstonGenres

• Dancehall
• Reggae Dancehall
• World Music

Occupation(s)Singer, Songwriter, DancerYears active2005 to presentLabelsRomeich EntertainmentWebsitewww.instagram.com/dingdongravers
www.facebook.com/dingdongraversja

Kemar Christopher "Ding Dong" Dwaine Ottey (born September 29, 1980) is a dancehall reggae artist and dancer. He was a dancer before becoming a Jamaican deejay (artiste) and dancehall reggae recording artist.[1][2] His most notable songs "Bad Man Forward / Bad Man Pull Up" (2005) "Fling" and "Genna Bounce" released in 2017 has assisted in his global appeal.[3] He founded the dancing syndicate Ravers Clavers..

we are featuring :

BY CREATAH // JUNE 8, 2022 TWEETSHARE

By Gerry McMahon

Compliments to J-Roots on his return to the Irish roots reggae scene, with an accomplished 13 track album entitled ‘Forward Ever’. Over more than three decades in the music business, this talented multi-instrumentalist has an impressive track record in writing, producing and recording from his ‘Humble Soundshack’ – including time served in Laurel Aitken’s backing band. On this delightful compilation, he adds a delectable-sounding horns section to guest vocal inputs for maximum impact. J-Roots has released 3 records to date, ‘Soapbox Fury’ (2012), ‘Universal Hoodwink’ (2016) and now ‘Forward Ever’, which he aptly and accurately describes as ‘an instrumental dub mash-up of his favourites from his previous two albums’.

This release opens with a nice lazy rootsy summer sunshine feel type track, entitled ‘Roots Connection’,where a subtle, sweet and seductive sax takes centre stage, with Lariman’s vocals intermittently interjecting. This is followed by another accomplished smooth sounding sax-drenched ‘Ode to the Spear’ – a track appropriately devoted to the recently rejuvenated reggae icon and roots reggae maestro Burning Spear. Next up, Players/Slayers offers a delightful melodic sound, with a captivating male: female love-laced vocal interplay from Kitty B. and High Def. The ‘Horns Version’ then sticks with the album’s breezy roots’ feel, as the full range of instruments – set to persistent percussion – sit easily with images of a lazy lumbering summer stretch.

Thereafter ‘Universal Hoodwink’ kicks in with an array of sweet sound effects keeping the rootsy vibe going, before the album’s title track ‘Forward Ever’ lends a nice bouncy feel to proceedings, allowing the synthesiser/organ to take centre stage. ‘A Dub for Scratch’ would have been well received by the wizard himself, as its steady beat and varied effects – including lazy horns and subtle vocal inputs – make for an accomplished track. Next up comes ‘Favourite Things’, where a sizzling and sometimes spiralling sax does full justice to the popular ‘My Favorite Things’ rhythm (from Hammerstein and Rodgers) as popularised by Julie Andrews in the ‘Sound of Music’. The sound returns to the roots reggae stable on ‘A Man Named Mittoo’, as the guitars lend a wonderful staccato feel to a steady rhythm, well capable of keeping the dancers on the floor and the late Jackie himself bopping above in heaven. As you’d expect, the tempo then accelerates on the ‘Night Train to Rootsville’, allowing the soothing vocal effects and tasty trombone inputs on ‘Sound Pressure’ to shine through to maximum effect thereafter. Likewise, the ‘Return To Zero’ track offers the listener a nice long lazy rootsy seductive sound effect, where the percussion and (rarely deployed) flute come to the fore. 

Sadly, this classy compilation has to end, and so it does with ‘Creation Road’, taking the listener on a mystical magical musical journey, that may aptly summarise J-Roots’ own reggae odyssey. All round, this is an ideal sound accompaniment for what promises to be a post-Covid sweet, sizzling and reggae-filled summer. Nice work J-Roots. Keep them coming!   

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April 19, 2016

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BY CREATAH // DECEMBER 19, 2022 TWEETSHARE

Tanya Stephens live at the Babyboom Festival Marina Palmense, Marche, Italy. December 10, 2022.

Pictures by Verde Rita for Worldareggae.com

by DX STAFFPublished on: Mar 31, 2023, 3:25 PM PDT12

With absolute madness occurring in the world on what seems like a daily basis, fans are most likely needing some comfort music. No genre is more comforting to listen to than R&B, and 2023 already received some heat from SZA, Daniel Caesar, T-Pain PartyNextDoor, and more. These are some of the best R&B songs of the year so far in 2023.

Struggling to find a list of the Hip Hop Albums that have been shifting the culture? Take a look at our lists for Hip Hop, Rap and R&B to get a complete survey of the projects that are dictating the conversation within Hip Hop.

• The Best Hip Hop Albums of 2023 …(so far)
• The Best Rap Albums of 2023 …(so far)
• The Best R&B Albums of 2023 …(so far)

Need some new songs to throw in the rotation but Spotify and user-created playlists are way too long? We kept it simple and added only the best of the best songs from each month to make sure you get the songs you need without a hassle. Peep the lists below.

• The Best Hip Hop Songs of 2023 …(so far)
• The Best Rap Songs of 2023 …(so far)

Looking for some up and coming rappers and underground gems? We’ve done the work for you and highlighted the short EPs, mixtapes and projects to check out if you’re tired of the mainstream album cycle.

• The Best Mixtapes & EPs of 2023 …(so far)

Editor’s note: Songs from this list were released between May 2, 2022 – March 30, 2023.

As 2000s nostalgia continues to take over, R&B trio Flo embraces it. The hook on their latest single “Fly Girl” reminisces over the lavishness of the decade’s biggest hits. Enlisting Missy Elliot for an exuberant verse halfway into the track only solidifies the group’s admiration for the era that shaped their taste in R&B. Still, “Fly Girl” amounts to more than just longing for the past with its snappy beat and sublime individual performances. – Louis Pavlakos

Biography

• Popcaan (born July 19, 1988) is the stage name of Jamaican dancehall and reggae fusion artist Andrae Jay Sutherland, known for his debut album “Where We Come From”, hailing from Saint Thomas, Jamaica.Growing up in Portmore, Jamaica, Sutherland was introduced to music from an early age and became determined to pursue a music career from the age of seven. This turned to reality in 2007 when Popcaan was invited to join Vybz Kartel’s Portmore Empire who acted as his producer and mentor. On top of this Vybz Kartel showed Sutherland the ways of the music industry and accompanied him to huge shows including Sting and Reggae Sumfest. Showcasing his eclectic dancehall style and working with the group’s in-house producer NotNice, Popcaan issued the singles “Gal Wine”, “It Nuh Work So”, “Jah Jah Protect Me”, “Gangsta City”, and “Hot Grabba” in 2009.
  The singles were well-received, regularly earning airplay on Jamaican radio, and significantly raised the national exposure of the deejay and songwriter. Subsequently however, Popcaan appeared on the remix of Kartel’s song about the British shoe institution, “Clarks”, which soon became his breakthrough hit in 2010. The following year the deejay won the “Best New Artist”, Best Collaboration of the Year” (“Clarks), and “Best Song of the Year - Dancehall” (“Clarks”) at the Excellence in Music and Entertainment awards.

A full reggae movie celebrating the life of the late and great garnet silk

BY CREATAH // MARCH 3, 2022 TWEETSHARE

by David Katz

The ambitious 2017 staging of the multifaceted exhibition Jamaica Jamaica! in Paris brought the presentation of Jamaica’s rich musical culture to another level. Easily the most comprehensive exhibition on the topic, Jamaica Jamaica! gave untold insights into the evolution of the music and its attendant culture and was largely a success because curator Seb Carayol worked directly with rightsholders and cultural institutions on the ground in Jamaica, to make sure that the correct people were paid and that everything was properly acknowledged.

A later staging in Sao Paulo, Brazil, helped to integrate the majority Jamaican content with some local equivalents, allowing the tale to achieve greater global reach, with parallels and differences in the spotlight.

Then, the opening of the Jamaica Jamaica! exhibition at the National Gallery of Jamaica in February 2020 was hugely significant. At last, an exhibition of unmatched calibre on Jamaican soil, housed in the island’s major art institution, right in the heart of downtown Kingston, a few short streets from the epicentre of the Jamaican recording industry that sprung up from the late 1950s. Jamaica Jamaica! had come home, and an unexpected consequence of the pandemic meant that instead of running for a mere six months, the exhibition has been there ever since, allowing me to experience it in all its glory on a visit to Jamaica for Reggae Month in February 2022.

Although retaining the robust core of the original Paris exhibition, the Jamaican edition is again significantly different, most notably in its inclusion of exceptional artworks from the gallery’s own collection, including timeless Edna Manley sculptures and evocative paintings by the likes of Sidney McLaren, Everald Brown, Osmond Watson, and other Jamaican greats.

This immersive experience begins with Brown’s unusual instruments, including a one-stringed bass, modeled after an ancient equivalent depicted in the portraiture of Isaac Mendes Belisario, who made some of the earliest known portraits of Jamaican life; there is also an ornately decorated ‘dove harp’ and Clovis Watson’s commemorative emancipation drum, setting the tone with a reminder that the roots of this music lies in slavery, and imparting a sense of continuity in its rhythms of resistance that continue to thrive in the present.

The main exhibition begins with the historical context of the long colonial phase, beautifully illustrated by colour Bellisario prints, David Pottinger’s painting Nine Nightand some Clinton Hutton photo work depicting spirit possession; on the back wall, there are rhumba boxes and original mento releases from the years before rhythm and blues took hold. In a second room, we find Headley Jones’ pioneering solid body electric guitar, next to an axe that was Ernest Ranglin’s, and then enter the ska zone, complete with original Instruments that belonged to the Skatalites, and there are rare original photographs of Roland Alphonso, Ernest Ranglin and Margarita Mahfood, among others.

We soon reach a Wailers zone with individual profiles of Bob, Peter and Bunny, heightening Trench Town as a significant site of musical innovation, with more rare photographs and vintage instruments, including an organ from Studio One and one of King Jammy’s mixings desks from the 1970s, an Augustus Pablo melodica, and the same Casio keyboard on which the ‘Sleng Teng’ riddim was devised, as well as a papal hat and decorated trousers, formerly worn by Lee ‘Scratch’ Perry as stage garb. The Harder They Come is given pride of place too, with the famous ‘star’ T-shirt worn by Jimmy Cliffon prominent display, as well as original film reels and Perry Henzell’s typewriter. Later, massive portraiture of reggae and dancehall icons by noted Greenwich Farm street artist Bones and colleague Gideon Reid remind of their important contributions in full colour, and there are signs from Coxsone’s Muzik City and other establishments. 

Then, in a backroom devoted to dancehall, there are suitably raunchy photos of dancers and a very lewd video, alongside gritty portraits of iconic figures such as Ninajaman and Vybz Kartel, mostly taken by Peter Dean Rickards; hilarious signs advertising dancehall gigs are displayed on a sidewall and there is a strangely customized dancehall race car on an elevated platform, reminding that the form harnesses technology and style to new ends. Then, special handmade paintings on vinyl, done by Matthew McCarthy in 2020, speak to the originality of the ‘Reggae Revival’ generation, emphasizing that the culture continues to evolve across multiple platforms.

Everything is displayed on clear white walls with adequate lighting and plenty of space, allowing the artwork and images to really come to life. I left the exhibition feeling exhilarated, with the sense that the music has already been making its tremendous impact for nearly 70 years, and that it undoubtedly has so much more to come; other visitors made clear that they were equally enthralled. I believe that the exhibition should find a permanent home in Jamaica and encourage everyone to visit it while the opportunity exists for us to do so.

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November 14, 2022

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Shine on Jamaica by singer Cherine Anderson, Jamaica's Anthem for the Times is featured on the 2011 Grammy-nominated album One Pop Reggae. The track is produced by reggae icons Sly & Robbie and David Norland,has been widely acclaimed as one of the most prolific and relevant songs in recent reggae…

December 19, 2010

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• jamaica jamaica!
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BY CREATAH // NOVEMBER 22, 2021 TWEETSHARE

2021 marks the 40th anniversary of Carroll Thompson’s era-defining first album Hopelessly In Love. Co-produced by Carroll, Bertie Grant, and executive-produced by Anthony “Chips” Richards, Hopelessly In Love is a landmark record of the hugely popular yet criminally under-valued subgenre Lovers Rock. It struck a winning formula of dreamy, precise vocals, tasteful arrangements, and – unusually in a music associated with soul covers – songs written or co-written by Thompson herself. 

Born and raised in the UK, by her Jamaican grandparents, Carroll Thompson studied classical piano and then accountancy, trying out as a pop singer before joining the burgeoning Lovers Rock scene in London. After breakout singles for Jamaican producer Leonard “Santic” Chin, she cut Hopelessly in Love and then her self-titled second album, at London reggae hub Easy Street studios, using musicians including members of Black Slate, Cimarons and Roots Radics.

The success of Hopelessly In Love, with its striking cover art, showing Carroll looking enigmatic in a fur coat on the bonnet of a car, made her one of British romantic reggae’s legacy names. But following her two albums, she segued into the worlds of soul, funk, jazz and pop, becoming an sought-after session singer for the likes of Billy Ocean, Stevie Wonder, Michael Jackson, and Courtney Pine. In the 1990s, Carroll began making reggae albums again – starting with The Other Side of Love, for Mad Professor – and has continued ever since. 

To celebrate four decades of Hopelessly In Love, Trojan (BMG) have released a special remastered anniversary edition of the album. It’s been augmented with four bonus 12 inch mixes – including Carroll’s duet with Sugar Minott, Make It With You. 

Angus Taylor spoke to Carroll via video call from her home about her early life and the making of a classic LP whose reputation continues to grow. 

Congratulations on the 40th anniversary of your album. When you play concerts, do you often see people holding up that album and do people come and ask you to sign it afterwards quite a lot?

(laughs) They do. I’m amazed at how people have decided so many things in their lives but they’ve managed to hold onto that piece of vinyl. It’s amazing. It really is. Heartwarming really.

You grew up in Letchworth. Did it have much Jamaican community there when you were growing up?

There was. Apart from my family, there was a lot in Luton, Bedford and in Hitchin. Not so many in Letchworth but definitely in Hitchin. We all knew each other and what brought us together was the church in the area. So they’d all sort of commute in on a Sunday. That’s how the community started, really. At somebody’s house for the church.

Which denomination of church was it?

It was Pentecostal New Testament. I mean we started off as Baptist but that was very difficult. So everyone moved the New Testament and created a church in their house and from a house, they went to a church hall and then it moved from there. That’s the way the community got together so we didn’t feel so lonely! (laughs) 

When did your family come over?

I grew up with my grandparents. My grandfather came over in the early 50s. He probably came in ’49 for work. He didn’t actually come on Windrush but he was in the Air Force. They have a base in Hertfordshire near Henlow. That’s why we ended up at that end really. So we kind of followed him.

And were your grandparents musical?

Yeah, my grandmother was a singer. They used to call her the Bell of Trelawny. She had an amazing voice. Angus, I can’t even begin to tell you. Just a wonderful musician. And my grandfather loved music. He used to run a little blues and shebeen. 

So, your family have roots in Trelawny?

Yeah, they were Trelawny-based. And she was known in the parish as a wonderful singer. And we used to sing together even from [when I was]… maybe two? Two and a half? We would be singing together. And then she became a minister of religion herself. She was an interesting woman. And there was a lot of music with my grandfather, all the blues and the jazz and the rocksteady and the bluebeat, and my grandmother with the gospel so it was a good mix. My grandfather loved Desmond Dekker. He was such a fan of that whole Trojan thing actually! (laughs) 

You learnt the piano as a child. Did that help you with your arranging later in your career?

Yes, she got me on the piano as early as she could. So I was on the piano from about six or seven. I did a lot of classical stuff from a very early age. Definitely. I think it really helped with the song writing. To be able to just sit at the piano and just make-up songs from an early age. I used to always write a lot of poetry and then put that to the music. The chords that I would discover. So definitely that classical training – as much as I didn’t like it! – it really helped! (laughs) 

When did you start writing songs?

I think I wrote my first song when I was about nine or ten. The first song I wrote was a religious song. There was a competition at church and so I decided that I wanted to win and maybe if I wrote a song I could pip everybody to the post! So the first song I ever wrote was a song called I Know He Is With Me and it was a gospel spiritual type song.

Dancehall is ultimately a celebration of the disenfranchised selves in postcolonial Jamaica that occupy and creatively sustain that space. Structured by the urban, a space that is limited, limiting, and marginal yet central to communal, even national, identity, dancehall's identity is as contradictory and competitive as it is sacred. Some of Jamaica's significant memories of itself are inscribed in the dancehall space, and therefore dancehall can be seen as a site of collective memory that functions as ritualized memorializing, a memory bank of the old, new, and dynamic bodily movements, spaces, performers, and performance aesthetics of the New World and Jamaica in particular.[38]

BOB MARLEY & THE WAILERS - COULD YOU BE LOVED 

The message of his lyrics are political, spiritual and above all promotes, peace, love, justice and harmony for all people.