Wednesday, September 27, 2006
Sizzla
Jamaica is an island of contrasts. The magical beaches and verdant landscape provide an unlikely backdrop for political discord, restless youth and gun culture. Alongside a history of rebellion co-exists an incredible musical heritage that boasts a score of artists who made music that made a difference. One dreadlock Rasta is ensuring that the roots and culture legacy lives on. Perhaps the most captivating and enigmatic performer to emerge from Jamaica in the last twenty years, Sizzla is set to release his new album, "Bobo Ashanti".
Twenty-three year old Sizzla began his journey as Miguel Collins, born of devout Rastafarian parents and raised in the close-knit community of August Town. The 1980's witnessed a dancehall explosion and with the music came the lifestyle; drugs, guns and "slackness" (vulgarity). Sizzla watched carefully, collecting his lyrical ammunition. Formally adopting the Rastafarian faith, with it's no-holds-barred advocacy of repatriation, slavery reparations and the use of ganja, he joined the ranks of the Bobo Ashanti in the mid-1990's. Bobo is Jamaican slang for African, Africa being the spiritual home of the Rasta. The name Ashanti derives from an ancient religious tribe, similar to the Israelites.
The Bobos stand against all forms of oppression or modern day slavery, which have been forced on them by Babylon, the western world. Shunning institutionalised education and religion they have built self-sufficient communities and live frugally according to their strict beliefs. The Bobos' refusal to toe the establishment line together with their often controversial pro-change diatribes inspires supporters and alarms their opposers.
Sizzla began to develop his own uncompromising style whilst serving his musical apprenticeship with the Caveman Hi-Fi sound system. For him the music is a vehicle for his message, and in 1995 he grabbed the opportunity to spread the word far and wide. Kick-starting his recording career with a release through the Zagalou label, he then teamed up with Bobby "Digital" Dixon for a series of series of singles. Extensive touring with fellow roots and culture artist Luciano followed, earning Sizzla critical acclaim.
1996 marked an important turning point for Sizzla who began working with producer Phillip "Fatis" Burrell of Jamaica's foremost modern roots stable, Xterminator. From the outset their relationship was one of mutual respect and inspiration. A run of successful singles led to the release of Sizzla's debut album, "Burning Up" (RAS). The alliance again proved fruitful a year later with the follow-up, "Praise Ye Jah" (Jetstar). Securing his position as a top conscious reggae artist, he set about cultivating his role as a spiritual messenger. Sizzla's combination of Rasta principles and up-to-the-minute dancehall rhythms made his hard-line approach more palatable. A brilliant and passionate performer, Sizzla broke boundaries, appealing to those looking for something new, music with depth.
His major breakthrough came with the release in 1997 of the now classic album, "Black Woman and Child" (Greensleeves). Bearing all the hallmarks of Bobby "Digital" Dixon's dancehall-influenced production, the impact on both the reggae and mainstream markets was phenomenal. The evocative title track, issued as a single, rapidly achieved anthemic status. Along with universal praise came Sizzla's first nomination for Best International Reggae Artist at the 1998 MOBO Awards and a place in various magazines' top 100 albums of the year.
Sizzla has since released no less than seven albums, including 1998's "Kalonji" (Jetstar), which saw the single "Rain Shower" playlisted at Radio One and last year's "Royal Son of Ethiopia" (Greensleeves). 1999 also saw him receive his second MOBO nomination. A constant presence in the reggae charts worldwide, Sizzla's fire shows no sign of abating.
If success brings media interest then Sizzla is no exception. But although he is a prolific recording artist, he remains a mysterious figure, having little or no contact with the media. To many Sizzla is a dichotomy; music is a vital means of delivering his message yet he doesn't support the music industry, believing it to be another corrupt and oppressing institution. Not wanting to be seen to endorse the industry, he is wary of any involvement with press and promotion and has granted only a few interviews to date. His rare live appearances are always sold out.
Whether or not you share his philosophy, there is no denying that Sizzla is a gifted musician who has the courage to stand by his convictions, even at the risk of his career. Like Bob Marley before him and the black Muslim rap artists of today, Sizzla is all about truth through music. A principal figure in the 90's roots and culture revolution, he has inspired dispossessed Jamaicans and newcomers to reggae music alike.
But the revolution is far from over. With the release of his brand new album 'Bobo Ashanti", Sizzla looks set to continue his reign as conscious reggae's biggest star. His most complete album to date, produced by Phillip "Fatis" Burrell, showcases Sizzla at his best. "Bobo Ashanti" is an epic and heartfelt journey along the Rasta path, each song reflecting common themes; Babylon's corrupting influence, the disenfranchisement of ghetto youth, oppression of the black nation and Sizzla's abiding faith in Jah.
He has an ability to fuse passionate lyrical styling with deceptively simple rhythms that take in a range of genres from staccato dancehall and gentle roots reggae to surprisingly commercial R&B and soul arrangements. Glorious opening track "The World" is a modern take on the pulsing dub beat and a call to conquer evil by rejoicing in Rastafari. Sizzla's plea for truth on "Courage" is set against a lilting guitar hook. He asks the ghetto youths to follow King Selassie and "Grow U Locks" on a punching dancehall rhythm. The R&B-influenced closing track "Must Rise" is an earnest appeal to black people to find strength in unity. All share Sizzla's unmistakable voice, one moment gospel-like, the next pure fire.
This Bobo Ashanti cannot be ignored. Embracing his roots and culture heritage, Sizzla has taken all that is great in reggae music and made it his own. Let him save your soul.
Monday, September 25, 2006
Muhammad's Sword
By Uri Avner09/24/06 "Information Clearing House"
-- -- Since the days when Roman emperors threw Christians to the lions, the relations between the emperors and the heads of the church have undergone many changes.Constantine the Great, who became emperor in the year 306 - exactly 1700 years ago - encouraged the practice of Christianity in the empire, which included Palestine. Centuries later, the church split into an Eastern (Orthodox) and a Western (Catholic) part. In the West, the Bishop of Rome, who acquired the title of Pope, demanded that the emperor accept his superiority.
The struggle between the emperors and the popes played a central role in European history and divided the peoples. It knew ups and downs. Some emperors dismissed or expelled a pope, some popes dismissed or excommunicated an emperor. One of the emperors, Henry IV, "walked to Canossa", standing for three days barefoot in the snow in front of the Pope's castle, until the Pope deigned to annul his excommunication.
But there were times when emperors and popes lived in peace with each other. We are witnessing such a period today. Between the present Pope, Benedict XVI, and the present emperor, George Bush II, there exists a wonderful harmony. Last week's speech by the Pope, which aroused a worldwide storm, went well with Bush's crusade against "Islamofascism", in the context of the "clash of civilizations".In his lecture at a German university, the 265th Pope described what he sees as a huge difference between Christianity and Islam: while Christianity is based on reason, Islam denies it. While Christians see the logic of God's actions, Muslims deny that there is any such logic in the actions of Allah.
As a Jewish atheist, I do not intend to enter the fray of this debate. It is much beyond my humble abilities to understand the logic of the Pope. But I cannot overlook one passage, which concerns me too, as an Israeli living near the fault-line of this "war of civilizations".In order to prove the lack of reason in Islam, the Pope asserts that the Prophet Muhammad ordered his followers to spread their religion by the sword. According to the Pope, that is unreasonable, because faith is born of the soul, not of the body. How can the sword influence the soul?To support his case, the Pope quoted - of all people - a Byzantine emperor, who belonged, of course, to the competing Eastern Church. At the end of the 14th century, Emperor Manuel II Palaeologus told of a debate he had - or so he said (its occurrence is in doubt) - with an unnamed Persian Muslim scholar. In the heat of the argument, the emperor (according to himself) flung the following words at his adversary:
Show me just what Mohammed brought that was new, and there you will find things only evil and inhuman, such as his command to spread by the sword the faith he preached.
These words give rise to three questions: (a) Why did the Emperor say them? (b) Are they true? (c) Why did the present Pope quote them?When Manuel II wrote his treatise, he was the head of a dying empire. He assumed power in 1391, when only a few provinces of the once illustrious empire remained. These, too, were already under Turkish threat.
At that point in time, the Ottoman Turks had reached the banks of the Danube. They had conquered Bulgaria and the north of Greece, and had twice defeated relieving armies sent by Europe to save the Eastern Empire. On 29 May 1453, only a few years after Manuel's death, his capital, Constantinople (the present Istanbul), fell to the Turks, putting an end to the empire that had lasted for more than a thousand years.
During his reign, Manuel made the rounds of the capitals of Europe in an attempt to drum up support. He promised to reunite the church. There is no doubt that he wrote his religious treatise in order to incite the Christian countries against the Turks and convince them to start a new crusade. The aim was practical, theology was serving politics.In this sense, the quote serves exactly the requirements of the present Emperor, George Bush II. He, too, wants to unite the Christian world against the mainly Muslim "Axis of Evil". Moreover, the Turks are again knocking on the doors of Europe, this time peacefully. It is well known that the Pope supports the forces that object to the entry of Turkey into the European Union.
Is there any truth in Manuel's argument?The pope himself threw in a word of caution. As a serious and renowned theologian, he could not afford to falsify written texts. Therefore, he admitted that the Qur'an specifically forbade the spreading of the faith by force. He quoted the second Sura, Verse 256 (strangely fallible, for a pope, he meant Verse 257) which says: "There must be no coercion in matters of faith."How can one ignore such an unequivocal statement? The Pope simply argues that this commandment was laid down by the Prophet when he was at the beginning of his career, still weak and powerless, but that later on he ordered the use of the sword in the service of the faith. Such an order does not exist in the Qur'an. True, Muhammad called for the use of the sword in his war against opposing tribes - Christian, Jewish and others - in Arabia, when he was building his state. But that was a political act, not a religious one; basically a fight for territory, not for the spreading of the faith.Jesus said: "You will recognize them by their fruits." The treatment of other religions by Islam must be judged by a simple test: how did the Muslim rulers behave for more than a thousand years, when they had the power to "spread the faith by the sword"?Well, they just did not.
For many centuries, the Muslims ruled Greece. Did the Greeks become Muslims? Did anyone even try to Islamize them? On the contrary, Christian Greeks held the highest positions in the Ottoman administration. The Bulgarians, Serbs, Romanians, Hungarians and other European nations lived at one time or another under Ottoman rule and clung to their Christian faith. Nobody compelled them to become Muslims and all of them remained devoutly Christian.True, the Albanians did convert to Islam, and so did the Bosniaks. But nobody argues that they did this under duress. They adopted Islam in order to become favourites of the government and enjoy the fruits.
In 1099, the Crusaders conquered Jerusalem and massacred its Muslim and Jewish inhabitants indiscriminately, in the name of the gentle Jesus. At that time, 400 years into the occupation of Palestine by the Muslims, Christians were still the majority in the country. Throughout this long period, no effort was made to impose Islam on them. Only after the expulsion of the Crusaders from the country, did the majority of the inhabitants start to adopt the Arabic language and the Muslim faith - and they were the forefathers of most of today's Palestinians.There no evidence whatsoever of any attempt to impose Islam on the Jews. As is well known, under Muslim rule the Jews of Spain enjoyed a bloom the like of which the Jews did not enjoy anywhere else until almost our time. Poets like Yehuda Halevy wrote in Arabic, as did the great Maimonides. In Muslim Spain, Jews were ministers, poets, scientists. In Muslim Toledo, Christian, Jewish and Muslim scholars worked together and translated the ancient Greek philosophical and scientific texts. That was, indeed, the Golden Age. How would this have been possible, had the Prophet decreed the "spreading of the faith by the sword"?What happened afterwards is even more telling. When the Catholics reconquered Spain from the Muslims, they instituted a reign of religious terror. The Jews and the Muslims were presented with a cruel choice: to become Christians, to be massacred or to leave. And where did the hundreds of thousand of Jews, who refused to abandon their faith, escape? Almost all of them were received with open arms in the Muslim countries. The Sephardi ("Spanish") Jews settled all over the Muslim world, from Morocco in the west to Iraq in the east, from Bulgaria (then part of the Ottoman Empire) in the north to Sudan in the south. Nowhere were they persecuted. They knew nothing like the tortures of the Inquisition, the flames of the auto-da-fe, the pogroms, the terrible mass-expulsions that took place in almost all Christian countries, up to the Holocaust.Why? Because Islam expressly prohibited any persecution of the "peoples of the book". In Islamic society, a special place was reserved for Jews and Christians. They did not enjoy completely equal rights, but almost. They had to pay a special poll tax, but were exempted from military service - a trade-off that was quite welcome to many Jews. It has been said that Muslim rulers frowned upon any attempt to convert Jews to Islam even by gentle persuasion - because it entailed the loss of taxes.Every honest Jew who knows the history of his people cannot but feel a deep sense of gratitude to Islam, which has protected the Jews for fifty generations, while the Christian world persecuted the Jews and tried many times "by the sword" to get them to abandon their faith.The story about "spreading the faith by the sword" is an evil legend, one of the myths that grew up in Europe during the great wars against the Muslims - the reconquista of Spain by the Christians, the Crusades and the repulsion of the Turks, who almost conquered Vienna.
I suspect that the German Pope, too, honestly believes in these fables. That means that the leader of the Catholic world, who is a Christian theologian in his own right, did not make the effort to study the history of other religions. Why did he utter these words in public? And why now?There is no escape from viewing them against the background of the new Crusade of Bush and his evangelist supporters, with his slogans of "Islamofascism" and the "global war on terror" - when "terrorism" has become a synonym for Muslims. For Bush's handlers, this is a cynical attempt to justify the domination of the world's oil resources. Not for the first time in history, a religious robe is spread to cover the nakedness of economic interests; not for the first time, a robbers' expedition becomes a Crusade.The speech of the Pope blends into this effort. Who can foretell the dire consequences?
Uri Avnery is an Israeli author and activist. He is the head of the Israeli peace movement, "Gush Shalom". http://zope.gush-shalom.org/home/en
Saturday, September 23, 2006
Satta Massa Gana
Abyssinians classic "Satta Massa Gana" recorded in 1969 at Studio One.
The riddim is something from outta this world, it reaches the listener's inside and takes I and I soul somewhere else. Featured in the legendary Jamaican movie "Rockers," Abyssinians song is a real tribute to Jah Rastafari by being a I-ly high musical anthem created by man praising its creator. Other artist inspired by the riddim are Glen Washington with "They Say Love," Norris Man with "Hail Jah Jah," Sizzla with "One Way" and Capleton with "Raggy Road" among many. Glen's voice is husky and soothing the soul as usual with solid lyrics and Norris Man, Sizzla and Capleton keep I and I alert with their trademark upbeat yet melodiful delivery.
A good resource fi hear all versions of the anthem is this CD.
Give thanks to Abyssinians and all Satta artists for enabling us to medidate with this high riddim! Satta Massa Gana !!
http://www.jamaicaobserver.com/lifestyle/html/20030308T200000-0500_40783_OBS_SATTA_MASSA_GANA__THE_MAKING_OF_AN_ANTHEM.asp
Satta Massa Gana: The making of an anthem
HOWARD CAMPBELL, Observer writer
Sunday, March 09, 2003
Jamaican Observer
The original Abyssinians (from left): Donald Manning, Lynford Manning and Bernard Collins. (Photo: Heartbeat Records) |
Contrary to popular belief, One Love, the calling card for the Jamaica Tourist Board and the British Broadcasting Corporation's (BBC) Song of the 20th Century, is not reggae's anthem. Pride of place goes to a less heralded song, The Abyssinians' Satta Massa Gana, a song with roots steeped in inner-city Trench Town where roots-reggae had its genesis during the 1960s.
Satta Massa Gana was first recorded as Far, Far Land by the roots trio in 1969 at producer Clement Dodd's Studio One. Because Dodd believed it would never be a commercial success, the song was never released until two years later when The Abyssinians put it out on their Clinch label. Its vision of a paradise for persons of African descent had a bearing on many youth in Jamaica, who had embraced the Black Power movement that was then sweeping the United States and other Caribbean territories.
Bernard Collins (right) and his version of The Abyssinians (file photo) |
Written by Bernard Collins and Donald Manning, Satta Massa Gana is recognised by most as reggae's unofficial anthem. It is one of the most covered songs in Jamaican popular music, and has been sampled by many of contemporary reggae's producers.
The stories about Satta Massa Gana's origins vary. But one thing is for sure, it was co-written by Collins and Manning, two men who had found Rastafari in Trench Town, an expanse of shacks that was home to mostly migrants from rural Jamaica.
Leroy Sibbles |
It was where Donald Manning first met Collins. Born in 1940, Manning had been a groom at the racetrack in the 1950s while Collins, eight years his junior, was an amateur cyclist who competed in events at Race Course (now National Heroes Park).
In the liner notes to Satta Massagana, the 1993 Heartbeat Records album, Manning said he and Collins were introduced by a mutual friend in the early 1960s. He recalled that they shared an interest in spirituality and music, and attended many Rasta meetings in Trench Town and Rockfort where they jammed on drums with elders like Mortimo Planno and Count Ossie.
At the time, Manning and his three brothers were regulars at the Ethiopian Orthodox Church; through friends in Ethiopia, Manning studied books on that country's culture and Amharic language, the base of the song that would make him famous.
"One night I start play my guitar and I hear Bernard sing, 'there is a land, far, far away'. I start sing with him too, I ran up to my house and got a pen and wrote the words to the song and Satta Massa Gana (Amharic for 'give thanks') came about that same night," Manning told Heartbeat's Chris Wilson.
With song written, Manning and Collins sought a third member for the group they formed and called The Abyssinians. Their first choice was another Trench Town resident, a student, but because of studies he was unable to attend rehearsals; Manning then enlisted his younger brother Lynford and The Abyssinians was born.
Lynford Manning was no stranger to success. He was formerly a member of Carlton and The Shoes, a group headed by another Manning brother, Carlton. They had a massive hit at Studio One with Love Me Forever in 1968.
In a July, 1997 interview with the Observer, Collins said the trio went to Studio One where they paid for studio time and recorded Far, Far Land, the original version of Satta Massa Gana. "The song came out as Far, Far Land but it neva mek no headway until wi version the song in 1970-71 and mi gi it name Satta Massa Gana...the song tek off from dey so."
Re-released in 1971 with a new title on the Clinch label, Satta Massa Gana, built around Collins' piercing vocal and the Manning brothers' haunting harmonies, was a sensation.
Once it took off, Dodd reportedly jumped on the bandwagon and released instrumental versions of the song by saxophonist Tommy McCook (Cool It) and keyboardist Jackie Mittoo (Night in Ethiopia). The Abyssinians countered with a deejay edition, the powerful I Pray Thee, by Big Youth, which became a dance favourite.
In 1973, while still enjoying the fruits of the follow-up hit, Declaration of Rights, The Abyssinians recorded two more "Satta" songs: Mabrak, which heard members reading from the Old Testament, and Satta Me Born Yah featuring Collins.
Satta Massa Gana was never a radio-friendly song but it reached the ears of youth fascinated with Rastafari, including a band of middle-class youth who called themselves Third World. The group covered the song for its self-titled debut album in 1976.
Unlike the rush of roots-reggae groups from the 1970s which had, and continue to enjoy success as touring acts throughout Europe, The Abyssinians' career never really left the ground. They recorded the amazing Satta Massagana album (produced by Clive Hunt) in 1976 and Arise for Tuff Gong two years later, but the original group only toured once, in 1988.
The group split the following year shortly after performing at Reggae Sunsplash, differences between Collins and Manning have kept them apart since. Collins has had hits as a solo performer with This Land, recorded in 1978, and in 1999 the Paris-based Tabou Records released his solo album, Last Days, in Europe.
In recent years, Collins has performed with George Henry and Melvin Trusty as The Abyssinians at the popular Heineken Startime shows while Donald Manning has toured with his own version of the band with older brother Carlton as lead singer. Lynford Manning gave up secular music for Christianity shortly after the group's Sunsplash gig in 1989; like Donald, he lives in Miami.
Friday, September 22, 2006
It is always good to see an interest in Rasta and its most potent vehicle, reggae music. I think though, that we should be skeptical of ALL that which is promulgated by the mass media. It is the agent of babylon.As reggae is on the increase in the media, we will hear more watered down music. Artists will no longer sing as they feel, but rather as they are told. We saw the same with Hip-hop culture. Does the music on BET represent black people? No, it is a modern day minstrel show.
In this same way then, is matisyahoo and gwen stefani representing the soul of reggae music? So we see that when a sub-culture is brought into the limelight of the the media, it imediately becomes watered down. Eventually it loses its soul. We see it with skateboarding culture too. I first started skating about 15 years ago. Then it was unpopular and looked down upon, but now there are video games and x-games and nike skate shoes. It is not like it used to be.I still skate, but its hard now. I really have to make a concerted effort to cut through all the corprate crap polluting the industry.
In the same way, dont give up on reggae, but look out for reggae that hasn't lost its soul. After al it is the spirit in the music which makes it what it is. I'm glad to see some recognition of Rastafari and reggea, but don't let (emp)TV ruin our music.
Rasta in Budapest, Hungary!! Eastern Europe!
September 21, 2006 - Volume XIV, Issue 38
Away with Irie Maffia
By Zsuzsa Lukács
IRIE, a patois term used by Rastafarians and Caribbeans to denote acceptance and positivism, is exactly what the ecstatic and vivid Irie Maffia radiate.Their reggae origins give definition to their music without limiting it. It is a little cumbersome to categorize Irie Maffia, due to the band's colorful and multilayered musical and ethnic background.
MC Kemon (MC being the equivalent to the rapper in American hip hop culture), is of Caribbean origin, and thus fluent in patois, the language of reggae. Busha, the band's Hungarian rapper, was one of the pioneers of Magyar rap. MC Columbo learned patois autodidactically, and managed to master the authentic ragga vocals. Lorinc Barabas, the trumpet player, is also a jazz musician. Gaspar Horvath (Jumurjack) and Marton Elo, cofounders of Irie Maffia, along with MC Kemon, engrossed themselves for years in DJ-ing with Love Alliance for years before forming their band. Thus, music has long played an integral role in the members' lives. Horvath writes the songs, Elo did the research and brought the existing members closer to the realm of reggae. Seeing them in concert, and having listened to their CD, Geller, I can truly testify that Irie Maffia's sound is so multi-dimensional, containing so many elements like ragga and dub (a genre of music manipulated and reshaped with sound effects), that it is impossible not to assimilate to their music and take on their vibe.
"The band is a spin-off of R 'N' B , Ska, and Jazz. We are greatly thankful for P.A.S.O, Gimme Shot Crew and Barabás Lörinc Eklektrik, who had a great impact on us all," says Gaspar. Their lyrical themes have some rudiments of traditional Rastafarianism, like references to Jah (God) and Babylon, although this is not a dominating theme.
Their jumpiness, enthusiasm, and dedication stems from the fact that these are a group of friends, who simply play music for the love of it all. Their attitude towards the traditional Jamaican music production is steadfast and unwavering. This is reflected in the production of numerous versions of each song, one of them being solely instrumental. The instrumental versions of songs have a dual purpose, and that is to buttress those reggae lovers who are eager to be given an airing at parties, and it ameliorates the process of giving birth to more and more versions or remixes. This not only popularizes reggae, but also revitalizes it.
This eclectic band found its roots in Jamaica and filled in a gap between reggae, hip hop and jazz, resulting in something rather cathartic.
Its new album, to be released this winter, will spice up things even more, with its own individualistic interpretation of dub.
For those who wish to see Irie Maffia live can do so on Thursday, Sep 28 at 9:30pm on Kisfaludy u. 28, at the New West Balkan.
Thursday, September 21, 2006
Jamaica's National Heros Debate
Of heroes and hypocrisy
Lloyd B Smith
Tuesday, September 19, 2006
Jamaica Observer
Every time a modern-day icon dies in Jamaica these days, there are feverish calls for that individual to be made a National Hero or Heroine. History has shown that such a decision should best be left to future generations who will be better able to assess these people's worth in a dispassionate and non-partisan manner.
Lloyd B Smith |
The passing of cultural icon Louis Bennett-Coverley has once again brought this debate to the fore, and with it a great deal of hypocrisy. There have been repeated calls for her to be added to our pantheon of Jamaican greats with the nation's highest honour in the same way that many groups and people have been calling for reggae icon Bob Marley to be made a National Hero.
My major concern with these calls is that we are still a nation of double standards and a "two-facedness" that belies reason. To begin with, Bob Marley during his heyday was never accepted by the movers and shakers of the Jamaican society, and his music for the most part remained on the periphery of the island's popular culture.
It can be said that if Marley were alive today, he would more than likely be living in exile either in Europe or North America and he would have tremendous difficulty getting one of his songs to be a number one hit in his homeland.
Bob was a ganja smoker who was wont to "big up" the herb in many of his songs and utterances. No doubt, he was the "real revolutionary" and as such must be understood within the context of his own struggles to become somebody in a world where the "bald heads" ruled the roost.
But I find it most ironic that Marley, who openly extolled the virtues of ganja smoking and used the "sacrament" extensively as a means of inspiration and confidence booster, is considered by some a fitting candidate for National Hero, while if a "youthman" is caught with a ganja spliff, he is likely to be fined and or confined! When a Jamaica Tourist Board advertisement invites potential visitors to come to Jamaica and "feel all right", there is the subliminal message in Marley's lyrics of coming to Jamaica where the best sensimilla (herb, marijuana) is to be found and enjoyed. What better way to feel irie. Yeah mon!
If Marley, Garvey and Miss Lou were all alive and living in Jamaica among us, they would not be happy or at ease with what they would have to tolerate |
Miss Lou in real terms died in exile, just like Marcus Garvey. It is no secret that she and her dear husband could not afford to live out their last years in Jamaica, land they loved. And it is evident that were they to have remained here, it would have been difficult for them to get on the social pages of the leading print media as their genre of entertainment would have had great challenges surviving alongside the burgeoning dancehall and eagerly embraced North American hip-hop culture. In the same way that Prime Minister Portia Simpson Miller is being ridiculed because she allegedly has difficulty speaking the Queen's English. Would a Louise Bennett-Coverley coming to her rescue be accommodated or reviled?
I put it to you, dear reader, that before any definitive attempt is made to make Marley a National Hero, then the controversial question of whether or not ganja smoking should be decriminalised needs to be addressed. We all become "italists" and "dreadlocks" when it suits us to take on the "I man" image, especially when we want to relate to the average Jamaican. It becomes "exotic" and "sexy" as well as fashionable to speak patois or dress and behave like Rastafarians, but there is a glass ceiling.
You know, we are such a confused nation thrashing around like a beached whale that desperately wants to get back into the ocean and find its way back home. So we get excited about calling for Marcus Garvey to be exonerated by the United States government while at the same time in his own homeland he is on record as being a miscreant! I daresay that if Marley, Garvey and Miss Lou were all alive and lving in Jamaica among us, they would not be happy or at ease with what they would have to tolerate.
The bottom line is that we need to come to terms with ourselves as a people and for starters we need to cut out the hypocrisy. Jamaica is still a plantocracy and "backra massa" is alive and well. This is what Garvey, Marley and Miss Lou fought against in their own inimitable ways - Garvey through his philosophy and teachings, Marley through his lyrics and Miss Lou through her witty but potent verses. For them to be truly National Heroes/Heroine then the Jamaican people must live out their dreams, not just mock them or, even worse, reject them whether wittingly or unwittingly.
Before we get all caught up with this hero thing, let us get Garvey, Marley and Miss Lou into her educational system so that what they fought and stood for will eventually embed itself into the national psyche.
For now, the only true National Hero for most Jamaicans is Brer Anancy because when all is said and done, "jinnalship", "bandoolooism" and "polititricks" are the order of the day. Marcus Garvey exhorted us to emancipate ourselves from mental slavery, Bob Marley insisted that we must chase those crazy baldheads out of town and Miss Lou wanted us to "tun wi han mek fashion".
Intrinsic in all of this is the empowerment of the Jamaican people who must find themselves if the nation is not to continue on a path of persistent poverty and dependency.
What we need more of now are more everyday heroes and heroines who dare to fashion a Jamaican dream that we can all share.
lo20co@excite.com
Wednesday, September 20, 2006
Ethiopia: Motherland of Civilization in NYT
http://travel2.nytimes.com/2006/09/17/travel/17ethiopia.html?ref=travel?8dpc&pagewanted=all
Ethiopia Opens Its Doors, Slowly
The New York Times
INSIDE the rock-hewn Medhane Alem Church, in the remote mountain town of Lalibela, the late afternoon Mass was drawing to a conclusion. Barely visible through the cavernous gloom, hundreds of white-muslin-wrapped worshipers huddled beside pillars and prostrated themselves on small rugs, kissing the cold stone floor. In the sanctuary, priests and deacons gathered around tattered Bibles written in Geez, the 2,500-year-old language still used in Ethiopian ritual, chanting prayers that echoed through the vaulted chamber.
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Then the faithful turned as one toward the east, in the direction of Jerusalem. Secreted in an alcove behind a scarlet curtain, forbidden from view to all but a select group of priests and monks, lay a golden cross belonging to the revered King Lalibela, and a replica of the Holy Ark, the wooden box encased in gold that supposedly contained the tablets inscribed with the Ten Commandments.
I had arrived in Lalibela, fortuitously, just before the Feast of the Transfiguration, Aug. 6, a key date in the Orthodox Christian calendar that commemorates Jesus’ appearance in divine form before three of his apostles on Mount Tabor. Within a few minutes, my guide had whisked me to the grandest of King Lalibela’s 11 monolithic churches, chiseled out of a single mass of reddish limestone by royal craftsmen at the end of the 11th and the beginning of the 12th centuries.
In the afternoon drizzle, a group of women — who were not allowed to enter the church, my guide told me in a whispered aside, because they were in the middle of their menstrual cycle — clutched prayer books and bowed repeatedly against the stone facade, strangely mirroring the davening performed by Jews at the Western Wall in Jerusalem. It was another reminder of the deep connections between Judaism and Ethiopian Christianity, which combines belief in the Holy Trinity with some of the myths and the symbols of the Old Testament.
The churches of Lalibela, a dirt-poor mountain village that has remained essentially unchanged for a millennium, constitute the most remarkable part of what Ethiopians call “the historic tour” — a several-day circuit through ancient Christian kingdoms that flourished in the northern highlands beginning in the fourth century A.D. According to legend, Syrian monks crossed the Red Sea then and converted the Aksumite king, Ezana, from paganism to Christianity. Over the following centuries, the Ethiopian Orthodox Church spread throughout the country.
Today, it is widely believed that about half of
For decades, however, access to the historic sites, and to Ethiopia in general, has been subject to the vagaries of politics and war. In the 1970’s and 1980’s, the Soviet-backed Marxist dictatorship known as the Dergue, led by Haile Mengistu Mariam, sealed itself off from the West, while torturing and murdering tens of thousands of opponents and presiding over the catastrophic 1984-85 famine in which one million people died.
After months of fierce fighting, a coalition of rebel forces overthrew President Mengistu in 1991. (He fled into exile in
Over the next seven years, foreigners — mostly humanitarian aid workers, diplomats, journalists and hardy backpackers — trickled into Ethiopia. I visited the country during this period, when I was based in Nairobi as a correspondent, and it was a rewarding but rough experience — driving along bombed-out roads past the burned remains of Soviet tanks, staying in derelict hotels devoid of running water or electricity.
The door slammed shut in 1998, when a territorial dispute between Ethiopia and
In the five relatively calm years since, tourists have returned to Ethiopia. They arrive in a nation that under President Meles Zanawi, the former leader of the guerrilla army that overthrew President Mengistu and who has been in power for 15 years, remains one of the poorest countries on earth.
In Ethiopia, the per capita income is $120 a year;
But under President Zanawi, who has begun to show some dictatorial tendencies of his own, significant development has come to Ethiopia, including mobile phone networks, decent hotels, Internet cafes, reliable electricity, and asphalt roads — phenomena that were unheard of in the outlying provinces a decade ago.
And it is now possible to travel across Ethiopia with some degree of comfort. Abercrombie & Kent, the
But those who want to venture on their own will discover that Ethiopia is reasonably well set up for independent exploring. They will find a proud, if bedraggled country with ruggedly beautiful landscapes and a unique sense of its identity — shaped in part, by Ethiopia’s stubborn refusal to submit to Western colonizers.
I ARRIVED in Addis Ababa, Ethiopia’s 8,000-foot-high capital, on a cold, drizzly afternoon in early August, and flew the next morning in a 52-seat Ethiopian Airlines Fokker to Aksum in Tigray. I remembered Tigray, which I had driven through in 1993, as a bone-dry, high-altitude desert, a land of canyons and chronic food shortages. But this time, at the height of the wet season, the plateau was vibrantly green.
“God has blessed us with two years of plenty of rainfall,” I was told by my guide, Sisay Ymer, a 30-year-old former seminarian who greeted me at the airport.
As we rode into town, I could see terraced fields of teff, the Ethiopian staple — a wheatlike crop used to make the spongy Ethiopian bread, injera — extending across the rolling terrain in every direction.
Aksum is a town of about 47,000 that is just beginning to recover from decades of war and political turbulence. Its decrepit appearance belies its rich history. Nearly 3,000 years ago, Aksum emerged as one of the principal cities of the kingdom of Saba, a prosperous commercial state centered in
The town’s best-known ruins date to the reign of the first Christian king, Ezana, and his successors: a field of dozens of granite obelisks, between 10 and 90 feet high, intricately carved with rune-like geometric shapes. This strange and mystical place, a cemetery for aristocrats and monarchs, is honeycombed with crypts and treasure vaults that lie several dozen feet underground.
The grandest of these stelae, 78 feet high and weighing 160 tons, was carted off to
The stela was cut into three pieces by the Italians to make it easier to transport back to Aksum, and the three immense blocks still lie in a corner of the field, wrapped in their steel and wood shipping materials, while the cash-strapped Ethiopian government keeps delaying its plans to raise the obelisk again.
Just across from the field stands the Church of St. Mary of Zion, a vine-shrouded stone structure built in the 1600’s. The basilica replaced the original fourth-century church — believed to be sub-Saharan Africa’s oldest — which was burned down by an invading Arab army in the 10th century.
Across from the church is the building known simply as the Treasury, whose nondescript appearance hides its key role in Ethiopian Judeo-Christian mythology. Many Ethiopian believers insist that the building houses the original Ark of the Covenant — the gold-leafed wooden box encasing the actual stone tablets delivered by God to Moses on Mount Sinai. (Some Ethiopians insist that the tablets themselves are inside.)
Menelik I, believed by Ethiopian Christians to be the offspring of King Solomon and the Ethiopian Queen of Sheba, is said to have stolen the ark from the First Temple in Jerusalem and brought it to Aksum a thousand years before the birth of Christ.
No one but a single monk is allowed to see the sacred artifact — and few people are permitted to see him — though replicas, known as tabots, are brought out once a year for the Timkat celebration of Christ’s baptism on Jan. 19.
The most revered Aksumite kings were Kaleb and his son Gabremeskal (literally, Slave of the Cross), who spread Christianity from the royal court through the villages of Ethiopia in the sixth century. My guide, Sisay, who was incongruously clad in a bright red jacket and tie, black slacks and shiny black shoes — his official guide’s uniform — led me on foot up a rutted road to the ruins of Kaleb’s palace, at first glance an unimpressive pile of rubble.
Then we descended a stone staircase into a network of subterranean burial chambers, constructed of huge, finely chiseled blocks of granite, that fit together as neatly as the blocks of a Rubik’s cube.
Entering the musty vault, where the monarchs were originally buried, Sisay illuminated the passageways with a thin candle. Fifteen-hundred-year-old carvings of elephants and distinctive Aksumite crosses — formed by four delicately shaped, not-quite-touching petals — were still clearly visible on the granite walls.
Wandering through the ancient burial chamber had evidently moved Sisay deeply. With his eyes closed, swaying back and forth, candlelight flickering against his face, Sisay chanted the Lord’s Prayer in Geez.
After the hymn, we stepped back in the bright sunlight.
“Can you feel this place’s holiness?” he said. “Ethiopian Christianity was born here.”
THE next morning, Sisay woke me early and we set out from my hotel on a hike to the sixth-century Pantaleon Monastery, perched on a hilltop just outside town. King Kaleb spent the last two decades of his life in an ascetic retreat in this monastery, and his bones were eventually interred here.
It was a bright, clear morning: we walked through vibrantly green teff fields, leapt across muddy irrigation ditches, passed the domed Church of St. Michael, built about 10 years ago. We climbed a steep switchback trail hemmed in by cactuslike euphorbia trees.
The monastery, a one-story hut balanced on an outcropping with precipitous drops on all sides, was surrounded by a four-foot-wide ledge that offered panoramic views of the fertile Tigrayan plateau. Sawtoothed mountains rose to the east; to the north, obscured by mist, lay Eritrea.
A wizened, barefoot monk appeared out of nowhere and opened the olive wood door with an iron key, revealing 500-year-old tapestries, and the vault containing the bones of King Kaleb — forbidden to my secular eyes.
Aksum began to decline in the seventh century, and by the 11th century, the Aksum dynasty was gone. In the middle of the 11th century, a new Christian dynasty, the Zagwe, arose in the mountain town of Roha, which later was renamed Lalibela in honor of its most revered king.
According to myth, Lalibela received a vision from angels commanding him to chisel 11 churches out of the soft limestone hills on which the Zagwe capital was built. Over 25 years, master artisans carved both cave churches from vertical cliff faces, and monolithic churches out of bedrock. In 1960,
Lalibela had modernized since the last time I was there. A paved road, constructed in 1998, ran from a new airport terminal to the town, passing through rugged foothills, with jagged massifs in the distance soaring to 12,000 feet.
Gone were the nausea-inducing hairpin turns and perilous rock slides that I’d experienced on the old, unpaved road back in 1993. Several hotels have been built, and the main street winding through the town has been paved — or rather, covered by an uneven layer of stones and cement.
But Lalibela, with a population of about 30,000, still has the look of a destitute mountain village: round, thatched-roof mud huts, called tukuls, clinging to steep slopes; peasant farmers wrapped in homespun white cloth robes; goats and sheep that scatter frantically, bleating in distress, before the rare motorized vehicle.
In this humble setting, King Lalibela’s 900-year-old creations seem all the more extraordinary. The Medhane Alem church, a 37-foot high, red-ocher edifice, has a cavernous interior broken by dozens of finely carved columns, arches and vaults.
Inside, the rituals have remained essentially unchanged since the church was built. As the Mass ended, the scarlet curtain hiding the Holy Ark replica parted, and six priests, swathed in white satin, wearing yellow-fringed caps topped by tiny gold crosses, emerged from the alcove and headed toward the altar, which, unlike in most Roman Catholic churches, is in the center of the church. They carried urns filled with holy water and poured drops into goblets proffered by the beseeching crowd.
One priest bore a six-foot-high silver ceremonial cross; two shook sistrams, bell-like instruments; another thumped rhythmically on a large barrel drum. Two elderly blind women, their eyes milky white, swayed against a pillar, while beside them, a cross-eyed boy wiggled his head back and forth, working himself into a trancelike state.
Amid a crescendo of rhythmic clapping, ululating and chanting, the crowd spilled from the church into the open air. At that moment, thunder exploded nearby and rain fell in torrents, dousing worshipers and filling the gullies in the limestone courtyard.
“You are lucky,” my guide in this area, Berhane, told me. “You have chosen a good day to be here.”
Early the next day, I visited the Church of St. George, named after Ethiopia’s patron saint. Cut in the shape of a perfect cross, it is perhaps the most exquisite of the monolithic structures.
Descending into the encircling trench via a narrow stone staircase, I noticed, in an alcove, a grinning human skull propped atop a jumble of bones. The partly mummified legs and feet reached to the very edge of the crypt.
Deeper in the recess, other skeletons lay prostrate, yellowing skulls, femurs and tibulas intermingled with scraps of clothing. These were remains of five Orthodox Christian pilgrims, Berhane told me, who had trekked to this holy site from Alexandria in the 13th century, and had chosen to be interred in this open-air vault.
“They wanted to spend eternity gazing at the church,” he said. “They didn’t want anything to block the view.”
The next morning, I flew from Lalibela to Gonder, a bustling, ramshackle city of 250,000 in the Amhara-speaking heartland. It served as the center of Ethiopian Christianity from 1635 to 1855, at which point the capital moved to Addis Ababa.
Gonder’s most celebrated monarch, Fasilidas, constructed an elaborate stone castle — a fusion of Moorish, Portuguese, Ottoman and Moghul architectural styles — on the outskirts, and his successors added their own edifices over the following century.
The ruined castle complex, surrounded by a crumbling stone wall, contains such oddities as sauna baths and a dozen lion cages. Ethiopia’s rulers kept lions here until 1991, when the Dergue abandoned the city and left the animals to starve to death. Rebels managed to save two of them, and sent them to a zoo in Addis Ababa.
Across town from the castle complex is Gonder’s other main attraction: the Debre Birhan Selassie church, constructed in 1674. A local artist at the time covered the small interior with brightly painted frescoes, recently renovated by Unesco, that depict scenes of the life of Christ, St. George and the Dragon, Daniel in the lion’s den, the beheading of John the Baptist, and the Devil and the damned. (Unbelievers, demons, and other unsavory types were painted in one-eyed profile.) Hundreds of beatifically smiling angels adorn the ceiling, each one painted with a subtly different expression.
Gonder is also the cradle of traditional Ethiopian music, and I spent my last evening at an intimate bar called Ambasel, drinking beer and listening to a local band — a female singer, a drummer and a masinko player, whose one-stringed instrument is made of goat hide stretched taut over a box-like frame. Sewbesaw Zebene, my latest guide, translated the vocalist’s energetic Amharic song, a welcome to “the American writer” and a plea to spread the word about Ethiopia.
“Tell the world that Ethiopia is a safe place,” she sang, “The wars are over.”
Sewbesaw took a sip from his beer and told me he wasn’t so sure. That very week, he pointed out, Ethiopian troops had entered neighboring
“The region is so unstable, every 5 or 10 years there’s a disruption — famine, war, and now, Somalia,” he said. “It makes us fear that tourism here is not sustainable. We worry how long it will last.”
For now, at least, the ancient Christian route is open and thriving. But in this long-embattled land in the Horn of Africa, one can never plan too far in advance.
VISITOR INFORMATION
Ethiopian Airlines (800-445-2733; www.flyethiopian.com) flies four times a week from Dulles Airport near Washington to Addis Ababa, the capital, with a stop in
Ethiopian teams with Continental to fly to Addis Ababa from
Ethiopian’s domestic service has improved greatly over the last decade. A fleet of turboprops does a daily Addis Ababa-Gonder-Lalibela-Aksum circuit. Flights are sometimes canceled because of rough weather during the rainy season (June to September), but the service is generally reliable, and the whole circuit costs around $400. You can book domestic Ethiopian flights in the
Tourist visas cost $40 for United States citizens and can be purchased on arrival at Bole International Airport in Addis Ababa. See www.ethiopianembassy.org for details.
The amenities outside the capital are getting better, but they’re still pretty spartan. You’ll find a handful of decent hotels on the ancient Christian route; restaurants, except those in the best hotels, tend to be holes-in-the-wall, serving traditional Ethiopian food (typically injera and tibs, or spicy goat), spaghetti and not much else.
WHERE TO STAY
At these places, pricing can be in either dollars or birrs (it’s about 9 birrs to the dollar), but dollars are accepted.
In Addis Ababa, the Sheraton Addis (Taitu Street; 27-11-5171717; www.luxurycollection.com/addis), which opened half a dozen years ago, is the preferred destination of the upmarket tourist crowd. It has 293 rooms and suites, a sauna, 5 restaurants, 6 bars and outdoor swimming. Rooms start at $310.
The Hilton Addis Ababa (Menelik II Avenue; 251-11-5518400 or 251-11-5170000; www.hilton.com), also very central, has been my hotel of choice over the years. There’s a great Ethiopian coffee bar in the lobby, a heated pool and pleasant grounds, but this summer two elevators did not work and it seemed a bit rundown. Its 356 rooms start about $130 a night.
In Aksum, the hotel choices are minimal. The best is probably the Remhai Hoteltelecom.net.et), a modern, concrete-block building with 74 rooms on the eastern outskirts; it has satellite television, sporadic Internet service and a decent restaurant. Doubles are $30. (251-34-7753210; e-mail: remhot@
The alternative is the Yeha Hotel (251-34-7752377), part of the government-owned Ghion Hotel chain (251-11-5513222; www.ghionhotel.com.et). It is a pleasant place near the stelae, with 63 rooms, a good restaurant and that necessity in rural Ethiopia, a stand-by generator. Doubles begin at $40.
In Lalibela, by far the best choice is another Ghion property, the Roha Hotel (251-33-3360009). Situated about a mile outside the center of town, it is beautifully decorated with artifacts inspired by the rock-hewn churches. The Roha has 64 rooms, a friendly staff and an excellent restaurant. It costs $40 for a double.
In Gonder, the best hotel is the Goha Hotel (251-58-1110634), another part of the Ghion chain. Set on a hilltop with magnificent views of Gonder and the mountainous countryside, it has 65 rooms and a good restaurant. Doubles are $40.
Probably the best alternative is the recently built Kapra Walia Inn (251-58-1120315). Within walking distance of downtown, it has three dozen rooms, with doubles for $27, and an Internet cafe.
Just down the street from the Kapra Walia is the similarly priced Fogera Hotel (251-58-1116673), with a dozen rooms; doubles from $25. Unlike the Kapra Walia, it serves meals, though the food is mediocre at best.
Ambasel, on Gonder’s main road, in the Piazza neighborhood, offers traditional Ethiopian music every night in an intimate setting. As long as you don’t mind being serenaded by the band, and attracting the amused attention of the rest of the clientele, the bar makes for a great evening out.
GUIDES
In Aksum, Sisay Ymer was well informed and reliable. He should be booked in advance, especially for the tourist season, from December to February, at 251-34-7751501 or by e-mail at dnsisay@yahoo.com. His rate is about $40 a day, but negotiable.
In Gonder, Sewbesaw Zebene (251-91-8770214 or 251-91-1827171; e-mail: sbsgdq@yahoo.com) charges around $100 a day.
Abercrombie & Kent (800-554-7016, www.abercrombiekent.com) offers nine-day tours, “Ethiopia: An Ancient Dynasty,” for $2,995 to $3,255 a person, double occupancy, not including air fare.
JOSHUA HAMMER, a former correspondent in Africa for Newsweek, is the author of “Yokohama Burning,” published this month by Simon & Schuster.
Latest Discovery from Motherland of Civilization
By Pallab Ghosh Science correspondent, BBC News, Addis Ababa |
Inside a solitary figure is cleaning up a 3.3-million-year-old skull.
Dr Zeresenay Alemseged has spent five years removing sandstone, grain by grain, from his precious find.
Illuminated by a single focussed beam of light, this is intricate, delicate work: one mistake and crucial scientific detail could be lost forever.
Alemseged showed me that what has emerged are the delicate features of a creature that was part ape and part human.
"What you have here is the backbone and the thoracic and all the ribs, the shoulder blades the collar bones. But in addition, what you have here is a compete face and the sandstone impression of the brain of a 3.3-million-year-old infant."
Early sound
Six years ago Alemseged set off toward the north-eastern deserts of Ethiopia. Working in the blistering heat, his team discovered what he thought was the skull of a creature that was one of the first apes to have walked on two feet.
Unable to contain his excitement, the scientist called his friend Tefera Ghedamu.
| HUMAN EVOLUTION Different fossil in the 'human story' have been found Not all will be a direct line to our Homo group Scarce and fragmentary finds complicate the story Scientists expect many more discoveries in Africa |
Alemseged had found the most complete skeleton to date of a species called Australopithecus afarensis , thought to be an important pre-cursor to the first true humans.
Not only was it in a fantastic state of preservation but the specimen was that of an infant. This combination makes the find a gold mine for those studying human evolution.
It will now be available for other specialists to study; but already Alemseged has made a number of startling discoveries. Although the baby afarensis toddled on two feet like a human child, it also had many important ape-like features.
"The shoulder blades are very gorilla-like and it may ignite old questions about whether afarensis could climb trees or not. But what was really exciting was to find the tongue bone. We will, based on this bone, be able to understand what the voice box was like and about the kind of sound this creature made," he explains.
Initial thoughts suggest the bone is ape-like and that the creature probably sounded like a chimp.
'On the cusp'
What really excites Alemseged, however, is his study of the ape-girl's brain.
He believes it is still developing. Slow and gradual development in an extended childhood is a uniquely human feature - probably to enable our higher functions to fully develop.
So, according to Alemseged, this infant and her like may have been the first to show real human-like characteristics
The creature is the latest of many recent fossil finds important to the understanding of human evolution - the most famous of which was the first Australopithecus afarensis specimen - and adult nicknamed "Lucy" - in 1974.
It has prompted the Ethiopia's culture minister, Mahmud Dirr Gade, to invite more scientists to come to the African nation to help unearth humankind's origins.
"We welcome researchers to delve into the secrets and mystery of the creation of man in Ethiopia; the 'home of humanity'," he tells me.
Home grown
Zeresenay Alemseged is the first Ethiopian to lead a research team that has made such an important discovery.
He is a bright young scientist who has studied in the US and Europe and is currently attached to the Max Planck Institute for Evolutionary Anthropology in Leipzig, Germany.
So, according to Tefera Ghedamu, it is especially remarkable that an outsider like Alemseged has worked his way up and to win the respect of the scientific community - and the pride of his nation.
"From my angle, from an ordinary Ethiopian's point of view, they think it is quite a heritage. They are proud that the discovery has been made in Ethiopia and they are proud that it's been made by one of their own," he says.
Tuesday, September 19, 2006
Rasta on hunger strike in USA
BU student on hunger strike over dietary demands
'I refuse to be force-fed the meal plan anymore'
Press & Sun-Bulletin
Thursday September 14, 2006
by Liz Hacken
Binghamton University student Aaron Kohn Akaberi, 20, enters the ninth day of a hunger strike today protesting the university meal plan's inability to cater to his Rastafarian beliefs. Behind Akaberi at left is the Mountainview College dining hall in the Appalachian Collegiate Center. At right is Marcy Hall, where Akaberi resides.
VESTAL -- A Binghamton University student is entering the ninth day of a hunger strike because he says BU's compromise to meet his religious dietary restrictions made it less convenient to grab a meal.
"It seemed like poetic irony," said Aaron Kohn Akaberi, 20, about his decision to go without food in protest. "I refuse to be force-fed the meal plan anymore."
University officials say they work with students with special diets to make sure their needs are met.
Akaberi, of South Setauket, Long Island, has followed Rastafarianism since this summer. The religion says its members should follow the ital diet of all-organic foods. The diet is up to individual interpretation, Akaberi said, but he won't eat food with any preservatives or any that's cooked on metallic surfaces.
Before coming to campus last month, Akaberi said he contacted Sodexho, the company that provides food service for BU. The company offered a compromise in which he could call ahead for special meals to be prepared when dining halls are open and have a cook at its late-night cafeteria prepare foods meeting the ital diet. But Akaberi said that chef hasn't been available when he has visited the cafeteria since the beginning of the semester.
"If they could provide the same meal structure they provide for all other students, I'd be willing to see what they have to offer," he said.
Akaberi has kept his hunger strike mostly to himself and hasn't done any public protesting. Since going on strike, he has lost more than 13 pounds -- down to 130.2 from 143.6 -- he said, sustaining himself on only a multivitamin each day and some water.
BU requires students who live in residence halls to have a university meal plan, said spokeswoman Gail Glover. Sodexho offers organic food and has dietitians on staff to work with students to provide their special-needs meals. In the more than 20 years the company has provided BU's food services, she said, the company always has been able to meet students' needs.
"Sodexho makes every effort to work within the meal plans to accommodate students with special dietary needs," Glover said.
But Akaberi, who is running for president of his residence hall, said he won't move off campus, especially since his building has a kitchen where students can cook for themselves without the meal plan.
Akaberi's parents support their son standing up for himself, but they were frightened by a call from the BU administration on Wednesday saying they could withdraw their son from school for medical reasons. They didn't know Aaron was on the strike before hearing from BU.
"This is something where all students should have a choice," said his mother, Gail Kohn. "This is one thing they should consider changing."
"We support what he's doing, not just because he's our son; we support him because he is right," said his father, Khosrow Akaberi.
Glover would not comment specifically on Akaberi's case, citing federal student-privacy laws, but said there is a provision in the university's policies where a student can be involuntarily withdrawn without penalty.
The process begins with recommendations from the university health service medical director or counseling center director. Then the associate vice president and dean of students decide whether to act. Students who are involuntarily withdrawn are not readmitted without a recommendation from either the university health service medical director or counseling center director.
Akaberi, a second-semester student who transferred from the U.S. Air Force Academy in Colorado, said he is prepared to continue his hunger strike "indefinitely" if necessary. He said a feeling of intense hunger was replaced by a sluggish feeling. But on day eight Wednesday, he said he'd gotten renewed energy.
"This second wind emboldened my conviction," he said. "Every time the hunger pain comes back, it's a reminder of the sacrifice I'm making."
Joseph Hill in Zion
Culture's train bound to glory - PM
By Basil Walters Sunday Observer staff reporter
Sunday, September 10, 2006
Prime Minister Portia Simpson Miller yesterday promised to live up to the expectations of late reggae stalwart Joseph 'Culture' Hill, who some years ago in an interview on one of his overseas tours predicted that Jamaica would have a woman prime minister.
"I am humbled by even the thought that I've been called to that service affording the opportunity to the first of such women," said Simpson Miller at a celebratory service for the life and work of the reggae icon who died suddenly on August 19, while on a tour of Germany.
The service, which was held at the Emmanuel Apostolic Church, 12 Slipe Road, Kingston, was largely attended by members of the Rastafari community and the entertainment fraternity.
Among the mourners were Desmond Young, the president of the Jamaica Federation of Musicians; Wykeham McNeil, the junior minister in the Ministry of Culture and Tourism; and Senator Dwight Nelson, the Opposition spokesman on culture who read the third lesson.
"I am pleased that you (Joseph) lived to see your desire come to pass, to see your word come to pass," the prime minister said to rousing applause. "Rest assured, Joseph... I'll do all that is in my powers to live up to your expectations," she added to shouts of hallelujah and more cheers. "Your message of liberation will remain in our heads, your sweet harmony will linger in our hearts. Joseph, your train is bound for glory, rest well..."
She received a standing ovation.
Simpson Miller was preceded by Dennis Wright, who headed the Planning Committee for the farewell events celebrating the life of Culture. Wright called for a commission to recognise the works entertainers do in the promotion of Jamaica.
"The best advertising we could ever get is through our artistes touring the world and selling our music and culture," Wright said, adding, "we need the Government and the private sector to show more respect to our artistes, musicians and people in the field of entertainment."
Ras Astor Black from the Jamaica Alliance Movement evoked a measure of Rastafarianism into the proceedings by inviting all Rastafarians to stand as he reminded the congregation that Hill's Culture was to give praise to the late Ethiopian emperor Haile Selassie.
A tribute from the singer's family was read by his sister Erica Hill-Myers who remembered her brother as a kind, loving, hardworking and spiritual man who was supported by a strong woman, his widow Pauline.
Veteran broadcaster Neville Willoughby gave a tribute from the media and highlighted the positive message in Culture's music. The head of Ras Records, Gary Himelfarb, said that Joseph Hill saw life from a unique perspective and shared his vision with the world.
There were musical items from Dean Fraser, Lloyd Parkes, and the Bethel Mass Choir.
Freddie McGregor documentary
McGregor documentary premieres in Trinidad
Trinidad Express
by Deborah John
Friday, September 1st 2006
Freddie McGregor in T&T.
Following three successful screenings of Freddie McGregor's docu-trip, Freddie's First - Where Reggae Meets Soca, in New York and Jamaica, the much anticipated film will make its Trinidad debut at Courtyard Marriott, Invaders Bay, Audrey Jeffers Highway, Port of Spain, this at 6 p.m.
Produced by Funsation4's Rhea Smith and Dahya Pix's Lonai Mosley, Freddie's First - When Reggae Meets Soca, a reality based, cultural, docu-trip, narrated by the 40-year Reggae music veteran, highlights the differences and similarities in culture, history, music styles and carnival traditions between Jamaica and Trinidad and Tobago in an effort to educate the viewer and unify the two islands.
For this historical occasion, Funsation4/Dahya Pix has planned an exclusive Hollywood style reception and film screening to include a special appearance by Reggae's Cultural Ambassador Freddie McGregor O.D, a performance by Single Pan Band of Trinidad and Tobago (SIPABATT) and the announcement of their community related Caribbean HIV youth initiative - Bridging the Gap in Trinidad and Jamaica
According to Smith: "Bridging the Gap Caribbean HIV Youth Initiative is a community "give back" and collaborative project developed by Funsation4/Dahya Pix and the Archdeaconries of Brooklyn & Queens HIV/AIDS Ministry whose goal is to "bridge the gap" between international companies based in the Caribbean and local HIV organisations, like Trinidad's Cyril Ross Nursery and Jamaica's Dare to Care, by funding, supporting and strengthening HIV programmes and outreach in an effort to combat the HIV/AIDS epidemic throughout the Caribbean".
Here is some more about McGregor:
Freddie McGregor is one of reggae's most durable and soulful singers, with an incredibly steady career that started all the way back in the '60s, when he was just seven years old.
Since then, he's spanned nearly every stylistic shift in Jamaican music, from ska and rocksteady to Rastafarian roots reggae to lovers' rock (his particular specialty) to dabblings in dancehall, ragga, and dub.
Not just a singer, he wrote some of his own material, and grew into an accomplished producer as well.
McGregor's heyday was the early '80s, when he released several high-quality albums and reached the peak of his popularity in Jamaica and England. However, he remained a strong presence on the reggae scene well into the new millennium.
In 1975, McGregor converted to Rastafarianism (Twelve Tribes of Israel), which had a profound impact on his music. Still with Studio One and working with Earl "Chinna" Smith, he recorded the classics "Rastaman Camp" and "I Am a Rasta" right off the bat, and followed them with a string of singles that substantially raised his profile in Jamaica: "Mark of the Beast", "Sergeant Brown," "Jogging", "Natural Collie", "Zion Chant", "Walls of Jericho", "Africa Here I Come", "Come Now Sister", and "Bobby Bobylon" among them. He issued his first album, Mr McGregor, in 1977, under the auspices of producer Niney the Observer. Returning to Studio One, he offered his first LP for the label in 1980 with the classic Bobby Bobylon, which featured a mixture of new material and reworkings of older singles. The album was a smash hit in Jamaica, establishing McGregor as a budding star, and revitalising Coxsone Dodd's production career. Around the same time, he started producing and arranging for other artists, most notably on Judy Mowatt's solo debut, Black Woman; he also worked with Johnny Osbourne and Jennifer Lara.
In 1981, McGregor scored a huge hit single with "Big Ship", which catapulted him to the front rank of reggae stars in the immediate post-Marley era, along with Dennis Brown and Gregory Isaacs.
His next LP arrived in 1982, also titled Big Ship, and featured production by Linval Thompson and musical backing by the Roots Radics.
It too was highly successful, both creatively and commercially. Signing with Ras for 1983's Come On Over, McGregor extended his creative hot streak to an international audience, making a name for himself in the UK and US.
His 1984 follow-up Across the Border contained his hit reggae cover of "Guantanamera." Continuing in this crossover vein, in hopes of surviving amid the dancehall revolution, McGregor released All in the Same Boat in 1986; it produced a major hit in "Push Come to Shove", which became his first UK chart entry.
He sparked the interest of Polydor Records, and found further UK success with "That Girl" and a cover of the Main Ingredient's "Just Don't Want to Be Lonely," which made the UK Top Ten in 1987.
McGregor's relationship with Polydor proved short-lived, however, and he formed his own label, Big Ship, in 1989.
The first release was an all-covers LP called Jamaican Classics, which was so well-received that he quickly recorded a second volume (and, eventually, a third in 1996). 1991's Now also featured several covers, and 1993's Legit was an equal-time collaboration with Dennis Brown and Cocoa Tea.
Also in 1993, he had a hit with his lover's rock cover of Justin Hinds' "Carry Go Bring Come." 1994's Push On provided much of the foundation for what many would call his finest outside production work, Luciano's 1995 After All album (which featured the major hit "Shake It Up Tonight").
Also in 1995, McGregor issued his own Forever My Love, one of his more sentimental offerings.
After slowing his pace i n the late '90s, McGregor returned in 2000 with the acclaimed Signature, which restored his typical balance of roots reggae and lovers rock with touches of dancehall.
He followed it two years later with a similarly well-received album, the Grammy-nominated Anything for You.
Reggae/Rasta culture taking over
Reggae resurgence
SOUNDS OF JAMAICA CONTINUE TO INSPIRE MASSES WORLDWIDE
Poughkeepsie Journal
Gannett News Service
September 1, 2006
Walk through any mall and you'll see stores filled with racks of clothes in the red, green and gold of Jamaica. Stroll through any college campus and you may hear the sounds of Bob Marley's "Legend" drifting from the dorms. Even Southern California diva Gwen Stefani is modeling the logo of her L.A.M.B. clothing line after the Lion of Judah, a symbol of Rastafarianism.
"(Reggae) resonates at the core of the human soul. The message, the sound, the beat of reggae, it vibrates the spirit," says Marley's son Ziggy, who has a new album out, "Love Is My Religion," and who is currently on tour.
Unwavering popularity
Reggae never really went away. But 25 years after Marley's death, it's cool again in America, thanks to a new generation of performers who are using Marley's rasta rhythms and "one love" philosophy as a springboard for fresh sounds.
"I realized reggae was hot again when I started noticing (reggae label) Studio One recordings from the '60s being used in commercials," says Chris Wilson, vice president of A&R for Heartbeat Records, a reggae reissue label.
No reggae musician has matched Marley's influence, but Ziggy has picked up his father's musical mantle, recording such roots-reggae tunes as "Tomorrow People" and "Conscious Party" with his siblings' band the Melody Makers. His second solo album, "Love Is My Religion," blends reggae with acoustic and world-beat touches.
Also riding the crest of the U.S. reggae resurgence is Matisyahu, a self-styled "Hasidic reggae superstar" whose smash albums "Live at Stubb's" and "Youth," which debuted at No. 4 on the Billboard 200 album chart in March, have led to a nonstop tour schedule, videos in regular rotation on MTV and performances on "The Late Show with David Letterman" and other mainstream shows.
"It always seems like there was some reggae singer who was scoring hits, UB40 or Shaggy or someone," says Matisyahu.
He uses the dancehall sound, a hip-hop-reggae hybrid, for the basis of Hebrew rhymes, rapping over a faster, bass-heavy reggae beat, called toasting.
Dancehall daze
Since Marley's death, reggae hits have generally been from dancehall stars, rather than roots-reggae singers like Marley.
"I used to listen to (dancehall star) Sizzla when I was younger," Matisyahu says. "He was singing about Rastafarianism, black supremacy, Emperor Selassie being God — these are things that I have absolutely no connection with. But still I found a connection with the music, it still spoke to me and inspired my sound."
Shabba Ranks was the first dancehall star to cross over in the United States, scoring numerous hits in the early '90s, including "Mr. Loverman." Since then Shaggy and Sean Paul have topped the charts with their dancehall beats.
"The kids listening to this music don't always realize that it's reggae," says Wilson of Heartbeat Records. "My neighbors were talking about this great rapper named Sean Paul, but his sound is clearly reggae."