Reggae Legend Lucky Dube Shot Dead Today In Johannesburg, South Africa

18 October 2007 11:38

Reggae musician Lucky Dube was shot dead in a hijacking on Thursday in
Rosettenville, Johannesburg police said.

Captain Cheryl Engelbrecht said the incident took place at about 8.20pm
when Dube (43) was driving a blue Volkswagen Polo in the Johannesburg
suburb.

She said Dube was dropping off his son in the area when he was
attacked. "His son was already out of the car. When he saw what was
happening, he ran to ask for help."

The hijackers were still at large. The boy was too traumatised to
provide police with any information, Engelbrecht said.

Dube, born in Johannesburg on August 3 1964, was named "Lucky" as he
was born in poor health and doctors thought he would die, according to
Wikipedia. But Dube survived and went on to become a front-line artist
in the reggae genre. However, the singer's website, Luckydubemusic.com,
says: "Giving birth to a boy was considered a blessing and his mother
considered his birth so fortunate that she aptly named him Lucky."

He recorded more than 20 albums in his music career, which spanned more
than 20 years, according to Luckydubemusic.com. His albums include
Rastas Never Die, Think about the Children, Soul Taker and Trinity. His
latest, released in 2006, is called Respect.

The build-up to this international success, though, started in 1982
with the release of Kudala Ngikuncenga, an album that was not reggae
but mbaqanga, a genre that was to serve him well for four more albums
until his transition to reggae in 1985.

"The change was brought about by the fact that I wanted to reach the
world. With mbaqanga I would have been seen as a tourist musician," he
told the Mail & Guardian in an interview in 2001.

"Don't waste your time and mine," a concert promoter told Richard
Siluma, Dube's producer at the time. "No one wants to hear reggae."

By 1987, Dube was the sole reggae star among South African "disco" acts
and established music acts such as Brenda Fassie, Stimela and the Soul
Brothers.

His introduction to the international stage was heartening, such as
when he was invited to play at the Sunsplash Festival in Jamaica in
1991. He recalled how the spiritual home of reggae had been waiting for
him and his band. "We knew they love the music. They said we remind
them of Peter Tosh." On the final evening of the festival they were
called back for an encore -- and for another performance the next year.

The reggae sensation, who did not drink or smoke cigarettes or
marijuana, despite the association of the substance with Rastafarians,
had won more than 20 awards for his music contribution locally and
internationally. He is the only South African artist to have a record
signed to Motown Records, according to Luckydubemusic.com.

His reception on the international stage had been mixed, however.
European audiences had argued that he sang world music and local
audiences felt his music had changed to an extent that it flew over
them.

This did not seem to bother him. "We have found that locally the
audience does not grow with you. People expect me to still be doing
Ayobayo, yet that was 1987 and this is 2001," he said in the M&G
interview.

Dube always had to fend off questions of whether he was Rastafarian.
"If Rastafarianism is about having dreadlocks, smoking marijuana and
believing that Haile Selassie is God, then I am not Rastafarian. But if
it is about political, social and personal consciousness, then, yes, I
am," he said.

Although his idol was Peter Tosh, he acknowledged the unshakeable
influence of the king of reggae, Bob Marley, whom he described as "the
reason we know reggae".

Lucky Dube

Lucky Philip Dube (pronounced doo-bay)^[1] (August 3, 1964 — October 18, 2007) was a South African reggae musician. His mother named him Lucky because he was born in poor health, yet survived. He recorded 21 albums in Zulu, English and Afrikaans in a 25 year period^[2] and was South Africa's biggest selling reggae artist.^[3] Dube was murdered, in front of his children,^[3] by several hijackers in the Johannesburg suburb of Rosettenville on the evening of 18 October 2007.^[4][2]

Biography

Early Life

Luck Dube was born in Ermelo, then in the Eastern Transvaal, now Mpumalanga. His parents separated before his birth and he was raised by his mother, Sarah. Along with his two siblings, Thandi and Patrick, Dube spent much of his childhood with his grandmother, while his mother relocated to work. As with many African families during the Apartheid era, Dube grew up in poverty.^[5]

As a child Dube worked as a gardener but, realizing that he wasn't earning enough to feed his family, he began to attend school. There he joined a choir and, with some friends, formed his first musical ensemble, called The Skyway Band.^[5] While at school he discovered the Rastafari movement, however he abstained from drinking alcohol, or smoking cigarettes or marijuana; a practice he continued through the rest of his life.^[1]

Beginning of his musical career

At the age of 18 Dube joined his cousin's band, The Love Brothers, playing traditional Zulu music known as mbaqanga. The band signed with Tear Records, which became Gallo Record Company. Though Dube was still at school, the band recorded material in Johannesburg during his school holidays. The resultant album was released under the name Lucky Dube and the Supersoul. The second album was released soon afterwards, and this time Dube wrote some of the lyrics in addition to singing. Around this time he also began to learn English.^[5]

[edit] Moving into reggae

On the release of his fifth Mbaqanga album, Dave Segal (who became Dube's sound engineer) encouraged him to drop the "Supersoul" element of the name. All subsequent albums were recorded as Lucky Dube. At this time Dube began to note fans were responding positively to some reggae songs he played during live concerts. Moreover, he felt the socio-political messages associated with Jamaican reggae were relevant to a South African audience.

He decided to try the new musical genre and, in 1984, released the mini album Rastas Never Die. The record sold poorly - around 4000 units - in comparison to the 30000 units his mbaqanga records would sell. However, not discouraged he continued to perform the reggae tracks live and wrote and produced a second reggae album. Think About The Children (1985) reached platinum status and established Dube as a popular reggae artist in South Africa, in addition to attracting attention outside his homeland.^[5]

Commercial and critical success

Dube continued to release commercially successful albums. In 1989 he won four OKTV AwardsPrisoner, won another for Captured Live the following year and yet another two for House Of Exile the year after.^[6] In 1995 he earned a worldwide recording contract with Motown. His album Trinity was the first release on Tabu Records after Motown's acquisition of the label.^[6] for

In 1996 he released a compilation album, Serious Reggae Business, which led to him being named the "Best Selling African Recording Artist" at the World Music Awards and the "International Artist Of The Year" at the Ghana Music Awards. His next three albums each won South African Music Awards.^[6]

Death

On October 18, 2007, Lucky Dube was killed in the the Rosettenville suburb of Johannesburg. Police reports suggest he was shot dead by hijackers.^[2][4][3]

Discography

Mbaqanga Albums

• Lengane Ngeyethu (1981)
• Kudala Ngikuncenga (1982)
• Kukuwe (1983)
• Abathakathi (1984)
• Ngikwethembe Na? (1985)
• Umadakeni (1987)

Afrikaans Albums

• Help My Krap (1986)

Reggae Albums

• Rastas Never Die (1984)
• Think About The Children (1985)
• Slave (1987)
• Together As One (1988)
• Prisoner (1989)
• Captured Live (1990)
• House of Exile (1991)
• Victims (1993)
• Trinity (1995)
• Serious Reggae Business (1996)
• Taxman (1997)
• The Way It Is (1999)
• The Rough Guide To Lucky Dube (compilation) (2001)
• Soul Taker (2001)
• The Other Side (2003)
• Respect (2006)

Reggae in London

Irene Madonko talks to African reggae superstar Lucky Dube.

It’s hard to swallow, but it’s true: there are not that many African reggae artists in the UK. This is despite the fact that a lot of reggae music is about Africa. We spoke to London-based West African reggae musicians Afrikan Simba and Bush Doctor who gave insight into why it’s hard to break into reggae music in the UK. But despite the challenges both men believe that there is still hope for Africans to launch here.

This optimism is shared by South African Lucky Dube, one of the most established reggae musicians to emerge from Africa. The award-winning musician agrees that although there are serious challenges for Africans wanting to get into reggae, it is possible to succeed.

Lucky began his career by singing mbaqanga music in South Africa, and together with the Super Soul band, recorded an album ‘Kudala Ngikuncenga’ as early as 1982. He recorded a few other mbaqanga albums before moving into reggae. His early reggae albums include ‘Think about the Children’. Then he began doling out the hits: his albums ‘Slave’, ‘Prisoner’ and ‘Together As One’ saw him catapult to recognition firstly regionally and then globally. Today, with over 20 albums, several international tours and a growing fan base, Lucky is proof that African reggae superstars do exist. Irene Madonko spoke to him on his recent European tour. Here’s what he feels about the scene:

Irene Madonko : What’s the main message behind reggae music?

Lucky dube : Reggae is not just one message. It is a lot of messages to different people in different situations – reggae is relevant to their situation. For me in South Africa during apartheid it was Peter Tosh. He said ‘Africa is the richest place, but the poorest race.’ Sadly, that is still true.

IM : So you switched over from mbaqanga music to reggae because the latter had a message?




LD : Yes, that is the reason. Also, reggae is found all over the world – even in Japan. This is unlike mbaqanga that is found only in South Africa and a small part of Zimbabwe.

IM : Who were the leading reggae artists in Africa when you launched into reggae?

LD : I didn’t know anyone in Africa at the time. I only knew of Bob Marley, Peter Tosh, Jimmy Cliff, but none from Africa.

IM : Did you not ask yourself why there were no African reggae artists?




LD : I knew why. I saw that in South Africa you could not do reggae, as the then apartheid government didn’t like it. It was scary - even listening to Peter Tosh or Bob Marley as you could disappear if the government caught you listening to it.

IM : But that was in an apartheid country. What about independent African countries like Nigeria, Zimbabwe or Kenya. Why were there no reggae artists from there?




LD : Politicians talk of freedom of speech before they are elected. But once they are in power, it’s different. Even in free states, people cannot sing freely.

IM : Was it relatively easy to launch a career in reggae?




LD : No, it was not easy as the government did not want reggae. As a musician, in order to get a career going you need radio and TV. But I could not access those as everyone was keeping away from reggae. Even record companies knew it was not going to go anywhere. So I used mbaqanga as a platform. We started performing at live shows and talking to people at the shows. The people really liked reggae. Even when we went to the studio to record the first album, we had to trick them: they thought we were going to record a Zulu album but we did reggae instead. The record company got angry and no one talked to us!

IM : So when did you put your foot down and say ‘reggae or nothing’?




LD : We carried on playing mbaqanga and then three or five reggae songs in between. Eventually people started liking reggae and we took some record company executives on road shows and they saw that people liked it and went crazy.The execs were scared but eventually they took it.

IM : Today reggae is not as popular, especially with the young people, some of whom prefer dancehall music and bashment instead.




LD : There’s this thing with reggae all the time: when there is a new music brand, people rush and forget about reggae for a little while, but then they go back to reggae. Reggae is not ‘fashion’ music – it is always there. Some years it’s loved very much, other years not so much because of new styles, but people always come back to reggae.

IM : Do you know any African reggae artists here in London?

LD : No.

IM : What do you think may be the reasons why it is not easy for them to launch their careers and become established musicians?

LD : One of the things that makes it hard for them is that people, even Africans, still believe that good reggae can only come from Jamaica. If you had to put up two posters advertising a reggae show: the first poster announcing that two African reggae artists, for example Alpha Blondy and me, will be performing live together; and then put up another poster of an unknown Jamaican reggae singer performing live, people will flock to the Jamaican one. So we still have to work hard!

IM : Do you see a time when there’ll be more Africa reggae musicians in London?




LD : People love reggae in Africa. They’ll always be new reggae artists. But reggae is not like other music where artists come in just to make money. Reggae takes time. Musicians these days are after money that is what makes them runaway from reggae. And [record] companies say ‘reggae is gonna take time and it won’t make money, why don’t you do RnB or hip hop instead?’

IM : A lot of reggae music is about Africa, yet there are very few African reggae musicians. Any idea why?

LD : This is because Jamaicans see Africa as home. It’s funny how people from Africa want to go to Jamaica and people from Jamaica want to go to Africa. We live in Africa but I have been to Jamaica, so I have seen both worlds. I was recently in Jamaica, where we performed at the opening ceremony for the cricket. The South African ambassador there said she gets letters from people there saying they want to go to live in Africa, especially South Africa!

S African reggae star shot dead

During his career Lucky Dube released 22 albums

The South African reggae musician, Lucky Dube, has been shot dead in front of his children in Johannesburg during an attempted car hijacking.

He had been dropping his teenage son and daughter off in the suburb of Rosettenville on Thursday evening.

Police say they were already out of the car when three shots were fired through a car window killing their father.

One of South Africa's most popular artists, Lucky Dube toured the world singing about social problems.

The BBC's Mpho Lakaje in Johannesburg says the murder reflects the high crime rate in South Africa.

Legend

Our correspondent, at the crash site on Thursday night, said Mr Dube's silver-grey Chrysler was surrounded by a group of investigating officers.

He noticed bloodstains on the seats and shattered windows.

Police said after the shots were fired, the car rolled a few metres down the road and crashed into a tree.

"He was declared dead on the scene," Police inspector Lorrain Van Immareck told the BBC.

She said it was suspected that three people were responsible for the attack.

Earlier this year, Lucky Dube told the BBC how he came by his name.

"When I was born I was sick so they thought I was going to die so they didn't give me a name till I was six months or so... They waited for me to die, but when I didn't die they said, 'Wow, he's a very lucky boy!' So they called me Lucky," he said.

He began his career by singing mbaqanga (traditional Zulu) music and recorded his first album with the Super Soul band in 1982.

He later moved into reggae, producing Rastas Never Die and Think About The Children in 1984.

His albums Slave, Prisoner and Together As One saw him gain first national, and then global, recognition.

Three years ago his 1989 anti-apartheid hit Together as One, which calls for world peace and harmony, was voted one of Africa's top 10 songs by BBC readers and listeners.

Lucky Dube released his most recent album, Respect, in April.

Haile Selassie on show


Abune Theophilos kisses the hand of HIM Haile Selassie I, as a sign of respect and gratitude on the day of his ordination as the second Patriarch of the Ethiopian Orthodox Tewahido Christian church. The Emperor would have kissed the Bible or the patriarch’s hand or cross before that.

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Haile Selassie on show

BY

A rare shot of Haile Selassie, Ethiopia's most well-known Emperor, has surfaced in an exhibition in London.

It shows him being led away by military officials after his fall from grace.

Shemelis Desta, who was court photographer from Haile Selassie's hey day in the 1960s to his fall during a military coup in 1974, smuggled the grainy but poignant image along with thousands of others out of Ethiopia after hiding them from the new military regime - the Derg.

very upset

The shot shows Selassie, who allegedly lived an opulent lifestyle complete with fancy cars, being led to a 'lowly' Volkswagen Bug.

The shot upsets Desta who worked with His Majesty for more than a decade. "He was the King of Kings, 'Father' of the Ethiopian people and they took him in a Volkswagen car. I was very upset, it made me sad," said Desta, who now lives in Hertfordshire.

Desta hid thousands of negatives and photographs in a water tank before paying a diplomat to smuggle them to Britain 20 years ago.

He worked out of an office at the palace and made a photographic record of almost all official occasions often traveling with the Emperor on overseas visits.

Nearly 30 years after Selassie's controversial death, Desta still speaks fondly of his former boss. "His Majesty was very kind. He was very special, King of Kings and a great Emperor. I respected him very much," said Desta who praised the Emperor for building churches and schools. "He was a great man and he didn't deserve that," he said.

After the military coup, the new regime - The Derg - kept him on as the official photographer for eight years until he fled in 1982. He said he went from having one boss to 120 (The Derg had 120 members). "I was not happy at the time. They ordered me to take photographs of their weddings and private functions. I was even forced to use my money to pay for printing material" declared Desta.

Desta is also peeved at attempts to exploit his collection of historic photographs. He told The Voice that shortly after he arrived in Britain Rastafarians approached him for copies for personal use. However, within weeks, his photos of the Emperor were seen on posters and postcards. Desta said he never expected them to cheat him and as a result he's stopped selling photos from his collection.

A selection from that collection is being exhibited at the Photographers Gallery in Leicester Square.

Abune Theophilos kisses the hand of HIM Haile Selassie I, as a sign of respect and gratitude on the day of his ordination as the second Patriarch of the Ethiopian Orthodox Tewahido Christian church. The Emperor would have kissed the Bible or the patriarch's hand or cross before that.

Published: 16 October 2007
Issue: 1291

March 2, 2007

Kingston Journal

Marley’s Ghost to Welcome Fans for Cricket World Cup

By MARC LACEY

KINGSTON, Jamaica — At Bob Marley’s old home in Trench Town, a rough part of this capital city that is far off the tourist route, Benjamin Cole sits in the shade and waits.

When the occasional visitor shows up, Mr. Cole, a Rastafarian who goes by the name Benjie, hops up from his stool and, after a bit of negotiation over the cost of his services, conducts a tour of the “government yard,” or the public housing project that Marley made famous in his hit song “No Woman, No Cry.”

Mr. Cole, 55, who claims to have met Marley when the singer was 12, said on a recent day that he expected that his visitors’ book would fill up fast in March. In fact, all of Kingston is planning for a flood of arrivals as the Caribbean prepares to be the host for the Cricket World Cup, one of the world’s largest sporting events.

Ranking behind the Olympics and World Cup soccer but not much else, the cricket competition is expected to bring tens of thousands of people to the Caribbean in March and April. Jamaica is one of the nine nations that have banded together to serve as the hosts for the matches.

Whether the sites will be as ready as Mr. Cole for the onslaught of outsiders is still unknown. Across the West Indies, a region that plays up its go-slow attitude to tourists, work crews are hustling to revamp stadiums and beautify urban centers in time for the tournament, which begins March 5 with warm-up matches. An opening ceremony is set for March 11, and the tournament runs until the end of April. In a recent assessment, organizers found that only St. Kitts and Nevis had met the Dec. 31 deadline for completing their sites. Other countries have the bulk of the work done but are finishing sewers, electricity supplies and — quite important in this part of the world — air-conditioning systems.

The two biggest concerns are a roof going up over a stadium in Barbados and work on the spectators’ areas at the stadium in Trinidad and Tobago. “We need Trinidad to step up to the plate with every resource in spite of Carnival season,” Donald Lockerbie, who is in charge of stadium construction for the tournament, said in mid-February.

In Jamaica, which will be the host for the opening ceremony as well as four warm-ups, six group matches and a semifinal, a major face-lift is under way. However, few expect the street paving and other renovation work to conceal the fact that the capital, one of the Caribbean’s largest cities, has been crumbling for years.

Organizers say, as Marley once sang, that every little thing is going to be all right. “It has been quite a task to build 12 stadiums, but they are going to be ready in time,” assured Chris Dehring, managing director of the Cricket World Cup organizing committee. Still, he acknowledged, “there is a lot of work to be done.”

One of the benefits of the tournament that has already materialized, Mr. Dehring said, is the unity it has helped create among the scattered islands. Many Caribbean states have been planning for years to merge their small economies and create a common currency. But the tournament has forced the countries to come together to pass common legislation dealing with foreign visitors and security. For the tournament, one visa will be good for all the islands, which have grouped themselves into one big, albeit temporary, jurisdiction.

In Trench Town, where street gangs battle over turf and where people live in shacks about the size of the garages at the glorious homes in the hills, expectations for the cricket tournament are high.

Community leaders will have tour guides at the ready to take visitors around a neighborhood they say has a proud past. Bob Marley is just one of many popular Jamaican musicians to emerge from Trench Town.

Another local, Hugh Sherlock, wrote Jamaica’s national anthem. And the West Indies cricket team owes some of its success over the years to Trench Town players, like the noted Collie Smith.

The neighborhood, in western Kingston, is as cricket crazy a place as it is a violent one. Those two distinguishing features came together in January, when gunshots rang out during a local match just off Collie Smith Drive, forcing players and fans to duck for cover.

Whether foreign visitors will come to Trench Town is unclear, just as it is anyone’s guess whether the tournament will be the economic shot in the arm that organizers predict.

“Economists will argue for many years to come about the economic benefits,” Mr. Dehring said. “We have to make sure the expectations are realistic. Clearly, this cannot eradicate poverty.”

Still, Mr. Cole said he hoped it would help lessen his hard times. He has been in a dispute of late over who ought to control the revenues that come into the old neighborhood of Marley, who died in 1981. The house Marley lived in has been renovated with donations from many sources, and admission fees go to a community group. But Mr. Cole contends that people who actually knew Marley, like himself, ought to be the ones greeting visitors and sharing in the fees.

“Bob told me in the 70s, ‘People are going to come, and you tell them about me,’ ” Mr. Cole said.

And he does. Marley used to sit here and practice his lyrics, Mr. Cole said, pointing to a stool. Georgie, a neighbor who was mentioned in “No Woman, No Cry,” lived over there. Look at his guitar, at his cooking pots, at his single bed.

In the background, Mr. Cole has reggae songs playing at full volume, among them Marley’s “Trench Town Rock.”

All things Marley heralded March 9

Date: 2007-03-01
Author: Paul Rellinger

Reggae will rule in a big way March 9 at The Red Dog as due respect is paid the late Bob Marley.
Starting at 10 p.m., the fifth annual salute to the famed reggae singer will see Dub Trinity handle the bulk of the music with help from dub poet Chet Singh and DJ Talk Is Cheap.
Dub Trinity will perform a number of Marley standards alongside less heard tracks spanning his career.
Also on the set list are covers of songs by other reggae artists such as Black Uhuru.
For his part, Chet Singh will feature new songs from his follow-up collaboration with the band.
His new album, set for a May/June release, features music by Dub Trinity and Jarrett Prescott.
The live music breaks will be handled by Talk Is Cheap.
The Jamaican-born Marley, who died of cancer in 1981 at age 36, is widely heralded as the first global music star to emerge from a developing nation.

Confusing the minds of our children

By Michael Findley, STAR Writer

It seems that the article I wrote on the Rastafarian Christ, featured in one of our school's textbooks, has opened a can of worms and will spark a debate that will continue for a while. The book I speak of is 'Living Together as a Family', published by the Carlong Book series, and my article drew the interest of a Sunday morning programme whose host saw it fit to have me on in the style of a debate with a Rastafarian brethren.

I spoke from a Christian perspective and the result as to who made the better points will reside in the minds of the public. What I will say, however, is that I stand by what I said in the article, that portraying Christ as a Rasta is a gross misrepresentation of the truth, and even though some might find it cute, the fact remains that we are confusing the minds of our children, who will ask questions as to the veracity of the symbolisation of Christ as a Rastaman.

Another misrepresentation

Now, it is true that Jesus has long been portrayed as a white man with blue eyes and long, flowing hair, and as far as I am concerned this is another misrepresentation of what Christ as a Jew would look like in those times. True to say that no one knows what our master's appearance was, as there is little biblical description of Him. John in revelations described him as having hair like wool and eyes like flames of fire, and apart from that there is little to go off, but no way can we surmise either that Christ sported something similar to present-day locks.

This style of hair is a 20th century phenomenon borne out by the birth of Rastafarianism and the way they groom their hair. Some Rastas will say that Christ must have had locks since he took the 'Nazarene vow', but no place in the Bible states this as a fact. The only reason Christ was called a Nazarene was because he came from the town of Nazareth, and the correct name for the vow such as the one taken by Samson where his hair was uncut, was the Nazarite vow.

Now, I know that this may sound like 'splitting hairs' and that it does not matter what Christ appearance was. Maybe that's true. But if we are teaching young minds who are very curious and will ask questions of such nature, then we should at least stay as close to what facts we have.

Black nationalism, as the programme portrays, is a good thing, we need to appreciate our culture and heroes. This will foster a sense of pride and accomplishment for us as a people in majority in this country. I hail the concept of the programme but in our enthusiasm for upliftment we must not go overboard and misrepresent the truth. The question of whether Christ wore locks may seem a bit trivial now. We must start with the truth so that the bigger issues may not be lost because of our laying a bad foundation.

Michael Franti: The war of art

Combating madness with music

BY JAMES KELLY

Published 02.28.07

''Artists need to make great art, and in order to do that they must find truth -- truth in social issues, and in political issues."

Thus speaks Michael Franti, one of the most dedicated and sentient musicians in the business. At a time in American history when the nation is both politically polarized and incredibly unaware of the reality underlying current events, Franti seeks and spreads truth. But who's listening?

The lack of mainstream success has not hindered Franti at all. In fact, it allows him a great degree of creative freedom – freedom from following popular trends, freedom from expectations or demands to "sell more records" or "get with what's hot," and freedom to speak honestly to the world through music. The message is there; making sure it's heard is the challenge.

"Music deals with emotions, it goes straight to the heart," Franti notes. "In a way, it is like food, we can do it together and share those moments. When we are involved in the sharing of food and music, we don't worry about our differences."

Franti's messages have always been strong, and over the years he has worked on making the delivery of those messages palatable and accessible without losing their meaning. "The Beatnigs were playing punk-industrial music," he recalls, regarding his first band from the late 1980s, "with beat poetry as the lyrics." Moving on to the Disposable Heroes of Hiphoprisy in 1992, Franti found his voice with a hard-rap style that was profound and intimidating. Focusing almost exclusively on social issues, the band's efforts just didn't fit into the commercial rap/hip-hop scene. "Even though the overall social consciousness has grown since 9/11 and Katrina, hip-hop is still mostly 'party music,'" he says. "There's not a lot of conscience to be found in the mainstream. But there is in the underground scene."

Finding a modicum of public recognition and marginal success with a consortium of musicians called Spearhead, Franti's style has gradually evolved. By turning his focus inward, he developed a very personal writing mode that gave a strong but appealing voice to his ideas and thoughts. And the music began to change. Moving away from beat-boxing and rhythm-heavy tracking, Franti began exploring different styles of instrumentation. "When working on new music, I ask myself, 'What best serves the words in the song?' By trying a number of different things, I find the best way to support the words."

He also began to sing – beautifully. Franti's influences run deep and wide, from the reggae of Bob Marley to the mellow acoustic sounds of Bill Withers to the soulful emotion of Marvin Gaye to hard rock.

On his most recent release, Yell Fire, Franti worked closely with reggae icons Sly Dunbar and Robbie Shakespeare to wrap many of his observations in a very Jamaican cloak, possibly as an homage to his hero, Bob Marley. Yell Fire is an incredibly emotional album, born of an incredibly emotional experience. In 2004, Franti spent some time in Iraq and the West Bank, filming his experiences and people's reactions as he brought a guitar, not a gun, into their lives. It was this adventure that inspired the songs on Yell Fire.

The resulting DVD, I Know I'm Not Alone, captures the unique interactions between Franti and both the American servicemen and the people of the Middle East as they are confronted with something other than violence and intimidation. "The Iraqis want to make their own decisions, but they define things on different terms than America does. In order to solve these problems, we cannot try to convince others that 'I'm right, you're wrong,'" he says. "We have to listen, look for good ideas and understand each other's needs."

Hopefully, people are starting to listen.

Marley Resort & Spa debuts in the Bahamas
28 February 2007

On 1st June 2007, the Marley family will open the new, 16-suite Marley Resort & Spa in Nassau. The resort will be an experience of art, history and spiritual sensibility. A discerning traveller will be drawn to this hideaway for its blend of exquisite natural beauty, romantic heritage and rustic luxury.

"So many people celebrate my father's music and see that his message is prolific and still relevant today," daughter Stephanie Marley explained. "They keep his spirit alive. In return, we are inspired to share our piece of paradise here in a place we once called home."

Inspiration comes easy at this Nassau hideaway, once a governor's mansion. Rita Marley purchased the property after falling in love with it at first sight and the family used it as a summer getaway for many years. Today, it echoes the path of the Marley family.

An intimate world-class sanctuary, the Marley Resort & Spa celebrates the enduring creative spirit and traditions of the Marley family. Located on the ‘less travelled’ section of the famed Cable Beach in Nassau, the resort is an elegant microcosm of African and Caribbean style with sculptured hand-carved doors, mosaic tiles, intricate stonework and sandstone walls. Its 16 luxurious themed suites blend the warmth of history with the ultimate in comfort and convenience, and unparalleled service. Amid Nassau’s atmosphere of relaxed and artful living, Marley Resort & Spa is a true haven for travellers. Spanning past and present, its accommodations and amenities are as beautiful and unusual as its setting.

"Come and experience this nostalgic, mystical piece of paradise we once called home," they urge visitors.

Bob and Rita's music infuses the entire resort, each of the 16 themed suites center around their song titles including Kinky Reggae, Nice Time, and Kaya, among others. Suites feature the ultimate in comfort, chic furnishings and up-to-the-minute amenities. Tropical rain showers, sumptuous whirlpool tubs, flat-screen televisions, high-speed internet and in-room Bose entertainment systems come standard. Unparalleled service, a result of a greater than 2-1 staff-to-guest ratio-begins the moment guests are greeted at the airport and continues throughout their stay.

For even greater luxury, three Royal Suites push the pampering to new heights. Royal Rita features a signature Royal Chaise Lounge, rich mahogany furniture, African prints, hardwood floors, and oceanfront views. Legend is designed with the King in mind, offering a separate living room, private balcony, hardwood floors and fully stocked wet bar. One Love, the resort’s signature honeymoon suite, has an intimate, in-room Jacuzzi tub for two, dual rainfall showers and stellar views.

To ensure attention to the smallest detail, a five-star personal concierge service is available along with 24-hour room service. A host of excursions from diving, dolphin encounters and private tennis lessons are available while some guests may choose to stay in-house and lounge in the two, free-form swimming pools, or on the stunning beach. The resort also retains a "love expert," who helps with wedding, honeymoon and vow-renewal packages.

A boutique spa, Natural Mystic, fuses treatments and traditional secrets from Africa, Asia, and the Caribbean, as well as Rita’s herbal bath rituals. Limestone steam therapies are on offer, along with herbal body scrubs and wraps, nail care, and hot and cold plunges. This serene space includes a greeting room, the Uprising Tea Lounge, unique water passage, massage rooms, a couple's suite and beach-hut treatment areas.

Simmer Down, the resort’s restaurant offers gourmet Caribbean cuisine with some of Bob’s favorites on the menu as well as classic family recipes. Organic produce and fresh seafood play host here, where diners have the option of sitting on the beachfront patio, interior dining room, or in the courtyard, where a stage hosts live music.

Exclusive to resort guests, The Music Gallery offers a behind-the-scenes look at Bob’s life and the Marley family’s music – a legendary passageway of his life and spirit. The boutique (also on the property however open to the public) features daughter Cedella Marley designed Catch-A-Fire clothing, as well as the works of African, Jamaican and Bahamian artisans.

"The Marley Resort & Spa is a place where personalized service and attention to detail is our first priority. The vibe elicits the true feeling of rediscovery and relaxation,” added Stephanie. “We just hope the vibe that inspired our family will inspire each guest to live their own legend.”

For reservations and more information visit: marleyresort.com

ROOM RATES
Summer Season 2007 | June 1 - December 14
Deluxe Accom. | £250
Courtyard Suite | £335
Master Suites | £420
Royal Suites | £530
Honeymoon Suite | £640

Bob Marley photo exhibition By KENNEDY MUDZULI JOHANNESBURG - The spirit of the legendary Bob Marley is alive in Johannesburg. An exhibition titled Freedom Fighters depicting the life of the late Jamaican reggae star and the world’s most popular culture is in full swing at the Constitution Hill. The portraits give Marley’s fans a peek into the life of the famous reggae artist and leader of the band Bob Marley and the Wailers. There is a photo of him relaxing in a room rented for the band in London. Another shows Marley on the road during a tour of the US. In one photo he is reading a Bible near the house where he was born. The exhibition shows the reggae king’s 1966 wedding to Rita, him receiving the UN Third World Peace Medal and his performance at Rufaro Stadium in Harare to mark Zimbabwe’s independence. Also included is Marley’s most defining moment at the 1978 Peace Concert at the National Stadium in Kingston. He summoned politicians Prime Minister Michael Mauley and his bitter rival Edward Seagal to join him on stage, and clasped hands with them in a show of unity. The exhibition, launched by Marley’s wife Rita ends in April after which the photos will be auctioned. kennedym@citizen.co.za

This story was last updated

2/22/2007 4:49:08 PM

Of slavery and reparation

Lloyd B Smith Tuesday, February 27, 2007

This year marks 200 years since the official end of the TransAtlantic Slave Trade which lasted from 1441 to 1807. In real terms, 200 years is not a very long time so there are many vestiges of that most inhumane activity in Jamaica's social, economic and physical environment. Indeed, even after having becoming politically independent, our island home for all intents and purposes is still a plantocracy.

Lloyd B Smith

Indeed, if one were to go by what one sees and reads for the most part on the social pages of our leading newspapers, it would appear that "backra massa" is alive and well, and those who have been the primary beneficiaries of the legacies of slavery continue to rule the roost from the Great Houses.

For purposes of my current dissertation, let me hasten to add that being black these days cannot and should not be limited to the colour of one's skin. After all, there are some Jamaicans of fair or white pigmentation who are blacker than some citizens with an overdose of melanin.

Central Clarendon Member of Parliament Mike Henry, is by no means by appearance a black man, yet he is more black than many of the "roast breadfruit" pretenders out there who have chosen to be glorified house slaves or modern-day backras.

Kudos to Mike Henry for having taken the issue of reparation to Parliament, and commendations are due to our elected representatives as well as those who sit in the Upper House who have all wholeheartedly embraced his proposition (as if they had a choice)! But even as there is to be a debate in Gordon House on this critical issue seemingly devoid of any partisan overtones or undertones, the potent question that needs to be asked is, have we really come to terms with slavery? In this context, the Jews have done so with respect to the Holocaust and to a great extent, so too have South Africans in relation to Apartheid.

PERKINS... has been reported as saying that in many ways slavery has been a good thing - and maybe he is right

Often, slavery is brought up only when we want to place blame on the many negatives that plague us as a people. Talk-show host Wilmot "Mutty" Perkins, among many others, often refers to the "Willy Lynch" syndrome (the crabs in the barrel mentality) that has become part and parcel of our psyche. But the iconoclastic Mutty does not stop there. He has been reported as saying that in many ways slavery has been a good thing. And maybe he is right.

In the meantime, too many Jamaicans from all walks of life are beset with mental slavery. Too many Jamaicans have very little understanding of what the slave trade was all about, and so instead of dealing with it in the context of the liberation struggle, they opt for becoming like their former masters.

How else can we explain the current fad of bleaching? The perception that anything black is no good and that as a black man if you want upward socio-economic mobility, you must marry a white or fair-skinned woman (browning)?

So before we get all excited about reparation from Great Britain, we need to talk about reparation due to us from our many benighted politicians and private-sector moguls who have kept the majority of Jamaicans in a dark alley called mental slavery. Honestly, it is only the Rastafarian movement that has genuinely sought to liberate the Jamaican people. Of course, Marcus Garvey tried very hard too, but the "Willy Lynch" syndrome saw to his many dreams being trampled in the dust.

If slavery and reparation are to mean anything to the average Jamaican, then we must get back to basics. The Jews have ensured that none of their kind will ever forget the Holocaust. What have we done to deal with this critical issue of identity and self-actualisation? As Professor Rex Nettleford would call it, the "smadditisation" of our people? We don't teach Garveyism in our schools, Rastafarianism is still relegated to the back bench and we don't even have a slave museum!

Frankly, Jamaica has not reached its true potential because we are yet to deal with the psyche of the Jamaican people and the extent to which this has been influenced by the slave trade. It is such a great pity that after 200 years of so-called freedom we are still an enslaved people, albeit psychologically. In this context, should we get the reparation we seek, it will be squandered in the same way that we have wasted our patrimony.

To put it bluntly, our politicians and those movers and shakers who have aided and abetted others in the underdevelopment of this country must begin to repair the damage they have done.

They should start with the detribalising of the society, the extirpation of garrison constituencies, the restructuring of the Jamaican Constitution to ensure that there is in actuality equal rights and justice for every single citizen, and the revolutionising of the education system which will help to mould each young Jamaican into becoming "smaddy" of worth and substance. In other words, reparation must begin at home! Enough said.

The Caribbean Association gives tribute to legend

By: Ella Fowler

Posted: 2/23/07

The camera captures Bob Marley, a dread locked, Rastafarian man singing his song titled "Rebel Music" - in the documentary "Rebel Music: A Bob Marley Story."

The documentary was a tribute to the life of the legendary musician and singer.

The Caribbean Association, assisted by the Black Student Union, held the event "A Tribute to Bob Marley", where the documentary was played. Participants watched the documentary and afterward enjoyed free food and drink and, of course, reggae music in the Pub.

The Caribbean Association used to hold "A Tribute to Bob Marley" event every year, in which live reggae bands would perform. But the event has been absent since 1996.

"The Bob Marley tribute wasn't a priority for past presidents," said Dellareese Higgs, president of the Caribbean Association.

"But for me, I was going to make a tribute to Bob Marley."

But the main reason the event was brought to campus was to not only celebrate Bob Marley but to celebrate Black History Month.

"We wanted to do this in conjunction with Black History Month," said Anamita Gall, treasurer of the Caribbean Association.

Bob Marley is an important figure in history because he is one everyone can relate to in one way or another, she said.

"Cultural diversity is so important to the campus as a whole and Bob Marley is somebody people can connect and relate to both him and his music," Higgs said. "His music expands across race and class. He is diverse."

Throughout his life, Bob Marley made a pledge to his fellow Jamaicans and others around the world that he would always fight. To him his life meant nothing unless he was fighting and helping others.

"Bob Marley is not a Jamaican icon, but a icon for all," said Chanel Griffith, president of the Black Student Union. "He is for all people."

Celebrating Bob Marley's life is "spreading his music, views and his calls for unity and solidarity," Higgs said.

Vanuatu's legal high that leaves tastebuds reeling

5:00AM Wednesday February 28, 2007
By Derek Cheng

Ceremonial kava is more pungent than the variety drunk by locals, who sleep off its effects in their huts. Photo / Derek Cheng

It numbs everything the instant it touches your lips and moves down your throat. You have to drink the entire bowl because, I assume, the taste is so disgusting you wouldn't have the willpower to down it sip by sip.

The appeal of kava - made from the ground-up roots of a plant belonging to the pepper family - becomes obvious as soon as your lips go numb. Your brain also goes numb, in a Bob Marley summer love festival kind of way.

Vanuatu kava, one of the country's main exports, is famous for its strength and is known as the single malt of island kava (Fijian Kava, I'm told, is the light beer). And that you often down it in searing humidity adds nothing to the comfort level.

Kava-drinking has long been a popular custom in Vanuatu. It's a local and legal high, a relaxant that natives have long "enjoyed" after a hard day in the fields of their rural villages.

The root looks like nothing more than oversized ginger, which, I imagine, would also taste like something you'd only take if your life depended on it.

It's hard to pinpoint that acidic, repugnant kava taste. It clasps your tastebuds and triggers within you an image of sucking the resin from a leaf - that's been dipped in insecticide.

The most potent kava is found in Vanuatu's most isolated villages, the real Vanuatu where 80 per cent of the population live.

Vilvil, on Espiritu Santo, is a typical village. In former times, tribe members clad themselves in garments of pandanus flax, which they decorated with orange dye made from flowers.

These days, the 50-odd tribe members move about in faded T-shirts discarded from tourist-friendly markets. They subsist on whatever their farms can produce.

Chickens and pigs roam the village, and fields of crops include kumara, taro, bananas, pawpaws, yams, tobacco and, of course, kava.

The amount one drinks varies, but our host, Daniel, says he has had as many as 20 bowls in a night. This is extreme, he is quick to add.

The men and teenage boys have a special kava-whare; women are banned. They sit every evening, exchanging stories and drinking kava, then sleep in the back, away from their families, to nurture male solidarity.

Kava has now been transformed into a tourist commodity, with the custom popular at special kava bars and island resorts.

It is widely available at official ceremonies, such as after the inaugural Air NZ flight to Port Vila. As soon as we touched down, our attention was pointed to a large, swirling bowl of green watery liquid.

Next to it was a stack of bowls, similar to rice bowls. The message was clear: downing a bowl of kava, island-style, meant a series of successive gulps, for those of us who lack the skill of open-throating.

"How many bowls do you have a night?" I ask one of the locals. His reply - "five" - raises eyebrows, and I think, "When in Rome ... "

I almost enjoyed the first bowl, which I put down to novelty factor, but it's no walk in the park. As it numbs the mouth, the sheer taste and plant aroma cause the body and head to shudder involuntarily. An "eeeew" noise and scrunching of the face may accompany this.

By bowl three, the shudder and head-shake was gaining momentum, and I almost coughed it back up after bowl four.

The locals, who were supposedly looking after me, noticed and grabbed a gargantuan glass of orange juice as I prepared for bowl five.

I felt dizzy, floaty, but not in any discomfort. Apart from the growing area of numbness around my mouth, that is.

Bowl five was not an option. With an audience of journalists and expectant locals - all with dubious, cheeky grins on their faces - it was a necessity, and one I duly followed without regurgitating.

Within 30 minutes of landing, I had become an honorary local. I basked in the offered handshakes, and returned the ones I could see clearly.

I'd heard horror stories of kava exploits that ended in mad dreams, cold sweats and hallucinations. I had no such after-effects, but the feeling certainly lasted.

I was still floating on the bus from the airport. Still floating while taking an afternoon sea-kayak. Still floating that evening, at a function, when another bowl of kava was presented to me, the colour of which begged many questions.

Rather than the green of that morning which looked deceptively like Thai green curry, this kava resembled the water of a river most muddy, murky and manky.

Had I been drinking quasi-kava?

Quite the opposite, it emerged. Ceremonial kava is normally stronger and much more pungent than what's available in local kava bars, which is a browny grey colour.

I sampled it, and indeed, it was smoother, not quite as nausea-inducing, but still distinctly kava. I had two bowls, just to be sure.

As a responsible journalist, I can report that it took days for it to completely leave my system.

Addictive? I bought further supplies at the airport.

SHAMAN: Grounation Day a celebration of Rastafari, Bob Marley

Posted: 2/27/07

Do you remember when college protests involved marches instead of Facebook petitions? When music involved deep-rooted political and ideological messages instead of lust-filled debauchery, or when substances were used to free your mind and explore the nature of reality instead of getting wasted on a Saturday night? Neither do I, but who from the '60s and '70s remembers anything anyway?

You may be wondering where I am going with this. Is he going to talk about increased Christian spirituality or hippies? To be honest, I just needed a segway to introduce Bob Marley. This singer and activist was a member of the Rastafari faith. And this week, for the sake of you, the Boston University community, I am going to become a Rasta.

Though many Rastas would deny that Rastafari is a religion for theological reasons, for the purposes of this column I am going to consider it one, rather than simply a way of life. Also, though there is hardly a universal definition for what constitutes a religion, Rastafari has many elements that would place it within the category, such as holy scriptures, a belief in a supernatural being, a concept of life and death, rituals and symbols.

"But Nick," you exclaim, "don't be silly, you aren't black." Don't rub it in. The color of my skin and my heritage are actually unimportant. Rastafari is a fascinating religion that developed in the slums of Jamaica, fusing Christianity and Afro-centrism to make an incredibly spiritual faith.

Now, being that I am from Jamaica . . . Jamaica, Queens, I felt that it would be appropriate for me to convert to being a Rasta this week.

It may be a bit premature of me, but this week, I am going to celebrate a Rastafari holy day a few months earlier than I should. This day, Grounation Day, is a day of celebration which commemorates the visit of Emperor Haile Selassie I's visit to Jamaica on April 21, 1966.

This day is incredibly important to us Rastas because of our belief that His Imperial Majesty (HIM), ruler of Ethiopia, is the physical incarnation of Jah, himself. Jah, in case you are wondering, is what we call god. In fact, Rastafari derives from his pre-coronation name Tafari, and the title Ras, which means King (the position he held before becoming Emperor). The Kings of Ethiopia are believed to be descended from the communion of King David and the Queen of Sheba, effectively making all Ethiopians, and us Rastas, one of the lost tribes of Israel.

But why do we revere him so? Aside from being the first African ruler with international prowess in a colonial Western World, it was foretold by Marcus Garvey, writer during the Harlem Renaissance, that all blacks should look to Africa, for there a King shall arise. Many of us regard Garvey as a prophet, being one of the first to advocate a return to the culture and heritage that was stolen through the slave trade.

But back to Grounation Day, finally, HIM arrived in Jamaica, much to our acclaim, for he is our black Messiah, or a reincarnation of Jesus. The one who will eventually lead all black people back to Africa - our Zion, the Promised Land - away from the corrupting influences of Babylon (Babylon referring to any modern institution that corrupts). He arrived in Jamaica to set us free. But before we can return to Ethiopia with him, he told us we need to work for a free Jamaica first, so justice can be provided for all.

Today, I celebrate Grounation Day with my fellow Rastas. Now, our celebration may seem like an excuse to get high, but it really isn't. Our use of cannabis and listening to Reggae is a spiritual practice (even though the cops don't believe us). The cannabis allows for the mind to become relaxed and become one with Jah while we converse on the true meaning of the Bible. Reggae is a music that fully expresses our beliefs and where we came from. Only through Reggae can we truly express the defiance that was inspired through the wretched conditions of the slums of Jamaica. Only through Reggae can we express our belief in the importance of life and everlasting life. Only through Reggae can we reclaim what was stolen from us by Babylon.

Though many claim Emperor Haile Selassie I died years ago, I know a true incarnation of God can never die. He is out there working for our freedom, to return us to the Zion of Africa. In the meantime, however, I will wait, work for a better Jamaica, pray to Jah and just like Bob Marley before me, work to advocate peace, so that Jah's desires will come to fruition.

Stephen Marley in 'Control' of solo debut, tour

February 27, 2007 11:56 AM

By Tjames Madison

LiveDaily Contributor

Reggae artist and producer Stephen Marley [ tickets ] will celebrate the long-delayed release of his debut solo album, "Mind Control," by launching a two-month headlining tour this spring.

Marley, the second son of late reggae icon Bob Marley, got his start as part of older brother Ziggy's backup band, The Melody Makers, but has been making his mark mostly as a producer lately, overseeing the family's Tuff Gong record label and collaborating with R&B stars such as Erykah Badu.

The 34-year-old Marley will kick off the outing March 30 in Cleveland, with the tour hitting more than 40 cities and extending well into May. Marley's younger brother Damian "Jr. Gong" Marley and political rapper K'naan will offer opening support on the trek.

The tour is being produced in association with Ghetto Youths International Foundation, who will contribute one dollar from every ticket sold to providing "aid and programs to children struggling in impoverished and war-ravaged conditions around the globe," according to a press release.

Marley began work on "Mind Control" in 2002, enduring several false starts along the road to its release, which officially will come on March 20. The set features cameos from roots-rocker Ben Harper and rapper/actor Mos Def, along with contributions from Jr. Gong.

"My joy and my pain, this is me," Marley said in a press release. "It's a page from my book: Every page tells a story, but at the same time is a continuation of the page before it or the page to come. This is just one page.

"I don't want to be just another artist. I want to make a statement, and to continue this legacy, this musical legacy, with my family. Just like my brothers ... I aspire to be a reckoning force, when you hear my name, you know quality comes with that: good music, good message, good vibe."

Several tracks from "Mind Control" are currently streaming at Marley's MySpace site.

Muta - the evolution of the revolution
published: Monday | February 26, 2007

Mutabaruka is famous for his African robes, elaborate head wear and bare feet.

Harriett M. Clarke, Contributor

Mutabaruka, the man 'they love to hate.' Be it truth or madness, his convincing delivery never ceases to enlighten and captivate an audience with interesting recollections of Jamaica's black history.

The stalwart Rastafarian has a long list of accomplishments, which have gained momentum over the past 35 years. These include his recently acquired position as a resident lecturer at Merritt College in Oakland, California, for a semester, beginning in April.

Mutabaruka will travel back and forth from Jamaica to California each week in order to facilitate the broadcast of his popular radio programme, the Cutting Edge.

"We a go fly to California every week. Is like a man get up fi go work downtown, jus dat him a go worka California and tek a plane instead of a bus," said Mutabaruka of his recent achievement.

He continues: "This is a college that in the '60s was central in shaping the black communities in Oakland and Berkeley, where there were the Black Power movement and the feminist movement. It was where the Black Panther party originated and there were people like Huey P. Newton, Janis Joplin and Jimi Hendrix2. All these people in that part of America helped shape the whole black consciousness movement.

"For me to be invited as a resident lecturer to that college means a lot to me. It shows that someone can stay in the confines of their belief system and culture and still find a job, without having to do things that cause them to go outside of what they believe."

Spiritual awakening

Coming from Rae Town, Kingston, Muta's spiritual awakening as a Rastafarian was not an easy road. In his capacity as what he terms an 'off-campus lecturer', many of his talks at the University of the West Indies (UWI), Mona campus, recount past incidents such as the Coral Gardens incident in Montego Bay and the abuses and hardships suffered by Rastafarians during the period.

Folk philosopher

A student from Belize greets Mutabaruka after a lecture on the University of the West Indies campus, Mona - photos by sabrina simmons

Muta was given the opportunity to lecture within a fellowship created by Professor Barry Chevannes for Folk Philosopher on Black History at the UWI, Mona. He was there for 18 months, holding the rank as the third folk philosopher. Jerry Small and the late Mortimo Planno were distinguished recipients of this fellowship.

Still maintaining a versatile relationship with the university, the Department of Sociology calls upon Mutabaruka's knowledge and recollections of the initial stages of the Rastafarian movement in Jamaica, its biblical origins, as he traces the African lineage of Haile Selassieto King Solomon of Israel.

The highlights of his presentations seem to intrigue the students of the course, Sociology of the Caribbean, who enjoy the practical wit with which he humorously delivers his cutting-edge social commentaries.

However, there is more to Mutabaruka than the poet, the controversy, or the rebel.

He has contributed significantly to the Jamaican folk culture and music, as one artist who is committed to black people and the liberation of Africa as a nation. His outstanding contribution to black communities across the globe has impressed many international cultural institutions.

His greatest accomplishment to date. the Cutting Edge, has dominated Wednesday nights' airwaves for 15 years. Muta emphasises, however, that it was his contribution as a poet, which plunged him into other forms of media such as his role as an actor in the movie, 4 Sankofa, a successful independent black movie written by Haile Gerima, where Muta played the character Shango.

His contribution to the Rastafarian movement has had an impact on the Jamaican culture in terms of global exposure. Elements of Rastafarianism are now studied as a religion in schools. Mutabaruka is mentioned as part of a movement spearheaded outside the confines of the Jamaican culture.

African Robes

Over the years, Muta's African robes and his bare feet have caught the attention of the media and the public. However, by simply maintaining his signature African look, he was chosen as one of the best-dressed men for 2006. His life partner, Jacqueline 'Amber' Cohen, contributes to his illustrious wardrobe and is the creator of the clothing line Mutamba Designs, a fusion of his name and her preferred name.

The dub poet's response to his recent selection as one of the best- dressed males in Jamaica for 2006 was: "Over the years, I find that everything that come to me is connected to my view of life. So I never did have to change my clothes to go get a job. People accept me for who me is. So when we walk in a place, a man jus know that this is Mutabaruka an don't tell mi seh mi caan't come in his office because mi not dressed properly.

"Ah want tell you seh that getting one of the best-dressed persons in Jamaica is encouraging because I am not a person who wear coat and tie. If I can maintain my cultural wears and still be accepted as part of what people would say look good, then it really saying a lot to know mi live mi life because mi maintain who mi is. Mi never have to change mi philosophy and culture and what mi believe in to go through life and this is good."

Born December 26, 1952, Muta has two daughters with his former wife Yvonne. Muta now resides with his life partner Jacqueline Cohen.

"Ah want tell you seh that getting one of the best-dressed persons in Jamaica is encouraging because I am not a person who wear coat and tie. If I can maintain my cultural wears and still be accepted as part of what people would say look good, then it is really saying a lot to how mi live mi life because mi maintain who mi is, mi never have to change mi philosophy and culture and what mi believe in to go through life and this is good."

Born December 26, 1952, Muta has two daughters with his former wife Yvonne. Muta now resides with his life partner Jacqueline Cohen.

The world-famous dub poet Mutaburuka has remained true to his roots and beliefs.

Ragga Muffins Festival nurtures reggae's roots

Eric K. Arnold, Special to The Chronicle

Monday, February 26, 2007

"Who likes roots music? Who's a roots lover?" asked dreadlocked master of ceremonies Spliff Skanking. It was a purely rhetorical question, seeing as how almost every single person in the Bill Graham Civic Auditorium was there specifically to hear reggae music of the traditional variety. Nevertheless, the crowd let out a mighty roar, like the iconic Conquering Lion itself.

In recent years, dancehall -- an urbanized variety of reggae often compared to hip-hop -- has broken through to mainstream audiences via the accessible efforts of artists such as Sean Paul, Shaggy and Damian Marley. Yet while their crossover success has attracted a youthful audience perhaps more familiar with Young Jeezy than Yabby You, roots reggae remains at the essential core of the genre.

The 26th Annual Ragga Muffins Festival, which rolled into San Francisco on Saturday after stops in Long Beach and Santa Cruz, presented a case in point. With a lineup consisting of one legendary group after another, the event offered a stamina-challenging eight hours of undeniably authentic reggae music. And though some of these groups' heyday was three decades ago, their message seemed as relevant as ever.

The notion that the roots legacy continues for a new generation of fans was underscored by the performances of Culture and the Gladiators, two of reggae's best-loved vocal harmony groups. Both bands featured several original members, but were led by the sons of singers Joseph Hill, recently deceased, and Albert Griffiths respectively. Kenyatta Hill, in particular, injected a vibrant energy into well-worn classics "Stop the Fussing and Fighting" and "Tell Me Where You Get It," and 30 years after it was written, "Two Sevens Clash" still reverberates as a natty, dread-full apocalyptic warning.

Apart from local opening acts Luna Angel and Wisdom, the closest thing to a dancehall artist on the Ragga Muffins bill was Eek-a-Mouse, the 6-foot-6 "sing jay" known for his patois vocalese. Although no longer a current hitmaker, the Mouse's stage presence was as large as ever on songs such as "Wa-Do-Dem" and "Operation Eradication."

The new-school roots of revivalists Morgan Heritage and Midnite also went over big with the crowd. With long dreadlocks flying to and fro, singer Peter Morgan emphasized the universality of reggae on "Don't Haffi Dread." On "Liberation," he pointed out that although Bob Marley, Peter Tosh and Jacob Miller are gone, the Rastaman vibrations continue through contemporary Jah disciples like Capleton and Luciano. Meanwhile, St. Croix's Midnite showed why they've amassed a cultlike following with a set of molasses-thick reggae riddims accentuated by the biblical utterances of singer Vaughn Benjamin.

After a performance by Steel Pulse, which touched on the group's recent comeback album "African Holocaust," as well as favorites such as "Rollerskates" and "Raid Blues Dance," the venerable Bunny Wailer -- the last remaining original member of the Wailers -- brought the evening to a close. His set offered few surprises. Still, one couldn't help but join in on the familiar refrain from Marley's "No Woman, No Cry": "Little darling, please don't shed no tears." It might be cliched, but it's difficult to imagine another song more appropriate to end the show than "One Love," which neatly encapsulates the roots reggae credo into six words: "Let's get together and feel all right."