Bob Marley Day Proclaimed in Toronto

TORONTO, (JIS): Wednesday, February 07, 2007

Reggae superstar Bob Marley has been hailed as an international ambassador for peace who created a music legacy, which has continued to inspire hope and creativity.

In a Proclamation declaring February 6 as Bob Marley Day for the 17th year in the city of Toronto, Mayor David Miller said the singing icon courageously "spoke out against oppression, poverty, slavery, apartheid and for human rights".

The Proclamation, which was read at the annual Bob Marley Day Award show, held on Sunday, February 4 at the Trane Studio in Toronto, said "Bob Marley earned his place in the Rock and Roll Hall of Fame with the distinctive reggae beat of music which captivated people of all cultures, changed the history of popular music and continues to bring enjoyment around the world. He was honoured by the United Nations with the Peace Medal of the Third World and by his home country of Jamaica with the Order of Merit".

Chairman of the Bob Marley Day committee, Courtney Betty, said that the Award is aimed at recognizing Toronto's multiculturalism and building bridges between all communities, and is handed out each year to residents who have made a difference in the city.
"Bob Marley's legacy has been one of all-inclusiveness and his message encompasses everyone," said Mr. Betty.

Jamaica's Consul General to Toronto, Anne-Marie Bonner, congratulated the awardees, noting that the icon was an outstanding Jamaican and musician who stood for peace, love and humanity.

This year's awardees include five persons of Jamaican heritage. They are Bishop Audley James, Wade "Natty B" Walters, Joe Halstead, Audrey Walters and Simone Soman. The other awardees are Shernett Swaby and Councillor Joe Mihevc.

Past awardees - Hon. Louise Bennett-Coverley (Miss Lou) and former Lieutenant Governor of Ontario Lincoln Alexander - received Lifetime Achievement Awards, joining Canada's former Ambassador to the Dominican Republic, Alvin Curling.

Bishop James, who hails from the parish of Trelawny is founder and senior pastor of Revivaltime Tabernacle, one of the largest churches in Toronto. The church has many community outreach programmes and feeds 500 homeless persons each week.

Originally from St. Catherine, "Natty B" hosts 'Zion Train' one of the highest rated shows on CHRY Radio and last year launched the Report Card Awards where elementary school students were awarded for obtaining high marks in school.

Mr. Halstead, Toronto's former Commissioner of Economic Development, Culture and Tourism, now chairs the Festival Management Committee, which stages the annual Caribana festival.

Ms. Walters is President of the 25-year-old Black Business and Professional Association (BBPA).
Simone is a 15-year-old singing sensation who was born blind. She says she wants to be a role model for youth who want to follow their dreams. Ms. Swaby is one of the top fashion designers in Toronto and City Councillor Joe Mihevc has been the liaison between the city and Caribana organizers for the past 10 years.

Local radio station pays tribute to Bob Marley

Wednesday, February 7, 2007

Richard Flores (right), Programme Coordinator of Hot 104.1 FM with local artist Kelly Williams.

The Cayman Islands’ only all-Caribbean radio station Hot 104.1 FM celebrated music legend Bob Marley’s birthday on Tuesday, 6 February, with a 24-hour tribute.

For one day, Hot 104.1 FM changed its name to Bob 104.1 FM, and for 24 hours straight, the station played nothing but music by Bob Marley.

Since Bob Marley’s death 26 years ago, his position as a cultural icon has continually grown and today he is recognized around the world as a legendary ambassador of reggae music and Jamaican culture.

Over the course of the day, Bob 104.1 FM featured music from Bob Marley’s early days as a local phenomenon in Jamaica and throughout his storied career as the first true reggae superstar.

Richard Flores, Programme Coordinator for Hot 104.1 FM, has been working hard to ensure that Bob 104.1 FM has literally hundreds of Bob Marley songs spanning his entire career.

“We have an amazing selection of songs, from ones that everyone knows and loves to live cuts, studio outtakes, acoustic versions, and rarities that even the most hard-core Bob Marley fan seldom gets to enjoy,” Mr Flores said.

“Putting together an event like this has been a lot of work, but it is a labour of love for all of us.”

The special day isn’t limited to music. Local artist Kelly Williams has created a limited number of hand-painted Bob Marley shirts.

Only a small number of these shirts were produced, and they were given away to Bob 104.1 FM listeners throughout the day.

Sponsors Western Union and Digicel also joined Bob 104.1 FM to support the event by giving away shirts and cellular phones and other prizes at their locations and on the air.

As an additional tribute to Bob Marley, for one day the Hot 104.1 FM website was changed to www.bob1041.ky and was loaded with information about Bob Marley, his life, family, and his legacy.

Hot 104.1 FM, a BET affiliate, plays a mix of reggae, soca, and calypso and prides itself on being the only station in Cayman dedicated entirely to Caribbean music.

Hot 104.1 FM is one of four radio stations operated by dms Broadcasting, a subsidiary of dms Organization.

JCDC Stages Symposium on The Life and Work of Bob Marley

MANDEVILLE, (JIS): Wednesday, February 07, 2007

The second in the series of the 2007 Regional Symposia on the life, work and legacy of reggae icon Robert 'Bob' Nesta Marley O.M., organized by the Jamaica Cultural Development Commission (JCDC), was held on Friday, February 2 at Independence Park in Black River, St. Elizabeth.

The symposia, which began on Thursday, February 1 in St. Catherine saw students from some 15 schools from the central region - Clarendon, Manchester and St. Elizabeth - participating in a full day of activities.

Director of Field Services at the JCDC, Delroy Gordon, informed JIS News that, "the symposia highlighted the work and the contribution of Bob Marley in commemoration of his 62nd birth date.the programme started from 1994, when there was a residential training for youngsters when they were exposed to Bob Marley's music, (through) training in various musical instruments and the rearrangement of [his] music".

However in 1999 the JCDC changed the format. "Instead of having four days of residential training we are now having four separate days - one in each region - where we are able to reach . more young people," he further informed. Mr. Gordon noted that initially the event targeted 50 youngsters, but now it was aimed at approximately 500 persons in each region.

The Field Services Director also explained that through the symposia, the JCDC sought to "bring to the fore particularly for the youngsters, the life, the work, worth and the contributions of Bob Marley. We recognize [his] work not just locally but also internationally".

He added that with the death of the reggae icon for more than 20 years, "we figure it is our responsibility as a cultural agency and [with] his contribution to culture, that we sensitize our young people . about his contributions and at the same time seek to use his life as a motivation to them, to recognize that they can give of their best and that the sky is the limit".

In addition to displays on Marley's life and work, the students were educated about the work of the artiste by presenters including Musicologist Garth White; award winning photographer and co-chair of the JCDC Visual Arts committee, Howard Moo Young, and former Chair of the St. Elizabeth JCDC Parish committee, Howard Hendricks.

After the presentations, choirs from nine schools participated in the Bob Marley Song Arrangement Competition, which was first introduced in 2006. Each school was asked to choose one of Marley's songs and re-arrange it using their own style. Vere Technical High of Clarendon was victorious in that event, while Bishop Gibson High of Manchester claimed second place.

Speaking with JIS News, Tiffany Guthrie of the Bethabara Primary and Junior High School in Manchester said the symposium was very informative. "What I like about the 'Get Up Stand Up' symposium was the presentations and the entertainment. I liked the story that Mr. Moo Young told about Bob Marley and I think that it was great," she said.

Among the schools which participated in the day's activities were Hampton High, Kemps Hill High, Central High, Black River Primary, May Pen Primary, and Knox College.

The fourth and final symposium will be held today (February 6) to coincide with Bob Marley's birthday, at the Neville Antonio Park in Port Antonio, beginning at 10:00 a.m.

This will be followed by a concert at the Ranny Williams Entertainment Centre, in the evening, featuring a host of performers headed by Steven Marley. On Thursday, February 8, the JCDC activities celebrating the life and work of Bob Marley will culminate with discussions on his work on the television programme 'Your Issues Live', aired live from Brown's Town, St. Ann.

Dawes Redefines The Art of Storytelling

by Erin McAndrews

February 8, 2007

When a Virginia Tech English professor introduced Kwame Dawes, he began by acknowledging the writer’s assorted artistic accomplishments: he’s published eight collections of poetry, written several plays and still had time for his reggae band Ujamaa.

The professor then told of a time he had asked Dawes, considering his many varied achievements, “What’s next?”

Dawes had responded, “Opera.”

It doesn’t seem too far off. As an accomplished writer, poet, playwright and reggae singer, Dawes has mastered almost every conceivable form of storytelling. With his acute ability for characterization, flow, rhythmic speaking that enraptures the ear and an apparent musical talent, opera should be no far leap for Dawes.

Wednesday, the English Department sponsored a series of talks featuring Kwame Dawes. The evening began with a lecture on reggae and Caribbean aesthetics (namely, Bob Marley), and culminated with a reading of Dawes’ own poetry.

Kwame Dawes was born in Ghana but grew up in Jamaica. He received a Ph.D. in English and is a professor and Distinguished Poet in Residence at the University of South Carolina.

Dawes began his discussion of Bob Marley by acknowledging his appreciation of the subject matter. This is unlike many teachers, he said to a chuckling audience, who “hate their subject, hate teaching, hate you.” He admitted that he could argue about Marley for hours and has in fact written a book entitled “Bob Marley: Lyrical Genius”.

He preceded his discussion of Bob Marley with an overview of reggae music in general, asserting that it originated as a voice for Jamaica’s peasant class. For some reason though, Bob Marley has risen to the cream of the reggae crop. Dawes attributed Marley’s success to a variety of causes: he was good looking, and light-skinned. Most agreed he was a talented songwriter.

Dawes explained that these obvious characteristics all helped bolster Marley’s success, but the key factor was that he was a religious artist. It is this spiritual element that listeners are referring to when they say they simply “feel” Marley’s music. Marley also desired to create music that could be danced to, and it is because of these soulful inclinations that Dawes credits him with redefining the reggae love song.

Dawes’ words were vivid and entertaining, splicing intellectual critical observation with general descriptions of Caribbean culture and personal anecdotes. After a brief recess with refreshments, Dawes continued his lecture by reading selected poems from his own works.

Like many literary greats, Dawes’ work seems to be greatly influenced by his environment. This is particularly noticeable in his latest collection, Wisteria. This volume was inspired by interviews Dawes conducted with long-time residence of a small town in South Carolina. Much of his poetry still contains a quality that can be recognized as uniquely Caribbean, be it from the cool rhythms, informal vernacular or occasional bursts into song.

Many of Dawes’ poems are lyrical in nature, and sometimes express an autobiographical incident. That doesn’t mean, though, that these poems are any less poignant than those not written from his own perspective, as Dawes contains a certain talent for placing himself into foreign personas. In particular, he seems to have no trouble writing and delivering poems with female speakers. Dawes accredited this ability to write as a woman by immersing himself in the work of female poets.

Dawes’ powerful reading captivated the room with his eloquent words and emotional delivery. Just as with the Marley talk that preceded it, Dawes never failed to spice up his reading with entertaining digressions and colorful personal reflection.

Following each section of his talks, Dawes offered a few minutes for questions and answers. Audience members seemed truly moved by his words and energy and chose to use this opportunity to express their adulation rather than ask actual questions.

“Listening to Kwame Dawes gave me confidence that we might not all kill each other in a nuclear holocaust,” said Jeremy Baker, an audience member attending the discussion.

While the rest of the audience may not have been moved in quite the same way, it may be safe to say that spectators left the reading with an appreciation for Dawes’ work and anticipation for what may be the world’s first reggae opera.

Rastaman has gifts for Rita Marley

By VICKY SOMNISO

JOHANNESBURG – A Pretoria rastafarian musician, Carlos Djedje, has presented Bob Marley’s wife Rita with two awards.

The “Afreeka Freedom Walk” awards formed part of Black History month and were held at Constitutional Hill in Hillbrow, Johannesburg.

The first award is a lower body statue with broken chains on the ankles and the other one is shaped as a pyramid bearing the names of Bob Marley, Peter Tosh and Bunny Wailer.

Djedje said the statue symbolised the first day of slavery to the time when Africa was declared free but incomplete.

“Africa is free but incomplete. We are still fighting poverty, women and child abuse and diseases. The war is not yet over,” said Djedje.

Djedje presented the statue to Marley because “her husband preached the message of love in his music.”

“I’m giving the Marleys my love. She (Rita) has been a fighter and still is one,” said Djedje.

He said Africans had been running but now it was time to walk.

“I have received gifts before but I have never received this kind. I am really honoured” said Marley.

“I will place it in Bob Marley’s museum. I’m proud to be here at a time like this, Black History celebration month,” said Marley.

Nothing irie about Rita Marley February 16 2007 Bob Marley's wife 'might have the name, but she doesn't have his philosophy', write Kwanele Sosibo and Percy Zvomuya erhaps no region, outside of his home area, occupied Bob Marley’s mind and lyrics more than Southern Africa when he was at his peak in the late 1970s. No doubt it had to do with the decolonisation processes that were going on in Angola, Mozambique and Zimbabwe at the time. Although Africa has rid itself of its colonial masters, the songs War, Zimbabwe, Revolution and many others remain relevant. The old-style race-based system may be gone, but the unequal relations it created are still with us, morphing into even more virulent forms. The song Revolution says “it takes a revolution to make a solution” and declares “never make a politician grant you a favour, they will always want to control you forever”, showing Marley’s distrust for governments and bureaucracies. His message of continental unity remains ever more relevant at a time when nation states, carved out at the Berlin Conference, are frayed at the edges, fragile and about to tear apart because of fights about who controls resources. The secessional fires in Biafra have not been doused, Ambazonians want to break away from Cameroon and oil-rich Cabinda has tired of Angola. However steadfast Marley was in his vision of a vigilant, egalitarian Africa, his legacy today is being tainted by custodians like his widow, Rita Marley, who has mastered celebrity philanthropy to the extent of stomping on the grave of her dead husband to further her self-enrichment. Wherever Rita goes these days, she finds the opportunity to flog her three-year-old book No Woman No Cry: My Life with Bob Marley, in which, to the delight of the European media, she claims that her late husband raped her. To jolt the sluggish publicity machine for the initial Africa Unite concert in Ethiopia in 2005, Rita made the shock announcement that she would exhume Bob’s remains and re-bury them in Ethiopia, much to the dismay of his mother. After sufficient dust was kicked up, her foundation denied the whole brouhaha. Early last year, she joined forces with Island Records honcho Chris Blackwell to block Bob’s musical director and bass player Aston “Familyman” Barrett’s £60million lawsuit for unpaid royalties. Bob paid his band 50% of all his recording royalties, but Rita discontinued this practice after Bob died. Although Familyman just about built Bob’s in-house studio in Kingston and, together with his deceased brother Carlton, co-wrote and co-produced several of his songs, Rita and Blackwell swore in a British high court that “the Barrett Brothers were never Wailers, they were session men”, despite contracts to the contrary. Familyman has been reduced to a troubadour playing in hole-in-the-wall clubs with an incarnation of the Wailers band, which includes several members from Bob’s days. He quipped pithily: “She might have the [Marley] name, but she doesn’t have his philosophy.” According to Forbes magazine, Bob Marley’s estate brought in more than $7million last year. This was the first time since his death that the figure spiralled, which would give cause for Rita’s rigorous fund-raising in South Africa. This would probably also explain the monstrosity that is the 16-suite Marley Resort and Spa in Nassau, Bahamas, where the affluent can sweat their troubles away and have an irie sleep in suites named after Bob’s songs: Three Little Birds, Natural Mystic, Sun is Shining, Kinky Reggae and others. While it would be unfair to downplay her acts of generosity, however exaggerated -- putting children through school and helping develop infrastructure in communities such as Konkonuru in her adopted country, Ghana -- it is interesting to note that several people who have dealt with Rita on a business level abruptly severed their relationships with her because of her unreliability. We are talking from Jamaica to Africa here. Mega Star Limited, a local production company-cum-band that was approached by Rita to perform and provide music equipment for the Africa Unite concert in Ghana last year, is still bitter about its unpaid fee. As is a Jamaican PR company she asked to publicise and market a Marley family performance at an annual Jamaican festival a few years ago. Also, the public relations and publicity teams that represented Rita when she first announced the Africa Unite programme in South Africa last year have cut ties with her. PR company Dlamini Weil Communications will not explain why. Rita’s Africa Unite programme to celebrate her husband’s 62nd birthday has not been going ahead as planned. Concerts have been postponed until May, the month of Bob’s death. All is not lost for Mrs Marley, though, as Patrice Motsepe is understood to be interested in becoming a partner in the show. In the meantime, she will keep launching her book at every turn and business in the Bahamas will probably boom. Bob’s revolutionary zeal, refusing to be silenced, will chant, in an increasingly haunting timbre: “Soon we’ll find out who is the real revolutionaries, ’cause I don’t want my people to be tricked by mercenaries.”

The Marley legend lives on at Con Hill

Rita Marley was in town to open a photographic exhibition of her famous husband, reggae rebel Bob Marley. And she sat down to dine with the mayor at Constitution Hill.

February 15, 2007

By Lucille Davie

IT was a warm evening to celebrate the cool Bob Marley when Johannesburg's executive mayor Amos Masondo and Rita Marley got down on Constitution Hill.

Together they paid tribute to the Jamaican reggae master on Valentine's night by opening an exhibition of Marley photographs and dining in his honour.

Paying homage to Bob Marley: Rita Marley and Johannesburg executive mayor Amos Masondo
(Photo: Enoch Lehung, City of Johannesburg)

On Wednesday, 14 February, in a black-draped marquee with Marley's music playing in the background, a crowd of about 80 people, some dressed in stylish kaftans, Rastafarian dreadlocks and knitted tea-cosy hats, celebrated the life of Bob Marley. The singer died of cancer in 1981, at the age of 36.

A parade of top officials was among the guests, including the Speaker, Nkele Ntingane; the City manager, Mavela Dlamini; the councillor for public safety, Thomas Phakhathi; the councillor for transportation, Rehana Moosajee, Cape Town's mayor, Helen Zille; Ekurhuleni's mayor, Duma Nkosi; the chief justice of the Constitutional Court, Puis Langa; the chairperson of the Commission on Gender Equality, Joyce Seroke; and members of the Marley family.

"We gather here this evening to celebrate the life of one of the most recognised faces of world popular culture, Bob Marley," Masondo said. "This year, together with his family, we are privileged to celebrate his birthday."

Marley was born on 6 February 1945 - he would have been 62 this year had he lived.

Rita Marley launched her book, No Woman, No Cry: My Life with Bob Marley earlier in the week. And before the dinner, several rooms of striking photographs of Marley, plus a video, were unveiled in the Old Fort. The exhibition, entitled Freedom Fighters, will run until mid-April, when the photographs will be auctioned.

The Marley family is in South Africa to promote the Bob and Rita Marley Africa Unite project, through a series of benefit concerts, symposiums and fundraisers. Africa Unite 2007 is an initiative to encourage peace, education and youth empowerment in Africa through reinforcing Bob Marley's songs of freedom.

Not only does the visit coincide with Marley's birthday, but it also comes during and Black History Month. The family has also visited Durban.

Rita Marley, looking glamorous in a twinkling, gold, ankle-length dress, with matching gold earrings and a tall head-dress, exchanged gifts with Masondo. He gave her a framed photograph of the Nelson Mandela Bridge and several books on the city, while she presented him with a rare photograph of her husband - "no one else has this photograph" - and a copy of her book.

"I can't find the words to express my feelings," she said. Then, showing she still had a lot of groove in her, she added: "I wish I had a band up here - I could sing."

Her daughter, Cedella Marley, exhibited her fashion range, labelled Catch A Fire. So, between the main course of roast rack of lamb or chicken breast, and the dessert of Jamaican pudding with golden sauce and coconut cornells, diners greeted the minis, shiny boots, hot pants, berets, tall heels and gypsy skirts with wild enthusiasm.

Director of events for the City of Johannesburg, Bongi Mokaba, chats to Rita Marley
(Photo: Enoch Lehung, City of Johannesburg)

"Bob Marley despised racism, colonialism and oppression and this remains an important element of his legacy; and no doubt he would be pleased to see it remembered in a free South Africa," Masondo said.

Rita Marley echoed the sentiment. "We had a dream about coming to Africa and how we could stop apartheid," she said.

Each table was decorated with a carved wooden head; sitting atop each head was an arrangement of flowers chosen to resemble dreadlocks.

"Bob Marley has made a significant contribution to building a free, non-sexist, non-racial and democratic South Africa," continued Masondo.

"To the Marley family, we say: welcome home, to Africa, to South Africa, to the province of Gauteng; welcome to the city of Johannesburg."

Castaways show pays homage to reggae legend

By Patrick Doyle Staff Writer | February 15th, 2007

Saturday’s birthday celebration for Bob Marley proved his legend still lives on, 26 years after his death in 1981. For his would-be 62nd birthday, five acts interpreted his music as their own at Castaways.

Marley is one of music’s most well-known figures. He brought Jamaican culture to the rest of the world with hits like “No Woman, No Cry” and “Three Little Birds.” He passed away years before 12 million copies of the greatest-hits compilation “Legend” were sold. His passing left a burden on mainstream reggae music, which essentially stopped evolving once he died.

Organized by Castaways to benefit a farmer in western Africa, the concert had memorable moments. The show began with Mile 21, a seven-piece ska group from the Boston area. As the only young act of the night, it achieved audience approval through a horn-heavy version of Marley’s “One Cup of Coffee.” Frontman Mike Francis, clad in a striped, collared shirt and baseball cap, asked the audience, “We’re all in this for Bob, right?”

The band’s highlight came at the end of its set, with a transcendent version of “Exodus.” Lead guitarist Mike Goulart used heavy reverb effects during his solo and effectively climaxed before a chant of “Get Up, Stand Up.” The group reverted back to “Exodus,” leaving with a volatile crash-and-burn ending.

The next act, Don Bazley, was not as engaging. He began his acoustic set on a stool, accompanied by Jim Catalano on electric guitar. His lazy takes on “Guiltiness” and “Stop That Train” were probably not what Marley would have enjoyed, with nasally vocals and half-strummed guitar chords.

After a politically relevant “Talkin’ Blues,” Bazley jokingly said, “We don’t need to get political at a Bob Marley show,” and then went on to plug Barack Obama.

Joel Blizzard and Jhakeem Haltom, members of Ithaca’s “Thousands of One,” led the next performance and were joined by a full band.

The group tightly strode through haunting versions of “Slave Driver,” “Concrete Jungle” and “War.” Haltom sung with fury, reaching out to the barroom audience as if pleading for help.

An incessantly long 45-minute wait followed. The Haunt’s open-mic host Richie Stearns eventually appeared on stage with a five-piece bluegrass band, including cellist Hank Roberts. Musical variation outside of reggae was refreshing, but the group played a scant two songs. The set did end well with an uplifting banjo take on “Three Little Birds.”

Stearns was later joined by the “Ithaca Reggae All-Stars,” a collection of nearly 15 artists, for the most high-energy part of the evening. Musicians from nearly every band played, including famed former John Brown’s Body vocalist Kevin Kinsella.

The group played for more than an hour, including a sublime version of Marley’s “Burnin’ and Lootin’.” The atmosphere was casual, with artists jumping on stage and grabbing the microphone as they pleased.

People cheered. Drinks flowed. College students attempted to fuse Marley’s reggae with hip-hop booty dancing. One love, for sure.

Capleton expands on his 'Tour'

by Mel Cooke

In 1993 Capleton's Tour exploded on the Jamaican music scene, the lament of a deejay newly into Rastafari looking at the mayhem all around (come back a Jamaica everyting insecure, booga man a plan all fi march an' tour), as well as the violence meted out to entertainers ('come back come hear sey Panhead skull bore').

And he observed the infighting among deejays ('and de deejay dem naa teach people no more/a bare clashin' an fightin' dem no unite no more'), noting that 'if slackness a de sickness den culture a de cure'.

Thirteen years later, Capleton is expanding on tour, if not the song, then the places that he is coming back from. Shortly he is headed to Hawaii, then after that he does Europe and Canada. But there are new places on the Prophet's concert map this year, among them Brazil, New Zealand and Chile.

It will be the second groundbreaking year for Capleton, as 'las' year we go Slovenia, Finland fe de firs' time. An we do some of the bigges' festival in Europe, like Rotterdam in Italy and the Dour Festival in Belgium.'

The response has been striking. "When you see how outside people embrace de music with love. People who don't know the language still sing de patois an' still sing de English," Capleton said. He said that he has been to France, Spain and Germany and people have been singing his songs 'word for word' while he has been performing.

"More time it mek our people look like dem no know wha dem have inna dem han", Capleton said. Bob woulda sey our music is news.

He was speaking to THE STAR backstage at the Get Up Stand Up concert, held on Bob Marley's 62nd birthday at the Ranny Williams Entertainment Centre, Hope Road, St. Andrew, shortly after coming off stage where he had performed It Was Written with Stephen and Damian Marley. He would definitely work with them again. "De firs' time me do some work wid dem a Grammy," he said, smiling.

"It was written, but true nuff people no read. The truth is there for one to find. Yu have to believe in yourself. Always glorify another man work," he said.

And that glorification applies to deejaying as well, Capleton reminding THE STAR that 'a me sey music is a mission', is me sey 'alms house'.

But many years after he did those songs lamenting the feuding deejays, as he did in Tour, Capleton still finds himself having to caution the clashers. Why It have To Be Like Dis' on the Taxi rhythm addresses some old clashers and some new ones. Capleton said the song goes out to deejays such as Bounty Killer, Beenie Man, Ninja Man, Vybz Kartel, Aidonia and Mavado.

"Clashing always be a part of de ting, but now man mek it become a personal ting. Man fi leave dem family life a dem yard," he said.

And as he sees it, those songs won't be going on tour.

"The clash ting dem a gwaan wid inna Jamaica, is a minimal place that can carry on a galactic scale. Dem can only go New York an' Miami likkle bit. Some a my people woulda sey it cyaan pass airport," Capleton said, laughing.

'National hero or cultural icon?'
published: Tuesday | February 13, 2007

Krista Henry

Bob Marley's international appeal is obvious and lasting. - Rudolph Brown/Chief Photographer

'Bob Marley has helped define the global image of Jamaica.'

- Dr. Leahcim Semaj

The King of reggae music, a global icon - yet not a National Hero. The Reggae Studies Unit at The University of the West Indies, last Thursday at the Undercroft, UWI Mona campus, discussed the position of Bob Marley in Jamaica and the global society.

The 10th Annual Bob Marley Lecture took on the huge task of querying 'Bob Marley: National Hero or Cultural Icon?' After the opening remarks from DJ Afifa and coordinaror of the Reggae Studies Unit Carolyn Cooper, Clyde McKenzie, chairman of the Entertainment Advisory Board, with a few humorous comments introduced the guest speaker for the night Dr. Leahcim Semaj. A consulting psychologist, Semaj gave an energetic, straightforward and enlightening lecture on the status of reggae's icon Mr Marley.

Semaj started off by making valid points about the music industry itself, its profitability on numerous levels, claiming "music is a profound entity, a multibillion-dollar industry. One hit song can feed someone for the rest of their lives". Music affects the world; the way in which people dress, act and speak. Marley used his music to affect the world, bringing forth his objectives of peace and freedom. Having personally experienced the power of Marley at his concerts, Semaj attested to the ability of the icon to connect to every single person - across borderlines, class lines, political camps and geographical boundaries.

Pausing to play clips of Marley's music, Semaj let the gathering crowd feel the words of each song. By comparing Marley to other musical legends such as Elvis, Madonna, the Beatles and more, Semaj compared the impact of Marley's message which made his music of a higher quality. Mentioning his numerous accolades, Marley seemed higher than the role of National Hero.

Although coming from Jamaica and sharing the culture of the island, Semaj declared "Marley's image is one of freedom across the world". Leaving the speechless crowd with the message that Marley is more than a National Hero but a cultural icon, whose immortality lives on, Semaj opened the floor for questions. After a brief pause, eager students and watchers posed their questions, while Semaj deftly answered.

Many were left with one resounding question - Bob Marley has obviously done a lot for Jamaica, a cultural icon no doubt, why has he not been named a National Hero?

A return to reggae's roots

By: Jesse Peterson

Joseph Israel
Gone Are the Days
Universal Music Enterprises/UMG
Three out of five stars

Joseph Israel's debut album, Gone Are the Days, serves as another testament that reggae is not dead, but on an uphill climb in popularity and locality.

Although Israel has been immersed in reggae since he was a child, this relative newcomer orchestrates a compelling, heart-felt album that exemplifies the best traits of reggae-the traits that made this style such an important movement in music history.

Of course, this doesn't mean Gone Are the Days is without flaws.

Given Israel's stage name, the obvious discussion of Jewish culture, religion and politics gets the green light for much of the content of Gone Are the Days. This can get a little trying for the casual listener, because Israel seems to sing incessantly about such topics, but thankfully, as the album progresses, topics, as well as the music, open up and give the listener more to contemplate and enjoy. Plus, at times, his marriage of Rastafarianism to Judaism sparks some interesting lyrical content, including "for Jah so loved the world…"

Musically, the album stands out as stellar. Groovy bass lines and solid drumbeats keep things coherent and allow the guitar, organ and piano to run free and keep things fresh. At times, these instruments and their inflections become almost jazzy; it's beautiful when it does.

Backing female vocals add an extra depth of vitality, life and tenderness to Gone Are the Days. Israel himself does mightily well; however, much of the imperfections in the album come when his singing becomes lackluster (highly visible on the title track).

Much of the reason Gone Are the Days works is the collaboration Israel makes with some iconic reggae musicians who lend their talents to back him. What the listener gets is a delicate homage to the legends of the past, plus some nicely crafted tracks--making for a good debut album, especially from someone born in Oklahoma and residing in, of all places, Arkansas.

From the cradle to beyond the grave

Sunday, February 11, 2007
The Fiji Times

ERIC Clapton has gone back to roots. The man who fired I Shot the Sheriff to international acclaim has revisited reggae.

Clapton helped reggae prophet Bob Marley break into the US mainstream music by covering I shot the sheriff, written and released by Marley on the Burnin' album in 1973.

The English guitar god whose first full blues album was From the Cradle, was happy to oblige Marley's sons Ziggy and Stephen when they sought his help.

He happily went into the studio at the request of Marley's sons to lay down a new guitar piece.

Overdubbing an acoustic demo is a method used successfully by Paul McCartney, George Harrison and Ringo Starr in the late 1990s to transform John Lennon's demos of Free As A Bird and Real Love into complete Beatles songs.

Slogans is a bright and mighty anthem reminiscent of classic Marley. It is a song of freedom and righteousness that transcends generations.

It is believed Marley recorded the bright and mighty anthem in a Miami bedroom in 1979.

Released last year, Slogans comes with a video that is full of classic Marley footage, explosive live concert visuals and images from the 1960s and 1970s.

Slogans in the first new Marley song in a decade and features on the Africa Unite album, a compilation of all the singles the prophet released.

The video provides a backdrop to Marley's timeless and powerful lyrics that speak to the world today as they did in 1979.

Slogans is one of eight songs found on a tape of Bob working in his room with a drum machine.

Bobmarley.com reports they're really sketches of songs that the family is completing.

Redemption Song

Ernie Smith traces 'Redemption Song'
published: Friday | February 9, 2007

Jamaican Gleaner

Mel Cooke

Ernie Smith delivered the Marley standard.

After the Marley brothers - Stephen, Ky-Mani, Julian and Damian -had closed their performance at the Jamaica Cultural Development Commission's (JCDC) 'Get Up, Stand Up' concert, held at the Ranny Williams Centre on Tuesday, Ernie Smith traced Redemption Song.

In his deep voice Smith delivered the Marley standard to the accompaniment of the Gumption Band, the music continuing as he moved from song to speech to take the large audience at the free event to celebrate Marley's 62nd birthday from Hope Road, St. Andrew, to St. Ann.

'Redemption Songs'

"I went to a funeral in a little town called Sterling about four miles from where Bob Marley was born. In a hymn book I saw some songs - Wash me till I'm white as snow, I'm a wretch and full of original sin. The title of that hymn book was Redemption Songs," Smith said.

"Finally, I understood what Bob Marley was saying. Help me sing these songs of freedom, because I do not even have a religion for myself," Smith said, adding that many are praising the God of the patriarchs Isaac and Moses "and don't even realise that we are children of the same faith, children of the same God."

"So the title of that hymn book was 'Redemption Songs'. Help me sing these songs of freedom, songs that Bob Marley wrote," Smith said, going back into song, holding a long 'had' before he ended the song to applause, going on to deliver his own Play De Music and Duppy or Gunman, among others.

Apart from the Marley brothers, who shared verses of Could You Be Loved, after Stephen had opened with Soul Rebel and Capleton had roared on stage to blaze a merry fire with his part of It Was Written, Smith was one of the very few to go into the Tuff Gong's catalogue on Tuesday night. Etana's strong, clear voice soared into Selassie Is the Chapel before identifying a Wrong Address and Nanko dedicated Forever Since to Marley.

However, after rocking the house with a mixture of deejaying and singing as she declared herself "born free, that's all I'm gonna say", Queen Ifrica emphasised Bob Marley's Rastafarian roots. "We naa talk freak Rasta, but real Rasta whe bun Babylon," Ifrica said.

'Get Up, Stand Up' had the large audience standing for some time, the concert shifting gear to Anthony B's Raid The Barn at just after 9:00 p.m. and going through to Lutan Fyah observing "nuff a dem cyaa believe, Rastafari still deh bout" as the concert headed to a close just past 1:00 a.m., many a performer in between.

Bob Marley Earthday Celebrations

Anthony B lights up Bob Marley birthday show

Friday, February 09, 2007 Jamaican Observer

Damion 'Junior Gong' Marley performs on stage with his brother Stephen Marley.

Kingston, Jamaica - The Get Up, Stand Up celebration of the birth of reggae icon Robert Nesta Marley held on Tuesday at the Ranny Williams Entertainment Centre was blessed by an amazing and energised performance from Anthony B. A peaceful evening of homage to one of the world's greatest saw crowd-pleasing performances from Junior X and the powerfully eloquent Etana.

The international artiste took the audience on a musical journey with his hits Raid The Barn and Life Over Death, which had the enormous crowd raising banners, lighters and singing word-for-word in unison. The singer immediately created a sweet vibe spanning the crowded venue. His most powerful number, the sombre Mr Heartless, from his Seven Seals album, gained resounding cheers and clapping.

The revolutionary artiste known for his controversial topics was the only artiste of the evening to have an extended set (apart from Stephen Marley, who was joined by brothers Julian, Kymani and Damian). With the audience chanting for his return, he concluded with the light-hearted Mr Controversy off his new Tads' International album, Suffering Man.

Hailing the greats of our black history like Marcus Garvey, Nelson Mandela and Malcolm X, the singer-deejay made a plea with the audience to join the fight against crime plaguing the society. Anthony B's ability to connect with the audience demonstrated both his experience and ease of an international reggae superstar.

Although Suffering Man was released in August 2006, he is already working on his next album, Life Over Death, slated to drop in June of this year. With collaborations with Lauren Hill, Wyclef Jean and Akon, Life Over Death is an eclectic blend of musical styles. Although this album reflects both his versatility and his evolution through reggae music, he remains true to Rasta.

With Anthony B being one of reggae's talented and influential artistes of our time, this album is destined to elevate the Bobo to the next level of success.

Anthony B took the audience on a musical journey.

Stephen Marley pleased the crowd with his rendition of Soul Rebel, but heated up when he delivered his hit combination with younger brother Damian, Traffic Jam. This single is off his upcoming solo album, Mind Control, to be released on March 20. The temperature rose even higher when Capleton joined the stage to do It Was Written alongside Stephen and Damian. The Marley segment concluded with the anthem-like Welcome To Jamrock.

Overall, the female artistes held their own with solid performances from Queen Ifrica and sexy songstress Cherine, who delivered a sultry performance that was heightened when Chuck Fenda joined her on stage to do the number one hit on Richie B's HOT 102 chart, Coming Over.

Rasta in Sri Lanka

http://www.dailynews.lk/2007/02/10/fea11.asp

Upul and the Gang spotlight of Bob Marley concert

Chamikara Weerasinghe

Upul and the Gang was the highlight of the “Bob Marley Tribute Concert” which was held last Tuesday at the Mambo Surf Club’s beach deck in Hikkaduwa.

Thousands of foreigners and local Bob Marley fans beheld the concert. Among them were several hundred fans

Upul

who could be true followers or half-believers of Rastafari faith of Ethiopian origin.

They all sang, danced and made merry to the tunes of reggae music played by Upul and the Gang in a predominantly reggae dominating “Rastafari” atmosphere.

The beach area looked very much like a mini Jamaica with everybody there displaying their love for the world’s pre-eminent ambassador of Reggae and undisputed King of Reggae, Bob Marley.

Reggae music heralded the air with its hypnotic upbeat rocking the cheering audience.

Upul de Silva enthralled the audience with songs such as No Woman No Cry, Natural Mystique, One Love, and more.

Further, Upul did several cover hits of Alfa Blondie of the Ivory Coast adding variety to the concert. Upul went onto sing Alfa Blondie’s Jerusalem, Cafe Cacao and Coco De Rasta.

Fireworks display

The two bands played in successive sessions were Exodus and Upul and the Gang. Exodus, led by Sarath Fernando, played some rock songs, including Pink Floyd’s Another Brick in the Wall.

Upul emerged as the spotlight of the concert that lasted for many hours starting from sundown to sunset. The stage was carefully arranged with mammoth posters of Bob Marley and colours of Rastafari, green, yellow, red and black.

The organisers, Mambo Surf Club, lit fireworks, which were shot from time to time during the concert illuminating the skies with bright designs of light - all in honour of Bob Marley.

It had to be mentioned that the drummer of Upul and the Gang Hashan Priyantha did an excellent job on percussion.

He had recently joined the band and seemed to have come a long way in a very short time with his talent. “I was being guided by Upul,” he said.

still discrimination against dread

Dreadlocked Zimbabwean Cricketers Submit To Scissors As Ordered
By Marvellous Mhlanga-Nyahuye Washington 22 March 2007

Cricket fans in Zimbabwe were expressing outrage Thursday that Zimbabwe Cricket, which governs the sport in the country, ordered national team members participating in the World Cup of Cricket in Jamaica to shear off their dreadlocks.

The order struck many as curious given that Jamaica is the home of the dreadlock hair style made popular worldwide by the late reggae musician Bob Marley.

Critics said the move represented an infringement on the freedom of expression of the athletes and said Zimbabwe Cricket should stick to promoting the sport. The order affected players Tawanda Mupariwa, Keith Dabengwa and Stuart Matsikenyeri.

Zimbabwe Cricket spokesman Lovemore Banda said national team managers sought uniformity of appearance for the relatively young team, in a rebuilding phase.

Team captain Prosper Utseya said the players complied with the order but were not pleased with the decision. That was not the only bad news: Zimbabwe was eliminated from World Cup play by Pakistan in a rain-drenched match on Wednesday.

Historic Moment - Capleton, Sizzla, Beeniman for One Love

Beenie Man, Sizzla & Capleton sign deal
Historic agreement to stop "murder music"


London – 13 June 2007

Three of the world's top reggae / dancehall singers have renounced
homophobia and condemned violence against lesbians and gay men.

Beenie Man, Sizzla and Capleton had previously released anti-gay hate
songs, including incitements to murder lesbian, gay, bisexual and
transgender people.

They have now signed up to the Reggae Compassionate Act (copy below),
in a deal brokered with top reggae promoters and Stop Murder Music
activists.

The agreement follows the three-year-long Stop Murder Music campaign,
which resulted in the cancellation of hundreds of the singers'
concerts and sponsorship deals, causing them income losses estimated
in excess of five million dollars.

"The Reggae Compassionate Act is a big breakthrough," said Peter
Tatchell, of the British gay human rights group OutRage!. Mr Tatchell
is coordinator of the worldwide Stop Murder Music campaign. He helped
negotiate the deal with the three singers.

"The singers' rejection of homophobia and sexism is an important
milestone. We rejoice at their new commitment to music without
prejudice," said Mr Tatchell.

"This deal will have a huge, positive impact in Jamaica and the
Caribbean. The media coverage will generate public awareness and
debate, breaking down ignorance and undermining homophobia.

"Having these major reggae stars renounce homophobia will influence
their fans and the wider public to rethink bigoted attitudes. The
beneficial effect on young black straight men will be immense," he
said.

This view is mirrored by fellow Stop Murder Music campaigner, Dennis L
Carney, Vice-Chair of the Black Gay Mens Advisory Group (BGMAG) in
London. Mr Carney is of Jamaican descent, and played a leading role in
negotiating the Reggae Compassionate Act. He added:

"I am thrilled that Beenie Man, Sizzla and Capleton have signed up to
this historic agreement with the Stop Murder Music campaign. We
welcome their commitment to not produce music or make public
statements that incite hatred and violence against gay people".

"This is a giant leap towards restoring peace, love and harmony to
reggae music. These performers are sending a clear message that
lesbians and gay men have a right to live free from fear and
persecution - both here in the UK and in Jamaica," concluded Mr
Carney.

In the Reggae Compassionate Act the three singers pledge to:

"respect and uphold the rights of all individuals to live without fear
of hatred and violence due to their religion, sexual orientation,
race, ethnicity or gender."

"there's no space in the music community for hatred and prejudice,
including no place for racism, violence, sexism or homophobia."

"we agree to not make statements or perform songs that incite hatred
or violence against anyone from any community"

In this declaration the artists promise to not sing lyrics or make
public statements, in Jamaica or anywhere else in the world, that
incite prejudice, hatred or violence against lesbian and gay people.

"By signing the Reggae Compassionate Act they are stating that, in
future, they will not release new homophobic songs or authorise the
re-release of previous homophobic songs," added Mr Tatchell.

"They also agree that they will not make homophobic public statements.

"They recognise that prejudice, hate and violence have no place in
music – that singers should unite people, not divide them. They are
now committed to opposing homophobic prejudice, discrimination and
violence.

"This commitment is a major blow against homophobia in the Caribbean
and in popular music.

"The Reggae Compassionate Act applies worldwide. If any of the three
singers break this agreement anywhere in the world, we will resume the
campaign against them.

"As a result of them signing this statement, for a trial period we are
suspending the campaign against these three performers. If they abide
by the agreement we will make this suspension permanent.

"The other five murder music artists - Elephant Man, TOK, Bounty
Killa, Vybz Kartel and Buju Banton - have not signed the Reggae
Compassionate Act. The campaign against them continues. These singers
have incited the murder of lesbians and gays. They should not be
rewarded with concerts or sponsorship deals.

"The Stop Murder Music campaign urges organisations worldwide to
intensify the campaign to cancel these five singers' concerts and
their record, sponsorship and advertising deals. These artists have
openly encouraged the murder of lesbians and gay men, which is a
criminal offence in every country. We call on all people of good
conscience to boycott these promoters of hatred and violence; and to
campaign against them with the same determination that they would
campaign against racists and anti-Semites.

"These unrepentant homophobic performers are the moral equivalent of
neo-Nazis and the Ku Klux Klan," said Mr Tatchell.

His views are echoed by Gareth Williams, co-chair of the Jamaican gay
human rights group, J-Flag:

"This statement against homophobia and violence is a move in the right
direction," he said.

"We hope it is not commercially motivated by the singers' desire to
maintain their concert revenues, but a sincere commitment that will
encourage an end to homophobic violence and to all violence against
everyone. The five artists who have not signed the statement should
now follow this lead and declare their support for universal human
rights, including the human rights of lesbian and gay people," said Mr
Williams.

Brett Lock, an OutRage! member and key organiser in the Stop Murder
Music campaign, reiterated:

"We have never accepted any agreement whereby an artist agrees to not
perform homophobic lyrics at concerts in Europe and the US, but
continues performing them in the Caribbean.

"The idea that these singers can incite the murder of gay people in
Jamaica and then come to Europe and be accepted as legitimate artists
is morally sick and indefensible.

"The only agreement we will accept is an agreement that they will not
incite homophobic hatred and violence - in lyrics or in public
statements - anywhere in the world, including Jamaica. This is what
the Reggae Compassionate Act says, and this is the pledge made by the
three singers who have signed it," said Mr Lock.

The Reggae Compassionate Act was negotiated by Eddie Brown of Pride
Music UK, with the support of the promoters Michel Jovanovic (Mediacom
France), Klaus Maack (Contour Germany), Peter Senders (Panic
Productions Holland), Fabrizio Pompeo (Tour de Force Italy), Julian
Garcia (Roots and Vibes Spain) and Tim Badejo (Dubble Bubble
Scandinavia).

"We would not have secured this agreement without their helpful
contacts, input, patience and commitment. We thank them for their hard
work," added Mr Tatchell.

Note to editors:

To test the singers' sincerity, we urge you to publicise their pledges
in your media and to assign your journalists to interview them to make
sure they personally confirm their commitment to renounce and oppose
homophobia.

We are concerned that some singers are only signing the Reggae
Compassionate Act for business and commercial reasons - not because
they genuinely believe that homophobic hatred and violence are wrong.

With your help we can test their sincerity and genuineness.

The Stop Murder Music campaign consists of more than 60 organisations
in over a dozen countries in Europe, North America and the Caribbean.
It is led by a triumvirate consisting of the Jamaican gay human rights
group, J-Flag and, in the UK, the Black Gay Mens Advisory Group and
queer human rights group OutRage!

The Stop Murder Music campaign won the Best Advocacy Award at the
recent Black Lesbian and Gay Community Awards 2007 ceremony in London.

OutRage! contributed to the drafting of the Reggae Compassionate Act.
It was our idea to get the singers to sign a declaration against all
prejudice and violence, including homophobia. The final wording was
agreed by the reggae promoters we are working with (led by Eddie
Brown), in consultation with some of singers and their managers.

If these three singers abide by their signed statements to avoid
homophobic words and lyrics worldwide, we have no objections to their
concerts going ahead. We will call off the campaign to cancel their
concerts, and advise all our constituent and allied groups around the
world to do the same.

We will review this decision in six months time, with a commitment to
making it a permanent end to the campaign against these three singers.
So long as they stick to the agreement, we will honour our commitment
to halt the campaign against them.


Further information:

Peter Tatchell - OutRage! UK - + 44 (0)20 7403 1790 (office)

Brett Lock - OutRage! UK - + 44 (0) 770 843 5917 (mobile)

Dennis Carney – Black Gay Men's Advisory Group UK – + 44 (0) 7973 188
280 (mobile)

Gareth Williams – J-Flag Jamaica – 00 1 876 754 8704 (office) and 00 1
876 455 2785 (mobile)

Karlene – J-Flag Jamaica – 00 1 876 855 2150 (mobile)



The Reggae Compassionate Act


We, the artists of the Reggae community, hereby present this letter as
a symbol of our dedication to the guiding principles of Reggae's
enduring foundation ONE LOVE.

Throughout time, Reggae has been recognized as a healing remedy and an
agent of positive social change.
We will continue this proud and righteous tradition.

Reggae Artists and their music have fought against injustices,
inequalities, poverty and violence even while enduring some of those
same circumstances themselves. Over the years, reggae music has become
popularized and enjoyed by an unprecedented audience all over the
world. Artists of the Reggae Community respect and uphold the rights
of all individuals to live without fear of hatred and violence due to
their religion, sexual orientation, race, ethnicity or gender.

While we recognize that our artistic community comprises many
different individuals who express themselves in different ways and
hold a myriad of beliefs, we believe firmly that the way forward lies
in tolerance. Everyone can keep his own conviction and we must
receive respect for our freedom of speech as far as we respect the
law, but it must be clear there's no space in the music community for
hatred and prejudice, including no place for racism, violence, sexism
or homophobia.

We do not encourage nor minister to HATE but rather uphold a
philosophy of LOVE, RESPECT and UNDERSTANDING towards all human beings
as the cornerstone of reggae music.

This Compassionate Act is hereby calling on a return to the following
principles as the guiding vision for the future of a healthy Reggae
music community:

• Positive Vibrations
• Consciousness raising
• Social and Civic Engagement
• Democracy and Freedom
• Peace and Non-Violence
• Mother Nature
• Equal Rights and Justice
• One Love
• Individual Rights
• Humanity
• Tolerance and Understanding


We, as artists, are committed to a holistic and healthy existence in
the world, and to respect to the utmost the human and natural world.
We pledge that our music will continue to contribute positively to the
world dialogue on peace, respect and justice for all.

To this end, we agree to not make statements or perform songs that
incite hatred or violence against anyone from any community.

ONE LOVE

Signed: Beenie Man, Capleton, Sizzla


Further information:

Peter Tatchell - OutRage! UK - + 44 (0)20 7403 1790 (office)

Brett Lock - OutRage! UK - + 44 (0) 770 843 5917 (mobile)

Dennis Carney – Black Gay Men's Advisory Group UK – + 44 (0) 7973 188
280 (mobile)

Gareth Williams – J-Flag Jamaica – 00 1 876 754 8704 (office) and 00 1
876 455 2785 (mobile)

Karlene – J-Flag Jamaica – 00 1 876 855 2150 (mobile)

Peter Tatchell - OutRage! UK - + 44 (0)20 7403 1790 (office)

Brett Lock - OutRage! UK - + 44 (0) 770 843 5917 (mobile)

Source: OurRage UK

http://www.petertatchell.net