Violence in the music is reflective of the Society’s Corruption

Violence in the music is reflective of the Society’s Corruption

Reggae Lane, the first roadway in the world, named after reggae music​, right here in Toronto, Canada, at Eglinton and Oakwood, respecting a time of reggae culture in Little Jamaica

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Reggae is a global spiritual movement

For most of its lovers, which include so many sub-genres, the messages of love, truth and equality are the foundation blocks for generations of fans

There are parts of the music, especially within the dancehall, that expresses high levels of aggression and violence, which clearly reflects the mood and sentiment of the people and does shed a dark shadow on reggae culture, yet as I stated earlier, it is a REFLECTION of the society

Since the 6th August, 1962, it is my opinion that the Jamaican leadership / government / parliament / prime ministers / politicians have deliberately brought violence to bear on Jamaican citizens

This started with the orchestrated violence on Corral Garden, by the first prime minister, Bustamante, murdering innocent RasTafari in order to go into the camp and raid them of very large sums of money from ganja sales, which RasTafari could not put into Jamaican banks

Bustamante invented this raid to steal RasTafari money and kill innocent Jamaicans

Bustamante is no Jamaican hero to me {one cannot be a Jamaican hero if one murders Jamaicans in my opinion}

The list of offenses by the Jamaican governments are too numerous to mention

Now this current leader is talking about the violence in the music as being the issue behind the violence


This mascot leader is from a long line of mascots

How is bauxite mining more valuable in Cockpit Country that fresh drinking water?

Why isn’t reggae music monetized to improve the economy of the county now for sixty {60} years?

Why does the leadership act like wardens of a penal colony?

Blessings Baby Cham for speaking up

One artist speaking changes nothing though

I implore humans who love peace, who love Jamaica, the global Jamaican diaspora to ask these questions and many more, from these mascot governments that have been placed in charge of a beautiful culture

Tonya P album release cometh

The Canadian reggae queen, The First Lady, is bringing some blazing tracks and a full virtual performance

Foundation Steppas with “Pendulum” on formats listed


Benjy Myaz asking the most important question, “What’s Going On”

A talented Jamaican reggae / jazz performer making his bass talk to the audience

Newsletter ~ 2nd April, 2021

Newsletter ~ 2nd April, 2021

Reggae Lane, the first roadway in the world, named after reggae music​, right here in Toronto, Canada, at Eglinton and Oakwood, respecting a time of reggae culture in Little Jamaica
RasTa: A Soul’s Journey, tells the story of the journey of Bob and Rita Marley’s granddaughter, Donisha Prendergast, to eight (8) countries around the world exploring the roots and evolution of Rastafari 

Watch the movie: rasta.streammoretv.com

Join the group on Facebook: ​https://www.facebook.com/RASTAASOULSJOURNEY

Foundation Steppas, a young reggae band outta Guelph, Ontario, bringing a conscious vibe and energy, following the path of their elders, blazing this new track, “Pendulum” on the formats listed above

Lillian Allen, a foundation artist in the Canadian reggae fraternity, a dub poet extraordinaire, is as lyrically potent today as then

​We have the pleasure of one of her poems which we display with her permission:

Revolution from de Beat 
Revolution from de drum
Revolution from de beat
Revolution from de heart
Revolution with de feet

De riddim and the heave and the sway of the beat
de rumblings and the tumblings down
to the dreams to the beat. To the impulse to be free
to the life that spring up in the heat          in the heat
in the pounding dance to be free
to bust open a window
crash upon a door
strip the crust of confinement
step truth, through cracks
through the routing rhythms of the musical tracts       tracks 

De sound of reggae music came on a wave of patter       patter
of deeply rooted internal chatter          chatter
on wings of riddim and melodies gone free
the bass strum the heart
the bass drum the heart beat
and the Rastaman pound! Bong bong     bong bong
beat them drums mon! Bong bong    bong bong

And de sound all around
and the voice
of impulse crafted into life burning darkness
of light
of days journeying through the night

of riddim pulse wails and dreams
and determination to be free
of sight
of a vision that ignites
of a musical bam-bam fling-down-baps get-up-stand-up jam!
A musical realignment of the planets
a joy and a singing for those on it

Liberation impulse
dig the colonialists’ grave
crunch of the sixties
baton carried through civil rights flames
spirit of the hippies
signify new ways
the Black power five
the right-on jive
women raise banners for their rights
communities organize
and workers struggle for human rights       for human rights

De core of the African self
separated by four hundred years
ties blighted and nipped a    continental divide
and colonialist lies
a sip from the being of the African well
uncorked the primal African self
and woo…oosh woo…oo…oosh the well spring up
and a riddim let loose
and reggae music found us

It was the pulse in the Caribbean that echoed bright
a voice on a beat
squashed determination released
and the wondrous sighs of Black people once again rose high
from a little piece of rock called Jamaica
where Arawak and Carib bones lie
came a breath of resistance
of peace love and liberation
spread worldwide on the wings of its artists and shaman
the bass and drums prance like a winded fire
chenke ckenke chenke chenke of a guitar strum
songs of freedom
of spirit 
of love
of redemption

Revolution from de drum
Revolution from de beat
Revolution from de heart
Revolution with de feet
Ah revolution

It’s gotta be live

It’s gotta be live

Have you spent much time checking out NPR’s Tiny Desk concerts?

For me, they are a constant source of musical enjoyment. I’ll tune in for a favourite artist, use them to research someone less familiar, or take more of a “blindfold” approach (“Let’s see what this one’s all about!”). I’m always impressed by the calibre of the sound and picture in what seems like a challenging space for high-quality production. The musical performances don’t always hit home, but from a viewer standpoint, the experience is consistently satisfying.

I especially enjoy the necessarily stripped down sets required of musicians performing at the Tiny Desk. On occasion, a performer is inadequately prepared for the mostly acoustic setting; but for the most part, performers embrace the format and the setting, and end up presenting powerful, intimate sets. There is no hiding behind studio trickery or backing tracks; a musician’s raw performance talents are on clear display.

With so many outstanding Tiny Desk sessions available, by musicians of an enormous variety of musical styles, it’s hard to choose one to highlight for the purposes of this post. But a few weeks back, I watched the 2018 Tiny Desk performance by Saba. I can’t remember how I ended up there – if it was a recommendation from an article I read or a more exploratory click – but his show had me transfixed. There’s a lot going on – his lyrics are moving, and there are several layers to his story (including having his dad as a backup singer) – but for me it’s always about the music…and what they were able to do live in a cramped space sounded better than some projects I’ve heard coming out of a studio. The sudden starts and stops, the vocal effects, the tempo transitions, the musical balance, etc., that I tend to assume are studio tricks – or at least the product of multiple takes and creative editing – were performed perfectly live, and they made it all look and sound easy. See and hear for yourself (a caution that this video contains some strong language):

I recently did a presentation for Music Africa’s Artist Training Program, and my assigned topic was “Arts Presentation” – the goal was to discuss the do’s (and some don’t’s) of preparing to make a festival submission (you can watch it here). It’s a presentation I’ve done a number of times before, but I figured I’d check in with some colleagues across the country to ask what they look for in a submission. I received some excellent comments, but a consistent point was the importance of being able to discern the quality of an artist’s live performance. We need to trust that what we hear in a submission can actually be reproduced live on stage.

This shouldn’t come as a real surprise. Jazz and jazz-related genres have always been performed by live musicians playing live instruments. Although the art form has broadened dramatically over the years – often in exciting ways – to incorporate sounds, styles and techniques found in other musical forms, for me the most moving performances have always been those at which I’m reacting to how musicians are manipulating their instruments and voices, and interacting, live and in real time. A few weeks ago I watched the SF Jazz rebroadcast of a 2015 performance by the ACS Trio (Geri Allen, piano; Esperanza Spalding, bass; Terri Lyne Carrington, drums) – the interaction between the musicians, and the music they made, was mesmerizing. I wish I could have experienced the show in person; but the magic of that live performance shone through online.

As we launch into Jazz Appreciation Month (every year in April), I’m feeling especially thankful for all of the musicians who toil for so many hours, in jazz but also music in general, to bring incredible live music to stages around the world. We’ll be celebrating some Canadian jazz artists later in the month with shows that demonstrate a few different approaches to the presentation of live music – more details will be announced soon. But each will be an excellent example of the outstanding artistry involved in putting on a live show.

Until then, find some fantastic concert footage online (you could even start at the Tiny Desk!) and enjoy the beauty of live.


Newsletter ~ March 2021

Newsletter ~ March 2021

There has always been a vibrant reggae vibe in Toronto and Canada, hidden from the masses by the very society we currently reside within yet it is and always has been a source of pride for many including this story teller

Telling “ourstory” has always been a path for CRW and though we cover a very small part of the culture, we hope you fulljoy the offerings in this communication

There are many other stories to tell so we drop a newsletter on the current runnings to keep the massive informed of the talents that inspire the culture

Jason Wilson & Carl Harvey

Both these brothers served the Canadian reggae scene for decades now.  Accolades far too much to mention yet it is totally recommended that as a fanbase, some of you get to know them

Jason complied a book of “reggae history” going back to Jamaica and coming to Canada called, “King Alpha’s Song in a Strange Land ~ The Roots and Routes of Canadian Reggae” among releasing several albums over the years

Carl Harvey is notorious for his ties with MessenJah, Crack of Dawn bands as well as famously on tour with the late, great Toots Hibbert for forty {40} plus years

Art Direction – Pazit Cahlon
Illustration – Salisa Jatuweerapong
In 2012, archeologists found a fossil from a young teenage girl who lived 90,000 years ago in the Denisova Cave in the Altai Mountains, Siberia, Russia. ‘Denny’ – as she is now known – is remarkable because she is an archaic human hybrid; her mother was Neanderthal and her father a Denisovan. Are you read
The Video ~ short snippet: https://vimeo.com/529464846

Tonya P
The first Lady released “Concrete Rose” proving the power of her words and her will.  No pandemic could stall this hard driving mother, wife and veteran performer.
Definitely Kubba Pringle’s daughter of MX 3 fame, a determined crew
Tonya P will be giving a virtual performance for this album on the 25th April 2021
Chune een

King Shadrock

A long time member / contributor of the Canadian reggae vibez gives us his current single and video

The Human Rights bring their latest single and video, “Peace Gun”

Reggae For Life merchandise on sale one more week, $10.00 off
Order Here:
Pisano Artista

​This month’s artist feature
Finding Joy

Finding Joy

For a few hours last weekend, the sun was gloriously shining and our little family unit sat outside, enjoying an afternoon snack, interacting (from a distance) with our neighbours and things felt, in those moments, hopeful.

With vaccines now rolling out (slowly but surely), and cities around the world putting plans in place to re-open over the next several months, I’m feeling something that resembles optimism – this despite the news, difficult but not unexpected, that Toronto would not be issuing any permits for public events until after July 1, essentially putting any official Festival plans on hold (again). But we’re not letting this new(ish) development get in the way of celebrating jazz in all its forms, especially as we enter our 35th year – we’re hard at work on what I expect will be an ambitious slate of programming over the next 12 months.

Rather than dwelling on ongoing challenges, I’m trying to take a cue from the weather (Spring is coming regardless!), looking for the positive, and relishing the moments of joy I experience each day. At home that’s recently meant instances of extra tenderness or pure silliness (or last weekend’s three-layer funfetti cake which actually turned out); at work that’s meant welcome conversations with colleagues near and far and the sense of excitement which comes with exploring new programming possibilities. And whether it’s my kids singing their choir music through the house or hearing a new release, music is a constant source of joy.

So instead of belabouring the point in words (talking about music is like dancing about architecture, right?), I figured I’d just list a few musical tidbits which have especially raised my spirits in the past few weeks…

…starting with this, which dropped today:

Some homegrown funk:

Gospel goodness (for me, from 9:40 to the end in particular):

New music from Malika Tirolien always does the trick…

And two more that don’t have direct video:

Last Thursday, in a collaboration between The Embassy of Canada, the TD Toronto Jazz Festival and the DC Jazz Fest, Larnell Lewis performed a short solo set from his home in Toronto. Over the course of 40 or so minutes, Larnell, along with pannist, composer and educator (and also his wife) Joy Lapps-Lewis, presented an uplifting set of music, full of impressive technique, informative historical context and so much, well, joy. If you missed the set, here’s something slightly different, but just as fun:

And sitting on my coffee table, waiting for assembly, is my very own Holobox Theatre, which I’ll be using to watch the upcoming Women From Space Festival online. I have no idea how it works, but I’m pretty excited to put it together and test it out – kudos to Women From Space for aiming to present online content in an original way. (So I guess this is joy derived in equal parts from an arts and crafts project and in experiencing a new and creative way to present under the current circumstances.)

Please share what’s bringing you joy these days – I’m sure we could all use an extra endorphin or two.


Reggae Music decides the fate of Reggae Lane

Reggae Music decides the fate of Reggae Lane


It is ingrained in many to expect my work, network or my attention for zero cost

I can blame no one but myself for this behavior

It seems to be a prevalent thing globally

From Jamaica to North America to Europe, the genre makes probably trillions in revenue and much of this continues to be filtered free of cost


Because everything else is free

Cyaa blame folks who believe this is the norm and come into the culture and treat us the way we allow everyone else to treat us

That is totally on me

I take full responsibility for how I allow other humans to treat me

Like the time I realized that my company was being ‘pimpted’ by the Eglinton Councillor’s office, when I asked why the folks on the Reggae Lane committee were not being paid for their work

I was told, “We have no budget”

I left that committee right quick

Now, before some of you jump up and cuss the government office, MANY of you try the same bullshit… daily

We are ALL in this together!

I get it

I agree

Budgets are limited yet if we start properly valuing our thing and paying each other, even sometimes, we grow as the value grows

Respect is due


I use this situation because I am fully aware that it will get attention and these are MY opinions based on feel


A Black History Month celebration / performance yet the government office pimping Black business


Colonizer /’ gentrifyer’ behavior is pretty consistent

Government has money to do their events and paying themselves and try to use the artists on the show to guilt us to support the event

Typical game we have seen forever.  It isn’t new

Mi nah hunt dung nuh money

I ovastand my value

If you do not rate it for any reason, I respect that, but DO NOT CONTACT ME!

This government office wants me to post their event in MY network

I assume that they believe my network is valuable or they would not have sent I and Toronto Reggae the info a day before the event

If we weren’t valuable, why would one send the information?

Why would they not have used our services weeks ago to get it to the reggae community?  Why not show respect and pay us for our network/s?

Instead, we are faced with, “a quick share to your network” a day before the event

There are folks in “this” that I will never accept money from to promote your event/s because your energy is one that reggae and RasTafari do not vibe with

It is like oil and water

If you are paying the artists properly, for that I am happy and grateful

Do not come to I about freeness

Then come tell me fuckrey about “outreach” like you sending me a flotation devise to save me from drowning or scraps of food for the poor

I suspect this will be my last correspondence with this office but sometimes Dracula need some garlic

Gentrification works cause one side has all of the money

Keep your money

Reggae Lane is still a beacon for me

I will defend my reggae cause without support from ANYONE inside or outside the genre

Reggae decides what Reggae Lane will become

Neither you nor me

Not Metrolinx, the TTC nor government officials who are all partners in the gentrification of Eglinton West aka Little Jamaica

Reggae will decide

Reggae teaches me how to treat and value myself as well as my community

The message of RasTafari flows through this music and if one ovastands what that means you can approach us for business.  If you do not, pay someone else… please

Calling the spot “Reggae Lane” must also call the truth of this music

Reggae is the judge and jury

Watch de ride

#reggaeforlife   #reggaelanetv

House of Dreads ~ A Spirit of Resistance

House of Dreads ~ A Spirit of Resistance


Woody King was my uncle

 “City Without Pity” were some famous words spoken by Woody King, which has been used millions of times in passing conversations since and I just recently learned what he meant.  The statement was made because there is an event in his life where the Spanish Town Police, beat him up and shaved his locks.   The most inhumane thing the colonizer taught us is self abuse and many eager to please massa will brutalize black skin more than their own master would

They shaved Woody’s locks while he was in their custody and later, he took the Jamaican Constabulary to court and won a settlement as well as a law stating that it would be unlawful to forcibly trim RasTafari in Jamaica from that day forward

Woody King was notorious for fearlessness and consciousness hence people seeking his council included Marley, Tosh, Bunny and Skill among them as well as others whom I meet in passing in my life

All fierce and wise in their movements

None were saints yet all inspired generations of youth not only in Jamaica but also globally

Woody King instilled a sense of honor and integrity to me as a youth, not only by word but also by his deeds for many in the community to see and to experience personally

Allan “Skill” Cole was a friend of Woody’s

For me, from about 1971, when I was eleven years old, Allan Skill Cole was already a football legend and considered, arguably, Jamaica’s greatest footballer

From my experience playing at Up Park Camp, a Santos training ground, from about 1972 – 1975 as I was registered U14 – U16 I had many opportunities to watch him play among many other of Jamaica’s best.  For me, I have never seen better in my time in Jamaica

I recently had the pleasure of having a short conversation with Allan about House of Dread

Allan said his was the “conscious era”

I had the distinct pleasure of speaking to Allan Skill Cole today

He has always been a source of pride for me as well as many within our era.  For many of us, he was clearly the best player we have ever seen as a Jamaican.  He was magical to watch as well as to play with.  I was just one of the youths around him and the big ballers.  I played with him for the first time at 13 – 14ish, when he was the leader of the Santos team.  As a likkle yout, sometime de big man dem won’t pass de ball to yu.  Allan was different.  He used me as he did every other player passing the ball to me on several occasions

“He treated me like every other baller”

Huge confidence boost for a likkle yout

Allan spoke highly and respectfully about Woody at his funeral, of Woody’s impact on himself as well as others from that I believe to be the most effective era forcing babylon to make change to the global establishment.  They looked and saw outwardly and recognized where their / our abusers are and held them spiritually accountable

One of the greatest things Allan was a part of in my mind, is House of Dreads team in the Jamaica Major League of Football

A team of ALL RasTafari players

I have no idea of their record {I heard a number of 100 victories to 3 losses, but don’t quote me on that} but beyond success on the field, a RasTafari team occurred within a “commonwealth’ / colonizer mentality

Allan and that team were so famous, that they sold out the stadium several times

We do need a team like that standing up in this current time and space

A spiritual upliftment of self

Those evolutionary spirits only, can wear this shirt


Proceeds of all purchases go to the Zero Gun Violence Movement yet if you don’t wish to purchase any of our brands feel free to donate directly to ZGVM


Part of the donation is your time.  Reach out to youths you may know in harm’s way and show love, wisdom, a shoulder to cry on

Individuals stepping up for our youth



Thank you Denny

Thank you Denny

I tend to shy away from writing here in response to someone’s passing. It’s too fraught – why write about this person and not others? How can I possibly capture someone’s life’s work in a short blog post? – but word of Denny Christianson’s passing has hit hard.

Denny was a trumpeter, composer, bandleader and educator who, for 17 years, was the director of music studies at Humber College. Since word of his passing emerged yesterday, tributes have been written by some of Canada’s top musicians – along with some of the outstanding younger musicians his work at Humber College helped to foster. I won’t try here to list Denny’s impressive biography; and there are many who can write much more eloquently and knowledgeably about his achievements on and off the bandstand. Instead I wanted to share just a few thoughts about my experience with Denny.

My first interactions with Denny were at National Music Camp, where I was a camper about 30 years ago. I was still relatively new to jazz at that time, and NMC was an incredible source of information and inspiration for me each year. Denny led the trumpet master class one year, and although my memory is a bit foggy of everything we discussed, two items in particular stand out: he had us listen to excerpts from a recently-released (at that time) Columbia Music collection of Miles Davis recordings; and he introduced us to the work of vocalist Carmen McRae. I didn’t really know who Denny Christianson was at the time, but I knew that if he was on faculty at NMC, I should listen well to what he had to say – his speaking passionately about Miles and Carmen has always stuck with me.

When I was auditioning for music schools, I didn’t apply to Humber College. I wanted a degree, which wasn’t available from Humber at that time, and the program was in need of redevelopment. Denny took over as director of music studies at Humber two years after I graduated from U of T Jazz, and the transformation of the program was amazing to watch. In just under two decades, he redeveloped the program and (re)positioned the school as an important player on the international jazz education scene. The quality of students graduating from the school skyrocketed over his tenure (to be clear: there were always fantastic students coming out of Humber’s program), and he developed an awe-inspiring artist-in-residence program – one workshop by Pat Metheny is particularly memorable for me. Humber is now a degree-granting institution, and even the facilities received an upgrade, with the opening in 2007 of the Humber Recording Studio. Although I didn’t attend Humber, so didn’t work with Denny as a student, I benefitted from his passion for providing an outstanding educational experience: I was enriched by the various guest artists whose public workshops I attended; many of the students who graduated during Denny’s tenure as director I now count as friends or musical colleagues; and the recording studio (with Steve Bellamy at the helm) provided a fantastic venue for the recording of my band’s third album – I have such fond memories of that entire experience.

Over his career, Denny worked with some of the top musicians and educators in the world – people that I look to as models of outstanding playing and teaching. Which is why, in some ways, I so appreciated the interactions I had with Denny over the past few years at the jazz festival. Despite my being a relative amateur when compared to so many of the faculty and guests he would work with each year, every time we spoke – either in person or on the phone – I felt such respect from Denny. He spoke to me as if I was a real colleague. It was clear he wanted the best for his students and faculty, but also for the festival; he appreciated the efforts we made to feature Humber personnel, but also wanted to make sure the collaboration, however it looked, fit within the context of the Festival. Even in these interactions I was able to learn from Denny, and am thankful for having had the opportunity to work with him, in all of these various contexts, over the years.

Please take some time to read some of the official obituaries but also the numerous comments on social media about Denny’s passing. The impact he had on so many is far wider than I could hope to express here.


Keeping it simple

Keeping it simple

One of the more – what’s the word, interesting? challenging? – aspects of online school over these past few weeks has been helping our 9-year-old edit her written and oral presentations. She has a tendency, which may sound familiar, to add words – or, when working on an art project, to add elements – just for the sake of making the work longer, or busier…but without actually enhancing the content. As we work through a given assignment, I find myself asking her, “could you say that more simply?” Or, “how does that add to the story/artwork/etc.?” A couple of weeks ago we introduced the idea of KISS, which we made slightly friendlier by explaining as “Keep it simple, sister.”

KISS is a well-used adage in jazz – as students we were always told to “leave space,” and that “less is more.” (My personal favourite is “don’t just do something, stand there!”, which I thought was attributed to Miles Davis, but apparently not…although he did say “If you don’t know what to play, play nothing,” which also applies.) It’s the idea that when we improvise, we’re aiming to create melodies – if our playing gets bogged down with extraneous notes, or if we don’t give our ideas space to breathe and develop, the results will sound like just notes (or worse – just noise) and not melody.

Several years ago, Maria Schneider was the artist-in-residence at the University of Toronto’s Faculty of Music. Maria writes stunning, beautiful, compelling large jazz ensemble music, and as I was sitting in the audience, listening to the excellent performance by one of the U of T big bands, with Maria conducting, I realized that at a certain point in one piece, she was just using triads – essentially, the most basic building blocks of harmony. Nothing fancy. But her masterful use of those triads was effective and moving, as is so often the case in her compositions.

I was further reminded of the idea of “keeping it simple” when recently catching up on some bookmarked videos. As part of their multi-concert tribute to Wayne Shorter, SF Jazz published some fantastic recordings of video calls featuring Wayne Shorter, Terence Blanchard, Herbie Hancock and, in the example I’m about to cite, Branford Marsalis. Needless to say, they shared some interesting perspectives! But the concept of simplicity came up when Terence referenced one of Wayne’s solos from a Joni Mitchell album, and what Terence discovered when he figured out what Wayne had played:

Terence says: “It wasn’t no big mystery – it was the way you did it and where you decided to put it.” It’s amazing how often that same notion comes back – an idea needn’t be complicated in order to be effective. When done right, a simple concept can be brilliant.

Of course, when done properly, complicated concepts can be equally as effective – I’ll happily listen to the crunchy chords of a Thad Jones arrangement any time, any day. But Thad’s writing was special because he knew exactly what to do with those dense harmonies – no matter how many #9s or b13s were in a chord, they were somehow always perfectly placed, pleasing to hear, and swinging. But if I think of all of the experiences I’ve had – artistic or otherwise – that have been dampened by being made unnecessarily convoluted, I tend to believe that simplicity is often the best path.

The concept of “keeping it simple” has all sorts of applications (including grade 4 French Immersion projects on rocks, in case you were wondering). In fact, in many ways, life at the moment feels like the epitome of “keeping it simple”. Most of the activities that kept us busy are not on offer. We’re staying home most of the time. And while I’d much rather be up to my neck in planning a Festival, as is usually the case at this time of year, at the moment it’s simply not realistic to plan for elaborate productions or complicated logistics. Perhaps this forced simplification – while challenging – will serve as a reset of sorts, so that when the time is right, we can use what we know, and what we’ve learned through this time – whether simple or complicated – in the most effective ways.


Dub love Lithuania ~ Reggae For Life

Dub love Lithuania ~ Reggae For Life

A love story

Reggae music is truly love

Not always to be explained with the use of language as spiritual dialect is difficult to, or next to impossible to speak in any physical language, yet the “feel” is everything

Reggae rounds the globe, no matter the language spoken

The Japanese people choose dancehall as their mode of expression.  One of the most disciplined cultures on the planet, the Bushido code, the samurai, the Japanese revere Jamaicans and the dancehall culture as high art

And it is

I came across this clip of sound system and dub culture in Lithuania


Reggae knows no borders

We humans create definitive lines with genre and culture yet reggae / dub has none of those hang ups we share as residents of any culture

Reggae is love

Dub is love

I listen to these brothers speak in this interview and you KNOW that they feel the right feel

Cultural difference is irrelevant

Sound system love

Sound system love is necessary to global culture yet the Jamaican governments have never seen fit to elevate or monetize it.  As a matter of fact, they deliberately try to quash it and eliminate it out of the vibrant JA culture

Nothing more dangerous than a black colonizer and the Jamaican governments since 1962 are FULL of black colonizers abusing the people of Jamaica

Even in the woods, in this video, babylon shows up

Yet these youths string up the sound, play, dance and celebrate even in the face of the harassment from Johnny law
Canada has sound systems too

It is a necessity to feel deep bass and to share that with other dancing fools as yourself / myself.  It is a most beautiful feeling

It is truly a labor of love

Reggae For Life
The voice of the voiceless