So…are ya single?

Back in March I had the honour of presenting a session on making a submission to a festival (and then preparing for a festival gig) as part of Music Africa’s Artist Training Program. I enjoyed the experience, with an engaged audience and some good discussion, and I took the opportunity to update a presentation I call “Getting the Gig” – something I originally put together nearly ten years ago.

While the general concepts contained within the presentation haven’t changed over the years – the nuts and bolts of preparing a submission, being professional, building your own brand, etc. – there are some key differences. One is how submissions are made – our submission process is now exclusively online, and video footage has become much more important. Another is how music is released – and consumed – in today’s streaming world, particularly when it comes to singles versus albums. And I’d be glad for your feedback on this issue.

Similar, I suppose, to when vinyl 45s started to arrive in the 1950s, digital singles provide an easy way for fans to engage with an artist. Whether a tune stands alone or is eventually released as part of an album doesn’t seems to effect listenership – according to rollingstone.com, in the heyday of the 45, up to 200 million singles might be sold in a year. (At the time, of course, that could provide some real revenue for the performing artist whereas today…but that’s a discussion for a mother time.) And there are many examples of contemporary artists amassing huge followings – and commercial success – exclusively through the release of singles: Vulfpeck comes to mind, and H.E.R. just picked up two Grammy Awards despite not having released a new album since 2017.

As an Artistic Director, I find the move to singles, from a programming standpoint, to be a challenge. I’m looking for artists who can sustain a full 75-minute set – whether the show is free or ticketed, the musical presentation needs to be solid from beginning to end, and if all I have to go on is a few singles – regardless of those singles’ popularity – it can be difficult to assess the quality of a full performance. I’ve learned this the hard way – it hasn’t happened often, but there have been occasions where I’ve booked artists based on just a few tracks – when that was all that was available to me – and have been disappointed by the full performance.

As an artist, whether I’m assembling a set list or a track list, I spend a lot of time thinking about what tunes will be included, in which order they should appear, and how the tunes, when assembled, will best tell the overall artistic story. And as a programmer, I appreciate when artists have taken the time to give their work this kind of thought – I can trust that the same care would be taken with their live show. In situations especially where an artist has little track record – either in recording or performing – I’d argue that releasing only singles might work against them.

All that said, I recognize there can be true strategy behind carefully released singles. A well-planned schedule of single releases can create excellent and consistent engagement with fans over a longer period, and build excitement both in one’s fanbase and the media for an eventual full album release. When supported by an effective online marketing campaign – a music video, social media content, etc. – impressive buzz can be generated by just a few minutes of well-produced music – buzz which will get an artist noticed by presenters.

Just as artists have had to adapt to changing consumption trends and new dissemination technologies, I would be foolish to ignore an artist who does not yet have an album of their own. And while the release of a full album is always reason to celebrate, generate media attention, and create buzz, it’s clear that the same can be accomplished with a few good singles. My bias leans to the side of the album – I’d still rather hear a full project than just a taste – but how do you feel? As an artist, or publicist, or presenter – what are your thoughts on the single versus the LP?

I’d be glad to hear your thoughts. And either way, it’s Friday, and that means it’s New Release day, so I’ve got some fun new tracks to check out…


Teenage Depression ~ The Dub Chronicles

Teen depression today

I have had the honor of friends reaching out and having me speak to their 14 year old boy.  They believed his respect for me would somehow elevate him; and a one and one between us occurred

We were both uplifted

His elevation allowed mine to become even more enhanced

I’m fitter now because on top of a couple of pointers, I insisted he start working out.  I caught a glimpse of him a few times since, and he is doing his thing.  I stopped missing my workouts… lmaoooo

Little man was going through a situation wrought with the type of violence no child needs to be living with, nowhere to turn and no one to turn to, his depressive state was evident

This is only one example

Many teenagers today are facing this “crisis” of a pandemic

With everyone around them on heightened alert, raw terror and anger, no school, no sports, no gyms, our children / teenagers are being sand blasted with it all

They are not yet equipped with the living knowledge that humanity moves on to its next crisis.  Or that their own 201,458th crises are still coming and what they currently lack is that knowledge

Sometimes, speak to your friend’s children or have uncle, auntie whomever, reason with a youth, whomever they feel a vibe with

Some of us will blame the government because they themselves have zero intentions of taking on the responsibility of their / our own children

We are all struggling

That’s the truth but we gotta let the youths know, we have made it through many struggles and this is another one and no matter where it ends up, we will be through this too… and another crisis is on the way

Help out our youths

The government?


This one is truly on you / me

I’m NEVER suggesting this fixes teen depression

I’m saying I have seen direct positive result based on direct contact, enough times of positive feedback, to not share such thoughts and hope others use it around millions of children… or just the one who is thinking of suicide

Help where you can

The Dub Chronicles

NEW ALBUM: Simba (Return to the Throne) – The Dub Chronicles – Simba (Return to the Throne)  available on out digital outlets here
An 18 track album that features Grammy nominated Kumar Fyah and local Canadian extraordinaire Tash Lorayne on vocals.  As well as Casey Burnett of Burnett Town Sound on 9 dub mixes. All tracks feature our eldest brother Ryan Rattos on guitar. This album is our first self production in which we mixed and mastered everything. 

The Dub Chronicles
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Gil Scott-Heron ~ Storm Music

Through the years, I have come to know that Gil Scott-Heron’s father, a Jamaican was the first black man to play for the Glasgow

Celtic in Scotland back in the 40s or 50s

So during his jazzy, bluesy, funky, hip hop life, he had to touch a reggae tune

He called it “Storm Music”, saying there was no music like it in the whole wide world

This funk, jazz hip hop innovator

Listening to this song, you know exactly what he means

There is a reggae language and then there is an every other language

Introduce your children to Gil Scott-Heron

RFL merch ~ Purchase online delivered directly to your door 

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Music industry realities for Reggae music ~ Neto Yuth

Music industry realities for reggae music, Canada and globally

First and foremost, I am a fan of music


Every single genre has a song or two or ten or ten thousand songs that I like

Music is a spiritually floating energy that binds, connects, releases a oneness within the souls of all who feel it

Not everyone can feel it

We must stop having those who make the rules, who do not feel it, to refrain from making decisions on the path of music to me… to you

The construct is set

Everything can be eventually weaponized against the sheeple

The “music industry” weaponized themselves with the use of profit control

{Sam Cooke, really look up his story}

We all have had to learn the hard way

Weaponized so that they maintain the most profit possible, some 99.9999125% by paying artists almost zero for MILLIONS of streams

Not an experience that we haven’t all lived and MUCH more scenarios and other experiences

I used to scream and yell like everyone and stay angry about a situation that was futile

“They” own the music

Or so they would like us to feel

It is how I once felt which is why I said it was futile

Then I thought of the art

The feel

The spirit connect

Why do you make art?

To express a spiritual conversation

Spirit cannot be controlled

Spirit creates its own space

The construct rules the game today and has ruled it from the beginning

Having gained this experience as a fan, promoter, dancer, a human, marketing director at an indie label (Alchemy Records), I, like spirit, must be flowing energy, without limit, creating a path to making positive changes in our own space

The construct still rules the game and will continue to squeeze tighter

Spirit cannot be controlled

I see a path here in Canada to create a unique vibe, bringing a reggae spirit to the people

Reggae is a natural spiritual bond

Those who feel it know it

We need a path that we create for self

Stay in my lane

Walk in the reggae lane

Our own path…. within the construct

Canada has a great reggae culture but not an industry

The “change” we seek is ours to make

​Neto Yuth

​In promoting this newsletter, I asked fans, artists and friends to mention an artist who they would love to share with my reggae community, as a point of interest

An artist, First Lady, Tonya P suggested Neto Yuth


I have been watching him for a time now and felt that he and I should reason anyway

Canadian Reggae World needed to know this artist who seems to only be putting out conscious music, lyrics, vision, from what I gather when I listen to his work

We met up for a half hour conversation that turned into three hours and we still haven’t scratched the surface of more conversation

It is pleasant and a blessing to meet an artist / performer, whose lyics in his songs match the personality you are talking to

He mentioned that RasTafari found him first and then reggae music morphed within his transition

It is abundantly clear when reasoning with him

Montreal, Jamaica, Toronto is this RasTafari lion

Below is about an hour of his works that I have been listening to

Meet Neto Yuth

Dj Khaled, Buju, Capleton, Bounty, Barrington

Mascot leader says that foreigners are “hijacking” the music of Jamaica

Mascot fe gwey

Mascot speaks of the dancehall escalating violence in the country yet for me, the level of corruption the mascot and others are a part of, is truly the reason for the abuse to Jamaican citizens

This song feels strong and powerful towards blazing out the corruption

The Mascot does not speak of the positive imagery, lyrics and messages that come from this specific song

Reggae is NOT ruled by the prime minister or the government of Jamaica

It is a global entity ruled by reggae music

As Bob rightly points out, “this music will never die… it will find its own soldiers”

Mascot is not one of the righteous reggae warriors that we need

This newsletter sponsored by Easy Going Towing 

Newsletter ~ 28th April, 2021

Tonya P Concert Review

Big Show!!!

Creative, imaginative, visually conscious, audio conscious and they are our peers!!!!

Nuff exclamation marks

Mally Bless, The President, spinning tracks by Canadian artists all night… we have some music!  The world heard our sounds well represented by us

No funding by those who are supposed to develop this culture equally.  No grants from anyone!

Yet they pulled it off

We for we

Our worth is only defined by us so we create our own voice

Our own space

Our own media

We do NOT need these people to execute our music

Tonya P truly showed out

She has always been an artist that I would tout over the years as a special talent and she dropped it pon de people dem

I have watched the ting multiple times

Canada nah romp wid de ting

Dwayne De Rosario

Dero’s book

A man I consider to be Canada’s greatest football player

One of the sons of Caribbean parentage who ran around on the field with the other children during half time of our games, to achieving international success and accolades

From the humble beginnings of Ontario Housing, to MVP of the North American football league

A community leader dedicating his recent years to programs for inner city youth

A son of reggae music

This is a book which I am sure serves to motivate younger ones as well as adults what it means to dig down and fight to achieve… and rise to the pinnacle of the sport


This newsletter sponsored by Easy Going Towing

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

~ ~ ~

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

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

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

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

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


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