The Notorious B.I.G. a Child of Jamaica

Notorious B.I.G.

March 9th, 1997 will forever be remembered as the day Christoper Wallace aka The Notorious B.I.G. left this earth to be with the Most High. And although,  I like Biggie, as he is affectionately called, we are not here to discuss his classic hits or whether he was the greatest rapper ever. This is a blog about Jamaican Slang, Jamaica and Reggae Music. Fortunately for us, the late great rapper covered two out of the three. Biggie was the only child of Jamaican immigrants, Voletta Wallace and George Latore. As far as reggae music, early in Biggie’s career he did a  classic track  with dancehall legend Super Cat. This was my JAM and we want to dedicate this one to BIG POPPA. Enjoy this classic hip-hop/reggae track, “Dolly My Baby”, but don’t expect to learn any Jamaican Slang!

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Jamaican Slang Editorial Standout Artist : Buju Banton

Buju Banton

Buju is special. If you don’t know Buju, you should!! Buju Banton is one of those artists that waves the flag for Jamaica, Reggae, Rastafari and just good music. I remember the first time I heard Buju and it was magic. Buju is one of the few Jamaican artists that is able to do dancehall tracks and roots reggae tracks. It almost seems ironic that he recorded the track Destiny because he was destined to make classic music.

Buju Banton (born Mark Anthony Myrie, 1973, Kingston, Jamaica) was born on August 20, 1973 near Kingston, Jamaica in a poor neighborhood called Salt Lane. “Buju” is a  nickname given to chubby children which means Breadfruit. The name is ironic in light of Mark Myrie’s slim frame, but it is, nevertheless, the nickname his mother gave him as a child. “Banton” is a Jamaican word referring to someone who is a respected storyteller, and it was adopted by Myrie in tribute to the deejay Burro Banton whom Buju admired as a child. It was Burro’s rough gravelly vocals that Buju emulated and ultimately made his own. Buju’s mother was a higgler, or street vendor, while his father worked as a labourer at a tile factory. He was the youngest of fifteen children born into a family which was directly descended from the Maroons, a group of escaped slaves who proudly fought off the British colonialists.

As a youngster, Buju would often watch his favorite artists perform at outdoor shows and local dancehalls in Denham Town. At the age of 12 he picked up the microphone for himself and began toasting under the moniker of “Gargamel”, working with the Sweet Love and Rambo Mango sound systems.

In 1991, Buju joined Donovan Germain’s Penthouse Records label and began a fruitful partnership with producer Dave Kelly who later launched his own Madhouse Records label.[3] Buju is one of the most popular musicians in Jamaican history, having burst onto the charts there suddenly in 1992, with “Bogle” and “Love me Browning“, both massive hits in Jamaica. Controversy erupted over “Love Me Browning” which spoke of Banton’s preference for light-skinned women: “I love my car I love my house I love my money and ting, but most of all I love my browning.” Some accused Banton of promoting a colonialist attitude and denigrating the beauty of black women. In response, he released “Love Black Woman” which spoke of his love for dark-skinned beauties: “Mi nuh Stop cry, fi all black women, respect all the girls dem with dark complexion”. 1992 was an explosive year for Buju as he broke the great Bob Marley’s record for the greatest number of number one singles in a year. Beginning with “Woman fi Sex”, Buju’s gruff voice dominated the Jamaican airwaves for the duration of the year. Banton’s debut album, Mr. Mention, includes his greatest hits from that year. 1992 saw the release of a re-recorded “Boom Bye Bye“, which almost destroyed his career.[3] The song was the subject of outrage in the United States and Europe, leading to Banton being dropped from the line-up of the WOMAD festival that year.[3] Banton subsequently issued a public apology.

Now on the major Mercury label, Banton released the hard-hitting Voice of Jamaica in 1993. The album included a number of conscious tracks. These tracks included “Deportees” a song which criticized those Jamaicans who went abroad but never sent money home, a remix of Little Roy’s “Tribal War,” a sharp condemnation of political violence, and “Willy, Don’t Be Silly” which promoted safe sex and the use of contraceptives, particularly the condom, profits from which were donated to a charity supporting children with AIDS. He was invited to meet Jamaican Prime Minister P. J. Patterson, and won several awards that year at the Caribbean Music Awards, the Canadian Music Awards, and the Topeka ceremony.

Banton’s lyrics often dealt with violence, which he explained as reflecting the images that young Jamaicans were presented with by the news media, but the reality of Kingston’s violence was brought home in 1993 by the murders in separate incidents of two of his friends and fellow recording artists, the deejays Pan Head and Dirtsman. His response was the single “Murderer”, which condemned gun violence, going against the flow of the prevailing lyrical content in dancehall. The song inspired several clubs to stop playing songs with excessively violent subject matter. Late in 1994, Buju was also affected by the death of his friend Garnett Silk. Buju’s transformation continued, embracing the Rastafari movement and growing dreadlocks. He joined “conscious” deejay Tony Rebel, Papa San, and General Degree in the Yardcore Collective. His performances and musical releases took on a more spiritual tone. Banton toured Europe and Japan, playing sold out shows, and performed before 20,000 in Trinidad and Tobago.

‘Til Shiloh (1995) was a very influential album, using a studio band instead of synthesized music, and marking a slight shift away from dancehall towards roots reggae for Banton. Buju claimed to have sighted Rastafari and his new album reflected these beliefs. Til Shiloh successfully blended conscious lyrics with a hard-hitting dancehall vibe. The album included earlier singles such as “Murderer”, and “Untold Stories”. “Untold Stories” revealed an entirely different Buju Banton from the one that had stormed to dancehall stardom. It is regarded by many as some of his best work, and is a staple in the Banton performance repertoire. Reminiscent in mood and delivery to “Redemption Song” by Bob Marley, “Untold Stories” won Buju Banton many favorable comparisons to the late singer. This conscious album had a large impact on dancehall music and showed the hunger the dancehall massive had for conscious lyrics. Dancehall music did not move away from slack and violent lyrics, but the album did pave the way for a greater spirituality within the music. In the wake of Buju’s transformation to Rastafari, many artists, such as Capleton, converted to the faith and started to denounce violence.

Inna Heights (1997) substantially increased Banton’s international audience as Buju explored his singing ability and recorded a number of roots-tinged tracks, including the hugely popular “Destiny” and “Hills and Valleys“. The album also included collaborations with artists such as Beres Hammond and the legendary Toots Hibbert. The album was well-received but had distribution problems. Also, some fans were disappointed, having hoped for another ground-breaking album like “Til Shiloh.” Still, Buju’s experimentation and soaring vocals impressed many fans and this album remains a highly regarded work.

After Inna Heights, Buju went on to make other albums, but the albums he made in the 90s are about as good as it gets. I recommend you get them all, especially if you want to learn Jamaican Slang while listening to some great music.

Source: [http://en.wikipedia.org/wiki/Buju_Banton]

Here are a few Buju tracks that are well known…get familiar:

Buju Banton – Champion(remix)

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Buju Banton – Murderer

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The Wicked Witches of the West…Indies (Obeah…The Darkside of Jamaican Culture)

Obeah in Jamaica

Obeah in Jamaica

Every country and culture has its dark side and secrets…for Jamaica, Obeah is definitely one of those things that so few talk about. But for me, I love learning about Jamaican culture and history so  let us get to it.

Without a question, if you are going to be a student of Jamaica and its culture, you are going to have to know about the history of Africa and Africans in Jamaica. Africans contributed so much to what we now admire in Jamaica and Jamaican culture. Obeah is one of the elements of Jamaican culture that was brought to the island by Africans. So what is this Obeah?

Here is what wikipedia has to say:

Obeah (sometimes spelled “Obi”) is a term used in the West Indies to refer to folk magic, sorcery, and religious practices derived from Central African and West African origins. Obeah can either be a form of ‘dark’ magic or ‘good’ magic. As such, Obeah is similar to Palo, Voodoo, Santeria,  rootwork, and hoodoo. Obeah is practiced inSuriname, Jamaica, the Virgin Islands, Trinidad and Tobago, Guyana, Belize, the Bahamas, St. Vincent and the Grenadines, Barbados and other Caribbean countries. 

Obeah is associated with both benign and malign magic,charms, luck, and with mysticism in general. In some Caribbean nations Obeah refers to African diasporic folk religions; in other areas,Christians may include elements of Obeah in their religion. Obeah is often associated with theSpiritual Baptist church.

In Jamaica, slaves from different areas of Africa were brought into contact, creating some conflicts between those who practiced varying African religions. Those of West African AShanti descent, who called their priests “Myal men” (also spelled Mial men), used the Ashanti term “Obi” or “Obeah” — meaning “sorcery” — to describe the practices of slaves of Central African descent. Thus those who worked in a Congo form of folk religion were called “Obeah men” or “sorcerers.”[citation needed] Obeah also came to mean any physical object, such as a talisman or charm, that was used for evil magical purposes. However, despite its fearsome reputation, Obeah, like any other form of folk religion and folk magic, contains many traditions for healing, helping, and bringing about luck in love and money. [http://en.wikipedia.org/wiki/Obeah]

Hopefully, that information gives you some insight into a cultural aspect of Jamaica never explored by foreigners and not talked about too often. Just a quick but rich post.Bless!

Understanding “Riddims” (Rhythms) to Master Jamaican Slang.

surprise-riddim-cover

Reggae music is so vital in one’s journey to speak Jamaican Patois and Jamaican Slang that it might be the number one way to learn the language. Although, all forms of reggae present vital information about Jamaican Culture, Jamaican Slang is usually found in dancehall reggae, also known as ragga. Ragga is basically digitally produced reggae music. Ragga is the most commercially successful Jamaican music since Bob Marley and it also the most popular form of music among all Jamaicans. (By the way, I use dancehall and ragga interchangeably as well as rhythm and riddim interchangeably. Riddim is the patois version

The fact that most rhythms are digitally produced allows producers to create an unlimited amount of rhythms for very little cost has opened the doors to many Jamaican and International producers. Just to give you an idea, since the 1990s, at least 5,000 new rhythms have been produced…annually. Similar to hip-hop beats, ragga rhythms (dancehall riddims) can be created on the fly, but they can also be created using samples. For example, a few years ago there was a popular rhythm called the Mission Impossible Riddim and as the name implies, the rhythm took the sound sample from the theme song to the film, Mission Impossible. What is interesting about rhythms in danchall riddims is the number of artists that make songs over them. This would never be allowed in hip-hop in the same way, it would be deemed ‘bitting’. When 15 or more artists make songs over one riddim, its called a ‘One Rhythm’ album. This is something that is unusually found in dancehall, but places a key role in an industry that often relies more on singles sales as opposed to album sales. It is also on these rhythms where new artists get a chance to shine and talk about everything from politics, Jamaica, family and more often than not, sex!

I would say, that if you listen to some of the more popular riddims, you are very likely to learn a great deal of Jamaican slang. For example, here are the lyrics to Sean Paul’s “Punkie”, a song that was popular before it was released into the mainstream:

Hot sexy punkie, me punkie
Gal me see say that you want me, you want me
And it no matter wa you man a say, man a say
Cause you know say that we haffi link up one day
Hot sexy punkie, me lady
Gal me see say that you want me, me baby
And it no matter wa you man a say, man a say
Cause you know say that we haffi link up one day

Just checking out the lyrics in this verse of the song, you can learn several patois phrases, pronunciation and words. With ragga tracks being the most popular form of Jamaican music in recent times, artists from all socio-economic classes have made songs. Usually, people from the lower end of the socio-economic ladder speak more patois and slang than people from the upper end. Jamaican Slang and Patois are not seen as proper by some members of society, even though this is changing as Jamaicans learn to embrace patois for national identity. So, the deeper into the masses you look, the more authentic the slang becomes in dancehall. If you listen to a Vybz Kartel track, you are certain to hear many new Jamaican Slang words and Vybz is an artist that makes all of his songs over riddims. For example, check out the lyrics to Vybz’ ‘Tek Buddy’:

Tek buddy gal, yuh think me easy?
Who you ramp wid? Yuh wha live easy
Tek me things and yuh tek me money too
So tek buddy too, tek buddy too
Tek buddy gal, yuh think me easy?
Who you ramp wid? Yuh wha live easy
Yuh, tek me things and tek me money too
So tek buddy too, tek buddy too

Vybz Kartel – Tek Buddy

I hope this helps explain a few things about dancehall and where you can learn Jamaican Slang…besides getting the definitive source on Jamaican Slang…the Rastaman Vibration at www.jamaican-slang.com

Here are two bonus songs to help you learn some Jamaican Slang! More Time!:

Busy Signal – Nah Ansa

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Timberlee – Backdoor Delivery (Ole Geezer Riddim)

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Did Bob Marley’s Father Help Make Him the Most Famous Jamaican Artist Ever? : A SpeakJamaican.com Review

Bob Marley Smiling

In the most recent article of The Reggae Source Magazine, Camille Taylor, wrote an article “Is is Looks, the Message or the Music?”. Unfortunately, The Reggae Source does not have a content rich website yet, but it will be coming soon. Anyways, Camille Taylor wrote a great article exploring what made Bob Marley successful – his looks, message or the music. I loved this article because it was something that I have thought about many times and debated with other reggae fanatics. The article raises the question of whether Bob Marley became popular around the world due to his lighter complexion. Although many might not agree, there is a valid argument when you look at Bob’s success compared to that of reggae legends like Peter Tosh or Jacob Miller. Similar to Bob Marley, Jacob Miller died tragically at a young age (27, in a car accident), yet his music is not known around the world like Bob Marley’s. So is appearance really what made Bob Marley a worldwide success?

My conclusion and that of the article, NO! Yes, Bob Marley had more mass appeal than Peter Tosh, but one thing that Bob Marley did exceptionally was convey a message that everyone could relate to. So, no Bob Marley’s white father did not make him a better reggae artist or Jamaican Artist. Yes, his appearance might have helped him meet all of the women who bore his children, but not be a better artist. As the article discusses, Bob Marley focused a considerable amount of his music on the injustices happening in his native Jamaica and other countries he knew about. This connected with alot of people and continues to connect to people. I remember being in Salvador, Bahia-Brazil listening to people who could not speak any English sing Bob Marley songs word for word with as much passion and energy as the next guy. That is a special message attached to special music.

Go to your local reggae/rasta shop and pick up a copy of the latest issue of The Reggae Source to read the fantastic article. Soon Come

Rudeboy or Rudebwoy: Jamaican Slang Word of the Day

Well, with holidays coming up, now is the season for giving and give we shall. Here is the Jamaican slang word of the day.

Rude boy, rudeboy, rudie, rudi or rudy were common terms for juvenile delinquents and criminals in 1960s Jamaica, and have since been used in other contexts. During the late-1970s 2 Tone ska revival in England, the terms rude boy, rude girl and other variations were often used to describe fans of that genre, and this new definition continued to be used in the third wave ska subculture. In the United Kingdom in the 2000s, the terms rude boy and rude girl have become slang which mainly refer to people (largely youths) who are involved in street culture, similar to Gangsta or Badman (They’re usually into the grime, uk garage and uk hip hop scene.)

The first rude boys in the 1960s were associated with the poorer sections of Kingston, Jamaica, where rocksteady was the most popular form of music. They dressed in the latest fashions at dancehalls and on the streets. Many of these rude boys started wearing sharp suits, thin ties, and pork pie or Trilby hats; inspired by United States gangster movies, jazz musicians and soul music artists. In that time period, disaffected unemployed Jamaican youths sometimes found temporary employment from sound system operators to disrupt competitors’ dances (leading to the term dancehall crasher). This — and other street violence — became an integral part of the rude boy lifestyle, and gave rise to a culture of political gang violence in Jamaica. As the Jamaican diaspora grew in the United Kingdom during the 1960s, rude boy music and fashion, as well as the gang mentality, became a strong influence on the skinhead subculture.

Paul Campbell: The Actor Who Taught Me How to Speak Jamaican

Have you ever heard of Paul Campbell?? Probably not, but you should. Not only is he a great Jamaican Actor and Jamaica’s most popular actor, his acting roles have helped many people learn to speak Jamaican Slang and Jamaican Patois. He has starred in several Jamaican classic films such as Dancehall Queen, Third World Cop and Shottas. Although he was a key actor in all of these films, Third World Cop is where he really is the star of the show and where you hear the best Jamaican Slang. One of his classic lines is :”Wi Run Ting, Ting Nah Run Wi”. I highly recommend following him if you want to learn more Jamaican Slang and Patois. Are the movies Hollywood Blockbusters? NO! But for our purposes, we need to learn more Jamaican, so Paul’s movies are excellent for that.

I would highly suggest checking out his films. He is also a Broadway Actor and painter. To learn more about Paul Campbell, click here.

Otherwise, GO WATCH HIS MOVIES…Yu dun know!

Bangarang: A New Word for Your Jamaican Slang Vocabulary

Here is a Jamaican slang word to add to your vocabulary. Write it down and use it…soon come.

Bangarang – hubbub, uproar, disorder, or disturbance (in Jamaican Slang).

Why Jamaica Should Make Bob Marley A National Hero (This is Classic!!!)

I was just on the phone with mi bredren talking about some upcoming projects related to SpeakJamaican.com and the election of Obama when mi bredren talked to me about this article/blog entry. This is great and is perfect timing for thinking about Obama and the fall of Babylon (an upcoming post!!) I wish I could take credit for material like this, but I cannot. Check it out:

It’s been almost 27 years since the death of Bob Marley, yet despite international appeals and a host of post-humous awards, Jamaica still fails to accord him National Hero status.  Even when Bob was a young musician from Trenchtown, his music wasn’t even recognized by his own people in Jamaica until his debut album “Catch A Fire” became an international hit, thanks to Chris Blackwell, who I had the pleasure of meeting last month in Jamaica, and the fact that Rastas were regarded as outcasts in the 60s and 70s.

I’m just getting warmed up!

Marley deserves to be among the fraternity of Jamaica’s honored heroes.  He has done more for Jamaica through his music than most politicians have done to temper violence and businessmen to promote tourism to their war ravaged country.  Even Bob’s song “One Love” was adopted as a theme song for the Jamaican Tourist Board.  It was even voted Anthem of the Millennium by the British Broadcasting Company (BBC). 

Marley’s laundry list of recognitions is even more reason to dub him, not just a National Hero, but an “International Hero.”  At home, his birthday, February 6th, is observed as a national holiday in Jamaica, he has the Order of Merit (OM), which is Jamaica’s third highest honour, was awarded the Medal of Peace from the United Nations and voted Artiste of the Century by Billboard magazine. He was honored with a Grammy Lifetime Achievement Award.

His album Exodus was chosen Album of the Century by TIME magazine and his Legend album received the Diamond Award.  He is also a recipient of the Lifetime Achievement Award by National Academy of Recording Artistes.  Last but not least, Bob has a Star on the Hollywood Walk of Fame and Rock & Roll Hall of Fame.  As Robert Palmer wrote in a tribute to Marley upon his induction, “No one in rock and roll has left a musical legacy that matters more or one that matters in such fundamental ways.”   

From Bob’s perspective, reggae gave a voice to the poor and disfranchised citizens of Jamaica and, by extension, the world. In so doing, he also instilled them with pride and dignity in their heritage, however sorrowful the realities of their daily existence. Moreover, Marley’s reggae anthems provided rhythmic uplift that induced what Marley called “positive vibrations” in all who heard it. Regardless of how you heard it – political music suitable for dancing, or dance music with a potent political subtext – Marley’s music was a powerful potion for troubled times.

To many, Marley was a true musical ambassador and a messenger of peace.  Though he never aligned himself with any political party, he found an urgent calling to bring together a divided nation riped apart by political violence and hostility.  At the Smile Jamaica Concert held on December 5, 1976 at the National Heroes Park, Kingston, Jamaica, Bob Marley & The Wailers performed for 80,000 people and in an unprecedented move, waranted on stage Michael Manley and Edward Siaga where he put their hands together in unity.  Coincidently, this concert was held at the National Heroes Park, so why not add Bob Marley to the roster of National Heroes?

Is it because Bob Marley was a Rasta man who smoked and promoted the use of Marijuana as a religious sacrament?  Fact: Jesus Christ and his apostles used a cannabis-based anointing oil to help cure people with crippling diseases. Exodus 30:23,25

Is it because he wasn’t thrown in prison for civil disobedience or ignite a rebellion?  Fact: Bob Marley was a champion of human rights and spread the message of Rasta fari to the world. The religion is embraced by millions of people from Japan to Johannesburg.

Is it because he was a notorios womanizer?  Fact: So was John F. Kennedy, Bill Clinton and Martin Luther King.  According to a TIME magazines cover story, “womanizing was the source of such agonizing moral conflict that MLK was compelled to confess his most enduring extramarital affair to his wife at “her most vulnerable moment — days after she recovered from a hysterectomy.”

Is it because he didn’t hold political office?  Fact: Neither did Marcus Garvey or Martin Luther King, Jr.

Is it because the national heroes committee is out of touch?  Fact: Yes!

The fact remains for most casual listeners, reggae music can be reduced to one artist Bob Marley.  For most tourists and travelers, Jamaica is synonymous with Bob Marley.  Bob’s music is a like a flag or a text book to those who have never been to Jamaica or read about the country in global studies.

Most importantly, Bob Marley is largely responsible for the worldwide popularity of reggae music and with it subjects, including faith, love, relationships, poverty injustice and other broad social issues that we can all relate to and experienced first hand, or through the eyes of others.  Bob Marley has paved the way for many new and celebrated artists to compete on the international stage of music.  Because of Bob, reggae music is a respected category at the annual Grammy Music Awards in America.

Bob’s music bridges the cross-cultural divide, soothes the heart and mind from mental slavery, can be heard by people of every gender, race, religion, color, ethnic background and political affiliation.

Without the legendary Bob Marley, there wouldn’t be a Reggae Academy Awards Ceremony set to take place on February 24th that recognizes the musical talents and achievements of celebrity reggae artists from Jamaica and around the world, or the Smile Jamaica concert that is guaranteed to pump sun bathers, tourists and the almighty dollar or strong Euro into Jamaica’s inflated economy.

Award Bob Marley the Order of National Hero and continue to make Jamaica proud.

Why Jamaica Should Make Bob Marley A National Hero by Falana Fray

How to Stay Current with Jamaican Slang? (Four VERY Obvious Strategies)

Do you ever feel behind on your slang? Most people want to stay current but are not. This is especially true with Jamaican Slang. The truth of the matter is that Jamaican Patois is rapidly evolving language and it is not easy to stay up to date. The other day, I was talking to some “yout” in Patois and they were saying that “Wha’ gwaan” is on its way out. Basically, they are saying, the phrase has been there, done that! This is a phrase that is a staple of Jamaican Patois and is the a standard greeting. So what is replacing it? “Wha’ppun? Wha ya’ deal?” So, I started to think about how am I going to stay current with the language. Here are some recommendations that can be applied to any language, but in this case Jamaican Patois.1) Music: You have to stay in touch with the music! Music is the voice of the people and in Jamaica, dancehall is the form of music that speaks to the people. Dancehall is an excellent source of present slang.2) Listen to Teenagers: Teenagers are up on things and really are the ones that shape the slang. Due to their ability to learn things quickly, you will be able to master the context and they tend to not hold things back.3) Films: This is really along the lines of music, but often times, even more powerful.4) Be in the Streets: Yes, this is critical. Slang tends to originate from the streets. I am not saying go to a rough part of town or anything like that. I am saying, be out there, talking to people of all backgrounds. This is a guaranteed way to stay current. This is not easy, but if you really pay attention, you can certainly do it. Jamaican Slang is fast changing and that is what makes it fun, so keep your ear to the ground when you aren’t listening to dancehall or speaking with the “yout dem”