Jamaican Slang EditorialTHE Blog for Jamaican Slang, Patois, Reggae, Rastafari, Real T’ing dem and Jamaica

So for those that don’t know, there is a party happening everyday of the week in Jamaica. Here are the top 10 places to be if you are anybody worth anything while you go to Jamaica. If you want to stay in your nice cozy resort, then this list is NOT for you neither is Kingston. However, if you are brave and willing to mingle with the real people of Jamaica, then you MUST go to these places. Big UP Spliffy!

Fiction - Wednesdays @ the market place

Margaritaville - Jimmy Buffetts

The Quad

Passa Passa (Tivoly Gardens) - Downtown

Medusa’s - a Bar

Blitz on a Tuesday - by the office (a club)

Prendy’s on The Beach - Restaurant @Hellshire

Limekey

Morgan’s Habour

Escape - Bar (New Kingston)

I was recently listening to some friends talk about their lives in Jamaica and one of the topics was uptown women versus downtown women. The conversation got heated at some points, but it was very insightful and definitely something worth sharing with the rest of the world.

Uptown versus Downtown is a subject that continually comes up in Jamaica, especially amongst people from Kingston. For those that do not know, Kingston, the capital and largest city in Jamaica is divided into two parts: Downtown and Uptown. Although, Downtown and Uptown are divided geographically, there is more to it than just that. It is as if there are two cultures living in one city (even though there are many cultures in Jamaica, to form one Jamaica). Downtown people acti different from uptown people and alot of attention has been placed on the ladies. Here are some perspectives from various Jamaicans on Downtown Women versus Uptown Women.

ok.. its obvious that those terms aren’t locked to geographical location right… cause a ppl can live uptown ad be classified as “downtown” or vice versa, so it based on their vibe, personality etc.

altho, geographical location is highly affecting in jamaica, therefore, a girl living downtown with an “uptown” attitude is probably really “downtown” indeed, and that part of her may come out when she’s angry, letting her guard down etc.

usually uptown girls are classified by: brown skin (obviously not all), rich, most time dont tek bus, maybe have a car by age 18.. tho thats really uptown. usually long relaxed hair, salon every weekend. when them go uwi etc them party girl, always dressed up and all glammed.. classified as freaks cause they usually stray to the bisexual, oral sex loving type of girls. they twang too, they dont try to speak like a normal jamaican, but sugar coat their accents with usa phrases such as “and like”, “omg” etc etc.. usually dont know ho to do chores because they have helpers etc.

downtown girls may be classified as “butu” in an uptown setting. they speak creole, no sweetening. they style and fasion is usually dif from uptown girls where jamaican fashion is dif from new york fashion for that season. their hairstyles will differ likewise… certain disciplines are instilled in them such as gay is wrong, oral sex is wrong. even tho this doesnt say that they arent just as bisexual, lesbian or “freaky” as any other… uptown girls are more bold and OUT THERE with their “freakiness”
downtown girl listen more danchall music than uptown girls. usually wear less make up. generally more skilled in cleaning cooking etc

That is really a very raw perspective, but the feedback given below is really a clear picture of the differences or perceived differences.

Uptown Girl = Uptown girl is a girl that is from an uptown neighborhood in Kingston. She would have received a good education, and have many of the American amenities at her disposal. She would have a helper, driver, a pool, gardner, etc…She as someone mentioned before, would be able to get her hair and nails done weekly, as well as attend all of the “expensive” uptown parties.In days gone uptown girls, were usually mixed race, lighter skinned, long relaxed hair, etc….Now that has changed as some “Downtown” people have moved into some uptown neighborhoods

Downtown = is usually poor, uneducated ghetto people. They would like in other parts of Kingston, they would be the ones to sport the different weave hairdos, in all the different colors. Their manner of talk is different from someone that lives uptown. They would shop in certain stores, and frequent certain parties. They would dance more slack, and go on their heads etc…

This might seem strange for many people living in North America or homogeneous cultures, but this is the reality for many societies in the Caribbean, Latin America, and other places around the world. Many people go to Jamaica and never really get in touch with this aspect of society, but it is the perceived reality in Kingston.

No Jamaican Slang covered in this post, just a valuable insight into Jamaican Society. To read more commentaries about Uptown vs. Downtown, click here. And if that is not enough, listen to this Richie Spice tune to catch the vibez. Zeen!

Richie Spice - Uptown Girl

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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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I love reggae music and who doesn’t. Images of peace, beaches, tropical weather, culture, good food and social awareness…everyone can connect with reggae music. Of course, there are thousands of reggae artists around the world, but some just stand out such as Bob Marley, Buju Banton, Sizzla and Peter Tosh. Now, most of these are among my favorites, but others like Michael Reid may have a different opinions and that is fine. Although opinions differ, there are some artists that just MUST be on this list! Let’s look at Michael’s list and see who is a definite and who could be replaced.

While many may not agree with my selection, these reggae artists have certainly contributed to the reggae fraternity in a major way and should get the respect they deserve. The music that these artists produced will never die, as the impact made are so great that we are still touched by their lyrics and sounds.

1. BOB MARLEY

Bob Marley was born Robert Nesta Marley on Feb. 6, 1945 in Saint Ann, Jamaica. His father, Norval Sinclair Marley, was a white Englishman and his mother, Cedelia Booker, was a black Jamaican. Bob Marley died of cancer in Miami, FL on May 11, 1981. Marley had 12 children, four by his wife Rita, and was a devout Rastafarian. Bob Marley’s father died when he was 10 years old, and his mother moved with him to Kingston’s Trenchtown neighborhood after his death. As a young teen, he befriended Bunny Wailer, and they learned to play music together. At 14, Marley dropped out of school to learn the welding trade, and spent his spare time jamming with Bunny Wailer and ska musician Joe Higgs.

2. PETER TOSH

Peter Tosh, born Winston Hubert McIntosh (October 9, 1944 - September 11, 1987) was the guitarist in the original Wailing Wailers, a reggae musician, and a trailblazer for the Rastafari movement. Tosh grew up in the Kingston, Jamaica slum of Trench town. He stood out because of his height at 6 feet, 4 inches. His short-fuse temper and unveiled sarcasm usually kept him in trouble, earning him the nickname Stepping Razor after a song written by Joe Higgs, an early mentor. He began to sing and learn guitar at a young age, inspired by the American stations he could pick up on his radio. After an illustrious career with the Wailers and as a solo musician, he was murdered at his home. Though robbery was officially said to be the motivation behind Tosh’s death, many believe that there were ulterior motives to the killing, citing that nothing was taken from the house.

3. DENNIS BROWN

Dennis Brown was born Feb 01, 1957 in Kingston, Jamaica. One of Jamaica’s most beloved and prolific artists, the late Dennis Brown has left behind a slew of classic songs and myriad hits, a rich musical legacy born of a career that spanned over 30 years. Born Dennis Emmanuel Brown in Kingston, Jamaica, in 1957, his childhood home virtually destined him to a future in the music industry. He grew up on Orange Street, the heart of the island’s music scene, with most of the major recording studios a mere stone’s throw away. As the stars and future hitmakers paraded by day and music pumped out of the studios, the child could not help but be entranced.

4. JIMMY CLIFF

Jimmy Cliff OM (born James Chambers, 1 April 1948, Somerton District in St. James, Jamaica) is a Jamaican SKA and reggae musician, best known among mainstream audiences for songs like “Sittin’ in Limbo”, “You Can Get It If You Really Want It”, “Many Rivers to Cross” from The Harder They Come, a film soundtrack which helped popularize reggae across the world, and for a cover of “I Can See Clearly Now” from the film “Cool Runnings.”

5. Sizzla

Sizzla was born Miguel Collins on April 17, 1976, and was raised in the August Town area of Kingston by devout Rastafarian parents. After honing his vocal skills, he landed a gig with the Caveman Hi-Fi sound system, where he first made a name for himself as a performer. He cut his first single for the small Zagalou label in 1995, and soon moved on to Bobby “Digital” Dixon’s Digital B imprint. However, he didn’t manage a breakout success until saxophonist Dean Fraser recommended him to producer Philip “Fatis” Burrell. Sizzla released a series of singles on Burrell’s Xterminator label, including “Judgement Morning,” “Life’s Road,” “Blaspheme,” “We Uh Fear,” “I’m Not Sure,” and the Shadowman duet “The Gun.” His first LP, Burning Up, appeared on Xterminator later in 1995, and he toured extensively alongside Luciano and Mikey General. Unlike kindred spirits Capleton and Buju Banton, Sizzla’s early material was culturally oriented right from the start; he was able to build an audience without any of the lyrical slackness that helped establish the other two.

6. MARCIA GRIFFITHS

Jamaica’s longest-running and perhaps biggest female vocalist ever. Griffiths began as a teenager in Coxsone’s Studio One, racking up hit after hit, then joined with paramour Bob Andy as Bob & Marcia for the Top Five U.K. pop hit “Young, Gifted and Black.” She formed The I Threes to back Bob Marley’s international tours and recordings from 1974-1980 and scored a massive international hit with “Electric Boogie” in the ’80s. Despite a few ’70s Rasta tunes like “Stepping out of Babylon,” she is known primarily for her strong, smooth-as-mousse love songs and captivating live performances.

7. YELLOWMAN

Yellowman is the stage name of Winston Foster, one of the biggest Jamaican reggae stars of the 1980s. Foster, an albino, grew up in Kingston institutions and overcame a rough childhood to become a swaggering DJ with a penchant for witty and sexually explicit lyrics and a stage show that made him a local star. He began recording in the early ’80s and for the next several years released records at a furious pace, outselling every other reggae star except Bob Marley. In 1986 Yellowman was diagnosed with throat cancer and given a dire prognosis, but he bounced back and resumed his career in the ’90s. His songs include “Mad Over Me,” “Mister Chin” and “Blueberry Hill.”

8. U-ROY

Known as the Originator, U-Roy wasn’t the first DJ, nor even the first to cut a record, but he was the first to shake the nation and he originated a style so distinctly unique that he single-handedly changed his homeland’s music scene forever. Born Ewart Beckford in Jones Town, Jamaica, in 1942, he received his famous moniker from a young family member unable to correctly pronounce Ewart and the nickname stuck.

9. MUTABARUKA

His poems have given voice to a nation and helped forge an entirely new genre of music, dub/rhythm poetry. Revolutionary, fiery, scathing, and stinging, Mutabaruka’s words are as potent on paper as on CD, and so the literary community needed to create a new term just for his works — meta-dub. Born in Rae Town, Jamaica, on December 12, 1952, Allan Hope first realized the power of the word when he was in his teens. It was the ’60s; the Black Power movement was at its height, and numerous radical leaders were putting their thoughts and histories in print.

10. GARNETT SILK

Born Garnet Damion Smith in Greenvale, Hatfield in the parish of Manchester, Jamaica, he was known for his emotive, powerful and silky voice. During the 1980s he was widely hailed as a rising talent, but his career was ended by his early death in 1994 while attempting to save his mother while his house was on fire, while others suspect that it was a conspiracy which involved his two younger brothers, Lij Amlak(Paul Cassanova) & Omar Silk(Omar Scott) which were upcoming artists at the time. He and his mother were found in each other’s arms when their bodies were discovered. His debut album was “It’s Growing” and his first major hit was “Hello Africa”.

Okay, so after looking at the list I certainly agree that all of the artists here are classic artists, but my list would be a “likkle” different. This is not something that I can rush, but I will say that some people on this list are definitely on my list and others are definitely not on my list. Bob Marley, Sizzla and Yellowman are definitely on my list. As for those not on the list…stay tuned.

More time!

To learn more about Reggae, Rasta and Jamaican Language check out The Rastaman Vibration - The Definitive Source on Jamaican Culture, Jamaican Language (Patois), and Rasta!