Professional Documents
Culture Documents
Published by:
Far-Eye Productions:
Rasta@speakjamaican.com
All Rights Reserved. No part of this book may be reproduced or transmitted in any form
or by any means, electronic or mechanical, including photocopying, recording or by any
information storage and/or retrieval system without the express permission from the
author, except for the inclusion of few and brief quotations in a review.
ISBN: 0-9720635-0-1
Library of Congress Control Number: 2002093954
IN COOPERATION WITH:
www.Reggae-Rasta.com
www.SpeakJamaican.com
www.RockersTheMovie.com
The Rastaman
Vibration
With Bob Marley
And Jamaican Patois
ROCKERS!
By Ras Zuke
Special Thanks
By reading this book, you shall feel the vibrations associated with
Jamaica. You will understand Jamaica’s history, culture, and music. You
shall also be enlightened on Jamaica’s most unique group of people—the
Rastas. You will be taken through the essence of Rasta belief, ideology, and
reasoning. Aside from learning about the Rastas who are the principal icons
of Jamaican culture, you will become more familiar with Jamaicans in
general.
After the Bob Marley section, which follows the Rasta section, the
reader will enter into the ROCKERS movie script. By following the
chronological script and movie dialog, you will not only become familiar
with the Rasta language, but you will also understand basic Jamaican-Rasta
culture. Following the ROCKERS movie will allow you to experience a real
Rastaman vibration.
In its fullness, this book will prove to be a great journey into Jamaica.
Table of Contents
Introduction………………………….……………………………….……………………………………………………
Introduction………………………….……………………………….…………………………………………………………………………
……………………………………………………………………………………
……………………………………7
………………7
Part One……………………………..……….…………………………………………………………………………………………….
One……………………………..……….…………………………………………………………………………………………….………
…………………………………………………………………….…………………….
…………………….8
…………….8
The Rasta Creation, the Rasta Foundation, and the Rasta Vibration………….…………..……10
Marcus Garvey……….…………………………….……………………………….………….21
Rasta Beginnings: Leonard P. Howell………….……….…...………….…….………………..23
Dreadlocks……………………………………….……….………………….…………………24
Ganja—the Holy Herb {Weed of Wisdom}.……….…….….….………….………………….31
The Nyabinghi—Word, Sound, and Power……..……….………...……..……………………37
The Importance of Judah…….…….…….……………….……………….…………................42
His Imperial Majesty’s 1966 Visit to Jamaica.………….………………...…………………...44
Rasta and the Concept of Death……….…….…………………………..……...……………...46
The I-tal Diet—the diet of the living………….…………………………………….………….47
Moral Code…………………….……………………………………………………………….52
Rasta Essence……………………………………………….………………………………….53
Prelude to Rasta Speech……....………………………………………………………………..54
Through downpression comes Reggae—the music of truth..…..……………………………....57
Part Two….……………..……………………………………………………………………………………………………………………
Two….……………..………………………………………………………………………………………………………………………………….
……………………………………………………………………………….….
…………….…..61
…..61
The Bob Marley Vibration…….………..……………………………………………………....63
Part Three………….……..…………………………………………………………………………………………………………………
Three………….……..…………………………………………………………………………………………………………………………………
……………………………………………………………………………………….82
………………….82
Rockers the Movie….…….………………………….………………………………………....84
Interview with Patrick Hulsey—Producer of Rockers……..…...….…………………………115
Part Four………………….…………………………………………………………………………
Four………………….…………………………………………………………………………………………………………………
…………………………………………………………………………………..
……………………………………………………..…120
……………..…120
Speak Jamaican…………………………………………..…………………….……………..123
Part Five……….…………………………………………………………………………………………………………………….
Five……….…………………………………………………………………………………………………………………….………
…………………………………………………………………….……………………..
……………………..….196
……………..….196
The Dancehall Explosion {Ragga Music Vibration}……….………………………………...196
Red Rat………………………………………………...................……..…………………….200
Beenie Man………………………………………………...................……..………………..203
Yellowman…………………………………………………………………………………… 207
Shabba Ranks………………………………………………………………………………… 208
Spragga Benz………………………………………………………………………………… 210
Tanya Stevenson……………………………………………………………………............... 211
Sean Paul……………………………………………………………………………............... 212
Mr. Vegas…………………………………………………………………………………….. 213
Mad Cobra………………………………………………...................……..…………………214
Bounty Killa………………………………………………………………………………….. 215
Luciano {Rasta Dancehall Artist and “Messenger”}……………………………. ..………....216
Capleton {Rasta / Bobo Dread Dancehall Artist}…………………………………................. 217
Sizzla {Bobo Dread Artist}…………………………………………………………………...218
Vybz Kartel………...………….……………………...…………….………………….……..219
Mavado…………………..……….…………………...……………………………….….…..221
Jah Cure……………………………………………….…..………………………….….……224
Jamaican Patois {Patwah} Reggae-
Reggae-Rasta Glossary…….…………
Glossary…….………………………………………………………………………………...225...225
Countryman {The Rare Reggae-Rasta Cult Classic Movie}…….…………
…….……………
…….……………………………………………………...…238
...…238
Bibliography…………………………………………………………
Bibliography…………………………………………………………………………………………………………………………………………..….….241 ..….….241
Introduction to “His Story”
Introduction to History
History, as it is taught in English speaking The realization of many truthful
systems and which is found in our educational things becomes evident with deep
books, is mostly biased literature. Thus, it is mental penetration and constant
“His story”—the western world’s story. introspection. True knowledge is
said to occur through self-
realization. The time for realization is now. The time to understand our human history is
now. The time to understand ourselves, also, is now. If the truth of our present-day
situation is understood and comprehended, then we, who are seekers of truth, shall be the
possessors of great knowledge. True knowledge is never freely given at hand. One must
seek it. Only then, can we begin to unravel the truths of creation that are now considered
mysteries.
The hand of God surely points to the East. The East is the location of creation and
is the world’s current “Hot spot”. Both the Fertile Crescent and the Garden of Eden are in
one general area. This area is known as the Cradle of Civilization (because it is where all
life started) and the Holy Land (holy, because it was created by God in the beginning and
holy, because it will be the stage of destruction in Last Days). This is prophecy! The
study of the world’s current events unquestionably points to the East. Africa—Egypt—
the Middle East—are all one. Even in India and Pakistan, which are also in this general
locale, the tensions are strong enough to destroy millions through nuclear warfare. The
happenings in these Eastern regions, which are now occurring, will affect all of earth’s
people. No one can deny that these are the Last Days spoken of in many holy writings.
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The Rasta Creation
Part One:
The RASTA CREATION,
8
The Rasta Creation
9
The Rasta Creation
GENESIS:
Beginning of Man beginning with Ham.
Genesis 5: 32—
“And Noah was five hundred years old: and Noah begat
Shem, Ham, and Japheth.”
Gen.. 9: 18,19—
“And the sons of Noah, that went forth of the ark, were
Shem, and Ham, and Japheth: and Ham is the father of
Canaan.
These are the sons of Noah; and of them was the whole
earth overspread.
It is claimed, by certain Christian possessors, that the Black race resulted from a
curse from God. This curse, according to the Bible interpretation, Noah gave to his son
Ham’s child Canaan. However, there is never a mention of skin color.
Gen 9: 21-25—
“And he drank of the wine, an was drunken; and he was
uncovered within his tent.
And Ham, the father of Canaan saw the nakedness of his
father, and told his two brethren without
And Shem and Japheth took a garment, and laid it upon
both their shoulders, and went backward, and covered
the nakedness of their father; and their faces were
backward, and saw not their father’s nakedness.
And Noah awoke from his wine, and knew what his
younger son had done unto him.
And he said, Cursed be Canaan; a servant of servants
shall be unto his brethren. And he said, blessed be the
Lord God of Shem; and Canaan shall be his servant. God
shall enlarge Japheth, and he shall dwell in the tents
of Shem; and Canaan shall be his servant.”
Gen.. 10:6—
And the sons of Ham; Cush, and Mizraim, and Phut, and
Canaan.
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The Rasta Creation
Shem's descendants (son of Noah) became the Semitic peoples who settled parts
of the Arabian Peninsula, including what now are Saudi Arabia, Yemen, Jordan,
Palestine, and Lebanon. Interestingly, the word Semite means half. To be sure, they are a
mixture of Black. They are still, to this day, of a generally medium-brown complexion.
Their languages include Arabic, Hebrew, and Aramaic—Jesus' native language. It would
be through the lineage Shem that the Lord would establish his chosen people through
Abraham, Isaac, and Jacob.
The word and name Ham (son of Noah) means “Heat” or “Hot” and may suggest
environmental conditions and certainly the skin color of the posterity of Ham. Ham's
descendants became the various dark-skinned peoples who settled the African continent
and parts of the Arabian Peninsula. His sons were Cush, which name means “Black” in
Hebrew, whose descendants settled in Ethiopia. Mizraim, whose descendants settled in
Egypt and were described by ancient texts as Black. Phut’s descendants settled in Libya.
Canaan’s descendants settled in Palestine. With this knowledge, we can conclude both
Egypt and Ethiopia were surely inhabited by a Black or dark-skinned people. [The
Cushites were the world’s first brick and stonemasons. Mason means “Child of the Sun.”
Their work can be seen over Eastern Africa. They were the makers of the Sphinx and the
Great Pyramid at Giza.]
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The Rasta Creation
So, does this mean that Black people are now the descendants of Cain? The
answer is no! The reason for this is that they were all destroyed in the flood. Hence,
unless you are Mormon, which are the only group of Christians that believe that Ham’s
wife was a descendent of Cain, you cannot associate Black people with the curse of Cain.
However, we know that even in these days, white people base judgments and
discriminate people of color with a notion that they are inferior. They assert that black
skin and wooly hair are worthy to be enslaved. Meanwhile, the Bible makes divine and
positive reference to wooly hair and brazen skin. [Daniel 7:9 …and the hair of
his head like pure wool.] A head of white wool resembles a head an old Black
man. [Rev 1:15…His feet like unto fine brass, as if they burned in a
furnace.] Brass is generally dark. It would become even darker if burned in a furnace.
[Rev. 4: 2-3…a throne was set in heaven, and one sat on the
throne. And he that sat was to look upon like jasper and a
sardine stone.] These mentioned stones are chiefly dark.
Since Ethiopia and Egypt are in the Land of Africa, then this awareness should
guide humanity in looking to Africa for uncovering the true history of mankind. “Can
the Ethiopian change his skin, or the leopard his spots?” (Jeremiah
13:23.) Psalms 68:31 reads, with importance, “Princes shall come out
of Egypt; Ethiopia shall soon stretch out her hands unto God.” It
is even suggested by many, that the Egyptian civilization was the very first civilization.
Could it be that these people were Black? There is very strong evidence to suggest that
they were Black.
The ancient Egyptians called themselves Kam or Kam-Au (Black people /Black-
God people), and their country Kamit (or Khemit), both meaning land of the Blacks and
the Black Land. The word Egypt is derived from the Greek word Aigyptos (or Aiguptos),
which also means Black!
12
The Rasta Creation
appearance gave me the key to the riddle. Beholding that its head maintains typically
Negro in all its features...” He later added "...The Egyptians were true Negroes of the
same type as all native-born Africans.” The Sphinx's broad nose and full lips are evident
in an early drawing of the then intact Sphinx that drew first attention in the 19th century.
Carved from a single rock, the Sphinx was a portrait of the Black Pharaoh Khafre
(Cephren). When the Whites came to the ancient land, they blasted the nose of the Sphinx
to purposely hide the blatant and undeniable evidence of Black achievement. With
despiteful cannon fire, the nose and part of the lips are gone from the great Sphinx
forever!
The Sphinx is only one of many works of art that show us that Africans have
been involved heavily in the development of the Earth since the beginning of
man—the beginning of Ham.
At any rate, we can definitely say that a highly developed civilization existed as a
Black race, known as the Egyptians. We must remember that Egypt and Ethiopia are both
in Africa. Why is it that history (“His story”) writers and people of governments have
taken great lengths to conceal the fact that the Blacks were perhaps the very first great
civilization? Because, it is only by hiding this truth that one particular race (i.e. the White
race) may claim to be superior. Only through research and mental reflection, we may
know whose works have been for good and whose woks have been for evil. We can ask
ourselves (for those of us living in America), “Whose story do we actually have? And
who wrote the “His story” books that our government has supplied our youth?” Surely,
they are of a particular bias. After all, the U.S. government will not supply books of
history that make the White race (the sons of Japheth) seem evil and deceitful.
13
The Rasta Creation
14
The Rasta Creation
was the daughter of Potipherah priest of On—Egyptian, Hamitic, and Black. Gen. 41:
45, 50-52. His sons were Manasseh and Ephraim.
Gen. 42 The brothers of Joseph, who are the sons of Jacob (Israel), came into
Egypt to buy food due to the famine in Canaan. There could not have been that much
physical difference, e.g. skin color, between the Israelites and the Egyptians. Because
when his brothers came into Egypt, they did not recognize him from the other Egyptians
who were Black. (Gen. 42:8). They did not recognize him because Joseph had grown
up among other Blacks. Therefore, the Egyptians were a Black or at least a dark-skinned
people—just like Joseph. The brothers considered Joseph to be another Black Egyptian.
We know this to be true because the ten brothers returned and reported to their father:
"The man, who is the lord of the land, spake roughly to us..."
Furthermore, if Joseph had been white, he would have stood out to the highest degree to
his brothers—especially being a ruler in Egypt among other Blacks.
Later, Joseph makes himself known to his brothers. And within a few chapters,
(Gen. 46) the Lord sends all of Israel into Egypt to live. Before Jacob (Israel) died, he
adopted Ephraim and Manasseh, his Black grandchildren, as his own children—meaning
that they could take full advantage of the Everlasting Covenant. Thus, the children of the
Black lineage of Ham became one with Joseph. Gen. 48:5.
Without having to recount detailed Bible events, the time for Moses to lead the
children of Israel would soon come. Surely, the Israelites intermarried with the native
Black Egyptians in Egypt. This would account for the nation’s tremendous growth during
their 400 plus years in Egypt. Remember, the “land was filled with them.”
These where the children of Israel who were mixed with the Black seed of Ham—and
they were a “mixed multitude.” Ex. 12: 38. So, finally after 430 years they would
be lead out of Egypt. Ex. 40. The books from Exodus to the end of Deuteronomy
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The Rasta Creation
contain the history of Moses. A further note you probably do not know—Moses was
married to an Egyptian! (Numbers 12:1)
[I am offering subtle implications toward this “Most high and mighty Prince
James.” I am not, however, saying that the Bible is entirely falsely translated.
Nevertheless, I would urge honest seekers to conduct their own research and seek other
documents of history, which have not been produced under the rule of the white man.
Other sources of Biblical information can be found in the Kebra Nagast, which is an
African/Ethiopian reference maintained by African natives of Old Testament times. As
the King James Bible is the Bible for the white man, the Kebra Nagast is the Bible for the
black man. Both are historically similar, but the Kebra Nagast has a fuller history
pertaining to Solomon’s Ethiopian wife, Queen Sheba, and their son Menelik, who
maintained power, kingship, and the lineage of Judah.]
The proposal that the Bible has errors and corruptions are not new. Some maintain
that under the early popes, white church scholars distorted the Amharic Bible in the
translation and editing process to make God and His prophets seem Caucasian instead of
Black. “We therefore reject Michelangelo’s painting representing Jesus and Mary
with Blonde hair and blue eyes. This misrepresentation of the racial
characteristics of Jesus and Mary by European artists (which also defies
geography) is significant…” (Napti). We are still able, however, to uncover basic truths
in the available Bible—as this section has done. With basic insight and reference, we can
at least see that the Blacks—the children of Ham—played a key part of the rich heritage
and history of the Old Testament.
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17
The Rasta Creation
David of Judah is very important because the Lord promised a great deal through
his line. Gen. 49: 8-12 Apart from Jesus being from the tribe of Judah, there came
another King from the same tribe—Haile Selassie. Haile Selassie came to fulfill prophesy
to "Sit on the Throne of King David" through the lineage of King Solomon and
the union of the Queen of Sheba. Selassie was the one who opened the book with seven
seals, which is spoken of in Revelation 5. This “Opening” was the teaching
specifically against the racism, injustice, and human oppression that plague our current
world.
In the time of King Solomon, who was the son of King David, Queen Makeba
ruled over the empire of Sheba, which consisted of Ethiopia, Egypt, and parts of Persia.
The Queen visited the wealthy and wise Solomon in Jerusalem. (1 Kings 10).
Solomon converted her to the God of Abraham; she had until then worshipped the Sun in
the person of Ra, the Sun god. When she returned to her land, Queen Makeba (also
known as Queen Sheba) changed the religion of her empire to Judaism—she was black!
On her return, the Queen was pregnant with Solomon’s son. (It is amazing to
really see how many Black marriages there were within the House of Israel.) She had
promised him that if she bore a son, she would send the boy to Jerusalem for instruction
by his father. Accordingly, her son, Menelik journeyed as a young man to meet Solomon.
Menelik swore to his mother that, as heir and successor to the kingdom, he would return
to Ethiopia. When Menelik was leaving Jerusalem, King Solomon saw to it that the sons
of his priests accompanied him. Solomon wanted to ensure that the religion of Abraham
would continue in Ethiopia. As a result, this religion existed there in an undiluted form—
as it does today.
During the time of early Christianity, Paul, the Apostle, converted an Ethiopian
eunuch to Christianity. This eunuch was clearly a respected rabbi of Orthodox Judaism.
When he returned to Ethiopia, he converted the country to Christianity.
Thus began the Ethiopian Orthodox Church—a pure form of Christianity that
keeps its connection with its Judaic and Egyptian pasts. The kings of Ethiopia were
descended from Solomon, son of King David. This church had considerable influence on
the 225th king, who descended directly from King David through King Solomon and
Queen Sheba’s son. This member of Ethiopian royalty was Ras Tafari Makonnen, whose
coronation name became Emperor Haile Selassie—the first!
It is from this time forward that the Jamaicans, who were looking for a redeemer
from the constant oppression of the white man, labeled Haile Selassie the Lord—Jah. Jah
is the basic name for Lord, which comes from the name Jehovah. Select Jamaicans
believed that Emperor Selassie held for himself the sacred titles spoken of in the Bible,
which most reserve for the advent of the second coming of Christ. The Jamaicans who
believed that Haile Selassie was God became known as Rastas. To Rastas, Selassie was
the returned Messiah, the Black Christ, whose ascension to the Throne of David, in Addis
Ababa, Ethiopia, ushered in the new order of Black attentiveness and rule.
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The Rasta Creation
Ras Tafari—
Haile Selassie, the first.
It was with the following scripture, Revelation 5: 2-5, that the Rastas
proclaimed his divinity.
H.I.M.'s (His Imperial Majesty’s) claim to the throne of Solomon makes him
a lineal descendant of King David. It was through this same lineage that
paved the way for Jesus Christ to enter 2000 years earlier. The Rastas say
the Jesus is one and the same with Selassie but of "An earlier dispensation."
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The Rasta Creation
Some say that H.I.M. even looks like the early Jesus. Close
examination of Selassie, reveals that his complexion is neither
extremely black nor white. He is “One in all.”
20
The Rasta Creation
Garvey continues to be a
Prophet in the hearts of
Rastas. For he was the one
who pointed the way. As
John the Baptist pointed to
Christ, Marcus Garvey
pointed to the redeeming
King, who would be Haile
Selassie, Ras Tafari, of
Ethiopia. Although Garvey
did not know who this king
would be, he felt, with a
surety, that a king would
arise out of Africa and that
he would be Black.
“In Jamaica, Black men have no special advantages. You are slated to be a cowhand or
laborer, a blacksmith or shoemaker. I looked an the system man picks for me and I said,
this does not suit Me.” –M.M.Garvey
Only a few thought along these same lines. Most Jamaicans did not question the
rigid social hierarchy based on color and race. Their lives were working solely for the
benefit of Great Britain—the great colonizers. Only a few worked up the ranks of the
strict social order to become tradesman or skilled workers.
Marcus Mosiah Garvey was born in Jamaica under Colonial British rule in 1887.
Garvey became devoted to improving conditions for the Black people. In 1907, he led a
printer's strike in Kingston, Jamaica. Later, he toured Central and South America to
organize plantation laborers. In 1912, he went to London. Here he met Blacks from many
nations and became fascinated by African history and culture. Returning to Jamaica in
1914, Garvey established the Universal Negro Improvement and Conservation
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The Rasta Creation
Association (UNIA) and the African Communities League. His adventures in life,
however, proved to be tough. Garvey continues to hold the position of Prophet in the
hearts of Rastas. For he was the one who pointed the way. As John the Baptist pointed to
Christ, Marcus Garvey pointed to a redeeming African King, who would be Haile
Selassie, Jah Ras Tafari.
Although Garvey did not know who this king would be, he felt, with a surety, that
he would arise out of Africa and he would be Black. In 1916, Garvey moved to the
United States and settled in New York City. There he incorporated the UNIA and started
a weekly newspaper, the Negro World. A persuasive orator and author, Garvey urged
American Blacks to be proud of their race and preached their return to Africa, their
ancestral homeland. To this end, he founded the Black Star Line in 1919 to provide
steamship transportation, and the Negro Factories Corporation to encourage black
economic independence. Garvey attracted thousands of supporters and claimed two
million members for the UNIA. However, later he suffered a series of economic disasters
and was arrested for mail fraud in 1922. At his trial, Garvey served as his own defense
attorney. Probably never standing a chance in a white court, he was jailed in 1925. His
sentence was commuted two years later and was immediately deported back to Jamaica.
Unable to resurrect the UNIA or regain his influence, Garvey moved to London, where
he died without fame in 1940. A symbol of the determination of Blacks to win respect
"I am only the forerunner of an
and recognition, he said of himself,
awakened Africa that shall never go back to sleep."
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The Rasta Creation
Without a doubt, Leonard P. Howell started the Rasta movement in Jamaica and
he is regarded as the founding Rasta father. He was the first to publicly denounce the
British Government, who at the time was King George VI. Charged for disturbing the
peace, he was the first to defend the divinity of H.I.M. Haile Selassie-I. For this, he was
imprisoned for two years. A true Rasta pioneer, he was the first to hoist the red, gold, and
green Ethiopian flag in Jamaica.
A few years later, he established a Rasta community in the hills of St. Catherine,
Pinnacle Estate, where he was a thriving ganja farmer. In this first Rasta community, the
several thousand members would enjoy regular African style drumming, dancing, and
chanting. The established and esteemed leaders of the Rastas became “Elders” who
created the Nyabinghi Order, which, among other spiritual things, is a three part drum
rhythm accompanied by the smoking ganja and the singing chants of righteous anger
against oppressors.
The true nature of their cries against oppression was that they, the Black people,
had been taken from their Fathers land, sold into slavery and were now living in Hell.
Their voice was to oppose the notion of white supremacy, human exploitation, and the
corrupt system of the British government—Babylon.
It was over the next twenty years that the Rasta movement really emerged in
Jamaica. It was at this time that the Rastas re-established the ancient Biblical
practice of uncombed hair—dreadlocks. It was at this time that words of
truth were spoken against the establishments of the evil government—
Babylon. It was also at this time that the Holy Herb was known to the
Rastaman as being the “Healing of the nation.”
23
The Rasta Foundation—Dreadlocks
Dreadlocks
It is known that an ancient Indian
mendicant named Shiva (who became part
of the Hindu godhead) had uncombed
dreadlocks down to his heels. Shiva
meditated while smoking hashish in a
chillum pipe. Some think that the Sadhus,
who devote their life by worshipping
Shiva, are the reason and influence of the
start of dreadlocks in Jamaica. [Current
followers of Shiva, named Sadhus, have
dreadlocks and smoke hash similar to the
Rastas.] Nevertheless, to the Rastas, the
Nazarite vow of the Old Testament
continues to be the true Rasta source of the
uncombed and uncut dreadlocks. “All
Dreadlocks Rasta Prophet—Bob Marley
the days of the vow of his
separation THERE SHALL NO
“I am a Rasta. I need Black roots. RAZOR COME UPON HIS HEAD:
Someone has to keep the roots.” until the days be fulfilled, in
Marley grabbed one of his dangling separateth himself
the which he separateth
dreadlocks and exclaimed, "This unto the Lord, he shall be holy,
must have some meaning for us, for and shall let the locks of the
why we do it." BOB MARLEY, 1980 hair of his head grow.”
interview by Lee O'Neill, which Numbers 6:5.
originally appeared in Worcester
Magazine.
Perhaps the most familiar feature of Rasta culture is the growing and keeping of
dreadlocks—uncombed and uncut hair that knots and mats into distinctive locks. One
notion regarding the origin of the locks was that certain Jamaicans copied the Hindu holy
men who came to Jamaica from India as indentured laborers in the late 19th century.
However, through Bible research and further references pertaining to dreadlocks and hair,
one can be assured that various people in Bible times did not comb or cut their hair.
These people, which were set apart from normal society, were part of a religion made
under the Lord’s instruction. They were spiritual men guided by the Lord. Such a person
is Samson, from the Bible, whose power came from his uncut hair. Samson had seven
locks (Judges 16: 19). Dreadlocks are regarded as an ancient Christian rite. Many
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The Rasta Foundation—Dreadlocks
believe that numerous people Biblical characters had dreadlocks. Among the ones
believed to have dreadlocks is John the Baptist and Jesus of Nazareth.
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The Rasta Foundation—Dreadlocks
A Sadhu (Shiva worshipper) with long locks. “Skully” from Israel Vibration.
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The Rasta Foundation—Dreadlocks
Spirituality of Dreadlocks
“There's no such thing as ‘bad hair’ when it’s in its natural state. Jah bless you
with the hair you have, how dare you make mockery of him by saying that someone has
‘bad hair’ when it is natural. Bad hair only occurs when it has been altered or tampered
with to the point where it is no longer naturally healthy. Excessive heat, perming, dying,
washing, treating, hot combing.... anything that seeks to remove the natural, tight curl out
of the hair by chemical or excessive heat can damage your hair. Most people that want to
grow locks should have in mind the fears and premonitions that may come along with
going natural. That fear is a good thing, it helps to bring that person to accept what they
have, and dealing with it instead of trying to change it. (Isn't that ironic though? Many
people would rather compromise to change before trying to understand and accept!)”
(http://www.geocities.com/coolpoete/dreadlocks.htm.)
Dreadlocks are growing in societies around the world. Some people grow dreadlocks
to be stylish or to be part of some popular sub-culture. Such vain pursuits will only
damage the soul of the locks wearer. Most people’s impression of dreadlocks is one of
disgust. Therefore, one who grows his or her locks must do so with deep and honest
intentions based on truth. The truth must be buried within. The spiritual roots of
dreadlocks must grow like a tree. Over the years of dreadlock growth, one will be firmly
planted and stable in life. The following three truths are necessary for establishing a firm
foundation in being a dreadlocks
Rasta.
Natural is better.
One who wears locks becomes a “Locksman” and is part of a totally natural and
sacred rite. (See Leviticus 21:5) Dreadlocks are so natural that the typical
“Civilized” person cannot comprehend or bear to see such an innate part human nature.
Although they should not be feared, as the word “Dread” may suggest. There is a
sphere of seriousness and righteousness to the whole idea. Dreadlocks are a
27
The Rasta Foundation—Dreadlocks
28
The Rasta Foundation—Dreadlocks
A Nepali Sadhu reading scriptures and meditating. If standing, his dreadlocks would reach the earth!
In Jamaica, Ras Daniel Hartman overlooks a young dread below. Later, his dreads enjoy a soaking at the beach.
Here, a Jamaican Rasta washes his dreads in the river rocks. Great unity exists between a dreadlocks father and his son.
29
The Rasta Foundation—Dreadlocks
Anyone can grow dreadlocks for his or her own reasons. Some may do it
superficially for fashion or popularity. However, the essence of a true dreadlock Rasta is
to, one, accept your own nature and, two, take a step towards integrity.
30
The Rasta Foundation—Dreadlocks
Mortimer Planno is a highly esteemed Rasta Elder who had been selected to
greet H.I.M. Haile Selassie-I (Ras Tafari) during his arrival at Kingston
airport on April 21, 1966. Planno was Bob Marley’s Rasta teacher and
instructed Bob in the arcane truths of the movement. This chief Rasta is also
versed in the practicalities of life. He also became the Wailers' manager (for
a period), coordinating their careers, arranging studio sessions, ECT.
31
The Rasta Foundation—Ganja
32
The Rasta Foundation—Ganja
Chief Arguments
Ganja is illegal in Jamaica. However, Rastas know there is nothing wrong its use.
They feel that when the government attacks people because of ganja, such an attack must
be motivated by the desire to suppress the people. Below are words of REASONING
taken from members of the Jamaican YOUTH BLACK FAITH. They were the group of
Rastas central to institutionalizing of ganja and dreadlocks in early Rasta movement:
“We don’t count ganja as a criminal offense. We show the policeman at all
times that we [would] rather if you destroy us. For God says, “The evil
things ‘pon this earth is the hand-made things.” These are the things that
brought up falsehood ‘pon the people, those is the things that destroy the
people. So, this is not the things that hand-made, this is God natural
creation, and it always virtuous to show the man the Bible and
Revelation 22: “the herb that bear the various fruits, the
leaf of it shall be the healing of the nation” and in Psalms
104, him says, “All the herbs that bearing seeds upon the
land is made for man.” So this is the chief argument we always
confront them whenever we have an attack by the police. Yet, them never
listen to it.” (Chevannes, 157)
The use of ganja may very well be the most dominant and well-known force in
the movement's religious ideology, as well as the most controversial. Its use is founded in
the Bible. Ganja, which is known as the "Holy herb,” took on the role of a religious
sacrament for the Rastas as the movement gathered speed in the 1930's. Its public
smoking symbolized protest towards the oppressive power structure of Babylon, which
had deemed its use illegal. Rasta reasoning is continuous in the confidence that there is
nothing wrong with the use JAH-GIVEN GANJA. Therefore, if the government attacks
and suppresses citizens for the use of naturally grown and harmless ganja, then the
government’s main motivation must be to downpress and control the people. In the eyes
of Rastas, such a lawmaking stance of the government is a reflection of slavery. Any evil
realm that oppresses the people, by depriving them of their rights, is known as Babylon.
The term ganja refers to the ancient plant herb scientifically known as Cannabis
Sativa, which Linnaeus, the father of botany, named in 1753. The name of ganja comes
from India, where the use of ganja has been known for centuries for its enormous benefits
in industry, economy, medicine, and spiritual meditation. In the United States, the
Cannabis plant played a major part in the early development of the country. It made for
ideal clothes, ropes, glues, fibers, and oils. Even the original U.S. flag was wholly
constructed of hemp—it was very fabric of the country! It was also a major trade
commodity. Although the part of hemp associated with fabric is different form the part
used in smoking, one can see that hemp is a versatile product of our earth. The top
flowering buds of the female plant are the part of the plant that is used for smoking.
33
The Rasta Foundation—Ganja
Simply put; Babylon, who is the oppressive and controlling force of society, does
not want it anymore! They have found a new industry that brings in more money—a
chemical industry and economy. They have thrown away the notion that people should
use natural products from our Mother Earth and have instituted an almost completely
chemical system of life. The newly found goldmine and agenda of business is in
petrochemicals and various chemical drugs (as prescribed by “Doctors”). Perhaps they
know that in addition to feeding, healing, and enlightening humanity, cannabis can help
save the earth and solve vast ecological problems, including deforestation. However, the
very existence and essence of Babylon is to oppose that which is good and natural.
34
The Rasta Foundation—Ganja
“For the Rastafarians, then, the smoking of the herb is both a reactionary device
to society, freeing the follower from the establishment, and a religious sacrament,
enabling the Rastafarian a oneness with both God and himself. Today, however,
as he or she recites the prayer preceding the lighting of the herb: Glory be to the
35
The Rasta Foundation—Ganja
Father and to the maker of creation as it was in the beginning is now and ever
shall be world without end: Jah Rastafari: Eternal God, Selassie-I”. (Swagga).
Devout Rastas do not drink alcohol, especially Jamaican rum, nor smoke cigarettes. Most
people would agree that alcohol has contributed more to the destruction of society than
the smoking of ganja. The reason that Rastas are against rum is because rum is the
resident alcohol of Jamaica and many have seen its negative social effects. Rum (or any
alcohol for that matter) can make you sick and/or violent, whereas ganja can heal and
offer peace.
“Rum mosh up your insides. Just kill ya, like the system. System don’t
agree with herb because herb make ya too solid. Y’see, when ya smoke
herb ya conscience come right in front of ya. Ya see it. Y’see? So, the
devil he no like it if ya stay conscience and clean up your life. For devil
see ya not gwaan fi do fool tings again. Yes, Rasta! Herb is the healing of
the nation.” –Bob Marley.
Rastas are by no means accepting of drugs. A righteous Rasta will abstain from
common “Drugs” such as: heroin, LSD, cocaine, and nearly all prescription drugs. The
main reasoning behind this preference is that these drugs are manmade and adapted with
chemicals. Herb, on the other hand, is a natural substance that Jah (the Lord) has created
for our use.
Testimony of Ganja
The following is part of an interview with a leading Rasta:
36
The Rasta Foundation—Ganja
The Chalice
There is only one method that is completely traditional and holy for a
Rasta to smoke ganja. This is by way of the coconut “chalice.” The word
chalice, as found in the Bible, has reference to a holy or sacramental cup.
Since smoking herb is a meditative and enlightening event, why not use a
spiritual and religious cup? A chalice is handmade out of a hollowed
coconut shell. A hole is cut out of the top and a clay-fired “cutchie,” which
name also means cup, is inserted and fitted into the top hole. In the cutchie, a
half of a nutmeg is inserted to keep ganja from falling down. Two holes are
then made into the coconut—one for a hose to inhale the smoke, and the
other hole for the thumb to regulate airflow. Before smoking, the coconut
must be filled partially with water—the Chalice is a true water pipe!
Smoking with a Rasta Chalice utilizes the five universal elements: Earth—
from the ganja and the cutchie, Wood—from the coconut and rubber (rubber
comes from trees), Air—from the smoke, Water—from the water in the
coconut, and Fire—from the flame that lights and burns the herb.
37
The Rasta Foundation—Nyabinghi
There is a trinity of drums. These drums, when played by talented and inspired
Rastas, unite the cosmic power of creation.
The bass drum is the “Drum in deep” that pulses to the chants against Babylon
and is known as “The Pope Smasher.” The base drum is the foundation drum,
which universal pulse is broadcast straight from Africa. This African bass
vibration is the authority of Nyabinghi music, which is the foundation of Reggae
music.
The next drum is the medium sized funde. The funde is the drum that provides the
basic heartbeat rhythm, which allows the “Voice” of the akete drum to be
understood. This drum follows the bass.
The next important drum is the high-toned akete repeater. This drum is the lead
drum and acts as voice of attack. The akete is the voice of the ensemble.
“Is like spiritual war, is also physical war. But if we should try to actuate physical
instruments or weapons of war and use dem, then we would be targets of Babylon police
force and dem will out come and mash [with] stone, and lock up people, and give dem
38
The Rasta Foundation—Nyabinghi
prison sentences. So, we know, you know, true power of that earth is in I-ghest [highest]
stages, cause life is like two stages, if you like, spiritual-mental and physical-practical.
So, when we carry out combat on the spiritual-mental plain, we know we are more
secure. Yes, we know we are less open to attacks and defects, yes, and verbal aggression
on the level of commitment, termination and strength, because of word and sound. In the
beginning was the word, the word was with Jah and word come to count itself flesh, so,
even black hold drum sounds can take into itself certain force power and strive the weak
heart. The word sound similar taken to itself certain word power and strive the weak
heart… Nyahbinghi is the music that kill, cramp, paralyze, give a joy, make a creation
manifest. Nyahbinghi is the King’s music, King of King’s music, ancient music from the
time of Salem, from Ithiopia ancient church triumphant of the churchical order.
Nyahbinghi was very big in Africa when theocracy was the form of government and
parliament was the church. For us word sounds is like releasing bombs, releasing rockets
of death, releasing warplanes.” (Ras Jah Bones)
Jah Bones (1940 - 1997), writer, lecturer, activist, and elder of Universal Zion
Church and Ethiopian World Federation Inc. in England. Jamaican born Jah Bones is
author of the book One Love: Rastafari: History, Doctrine & Livity (1985). Previous
quotations are from his words in 1988.
39
The Rasta Foundation—Nyabinghi
"The Nyabinghi is the most important meeting of the Rastas, involving members
from all over the island. It is comparable to the movement's convention and may last
from one or three days to even a week." Barrett relates in his book, The Rastafarians, how
he attended one such Nyabinghi. "The air was thick with smoke from the holy herb and
the drums kept a haunting beat...One tune continued as long as an hour and without a
break before another was started and continued on and on throughout the evening until
the drummer was exhausted and his place was taken by another drummer..."
40
The Rasta Foundation—Nyabinghi
society and are answered by the sharp high tones of the repeater symbolizing a
resurrection of society through the power of Jah, Ras Tafari.
41
The Rasta Foundation—Nyabinghi
FIRE MAN
Fire man
Rasta fire man
Fire man
Rasta Fire man.
42
The Rasta Foundation—Nyabinghi
Born 1931 in Kingston, Jamaica, Ras Pidow was one of the first in the movement
of Rastafari. Although scorned and reviled by society for praising His Imperial Majesty
Haile Selassie-I as the almighty, growing the locks of the head as the holy covenant and
using the ganja plant as a spiritual sacrament, Ras Pidow has endured as a living
Testament that good must conquer evil and love must be the law that governs humanity.
On July 4th, Ras Pidow and brethren made a showing at the NORML smoke out, a
concert for the legalization of Marijuana. "If herb is a crime, then God is a criminal"
chanted Ras Pidow to the blazing lick shots of the Nyabinghi drums before the
enthusiastic crowd of supporters.
Ras Pidow was a recognized Elder of the Rainbow Throne of the Niahbingi
Theocratic Order. Story teller, teacher, priest, Ras Pidow represents a life-long
I-dication (dedication) of principle. He died in March of 2001.
Below is taken from the 1992 album cover Ras Pidow’s Modern Antique.
He is seen reading truth as contained in the Bible. Ras Pidow delivers the
message of Divine importance that Haile Selassie is the Almighty.
43
The Rasta Foundation—Judah
In 1930, news came of the crowning of an Ethiopian King. However, this was not
merely another King being crowned. This King was crowned His Imperial Majesty
Emperor Haile Selassie-I, King of Kings, Lord of Lords, and Conquering Lion of the
Tribe of Judah, Elect of God, Light of this World, King of Zion. This King was the 225th
great grandson of King Solomon. The coronation (crowning) of Haile Selassie-I was
attended by many nations. In addition, the sacred golden Scepter of the House of Judah
was rightfully returned to the new King of Ethiopia.
44
The Rasta Foundation—Judah
African Christians now began asking many questions. The throne that Haile
Selassie-I represented was the oldest living throne on earth—almost 4,000 years old. (The
throne of the Royal House of Britain, the colonial sovereign of Jamaica was less than 500
years old.) It was not only that African people saw that they had an African King
exceeding all over colonial sovereigns in royal status and antiquity, but that this King's
throne represented the throne of God on earth, established by a covenant between God
and King David as recorded in the Old Testament (II Sam: 7).
People earnestly searched the scriptures and the prophecies concerning this throne
in Ethiopia. The 49th chapter of Genesis (verses 8-12) reads that God had promised the
custodianship of His kingdom to the Tribe of Judah. Moreover, God had made an eternal
promise to King David and King Solomon, that their throne and dynasty (lineage) would
endure as long as the Moon and Sun, and that David would never be short of seed to sit
on his throne (see psalms 89). It is also emphasized that the kings of this dynasty were
not only the kings of Ethiopia, but also the kings of the whole earth—representing the
justice and judgment of God in human affairs (see psalms 72). When God's people
sinned, He told them that He would punish them by famine, pestilence and the sword, and
He would scatter them to the four corners of the earth. They would be ruled by a foreign
power and be servants to other nations. But when they returned to God with all their
hearts, He would rise up one from the family of David and Solomon who would re-gather
His people back into their own land, (see Ezekiel 37, Isaiah 43, Jeremiah. 23,
and 33). Then, God promised that by the seed of David, the Tribe of Judah, He would
set up His promised Kingdom on earth, which would be a light to the world. His people
would be returned to their land and no more would they suffer.
H.I.M. Emperor Haile Selassie-I was born on July 23, 1892—the beginning of the
astrological sign of the Lion. By the dignity of His stature, the discipline of His character,
and eyes that reflect a sense of purpose and mission, he was seen by Bible students as the
promised Messiah from the House of Judah. His titles fit the only man on earth
"Worthy to open the book and to loose the seven seals."
(Revelation Chapter 5) Before his coronation, his name was Ras Tafari
Makonnen. Jamaicans, who saw him as the long awaited Messiah, began calling
themselves by his name, Rastafarians. To the Rastas, this King was the one promised
from the House of David, who would re-gather them from their lands of captivity and
bring them again into their own land, Ethiopia—Zion.
Coronation of the
King of
Kings —
Tribe of
Judah.
45
The Rasta Foundation—Judah
46
The Rasta Foundation—Haile Selassie
I said to the
people, “Be still, and know
dat His Imperial Majesty,
Emperor Haile Selassie of
Ethiopia is di almighty!” —Bob
Marley
Arriving in Jamaica for the first time, H.I.M greets the multitudes of Jamaicans and Rastas.
47
The Rasta Foundation—Haile Selassie
On April 21, 1966, thousands of dreadlock Rastas and Jamaican citizens gathered
at the Kingston airport to await the arrival of the Ethiopian King—Haile Selassie the first.
In the hour of his arrival it was raining. When his plane came in from the east, the rain
lightened and over the masses flew a white dove. To the Rastas this was a symbol of
divinity.
Later, the King went and met with leaders of the country. Some say that these
meetings were covert meetings to establish African-Ethiopian influence in Jamaica.
When His Imperial Majesty, Emperor Haile Selassie-I, visited Jamaica in 1966,
he said that "Ethiopians and Jamaicans have a relationship going back for a very long
time," and that "Jamaicans and Ethiopians were brothers by blood."
[When I first took interest in the movement and idea of Rasta, I wondered what
Selassie’s own position was pertaining to his divinity. For years, the Rastas hailed him as
God. So, how did Selassie view this? Did he claim he was God, or Jah? The answer is in
Selassie’s true humbleness, thus, he neither publicly claimed nor denied his divinity.]
Selassie-I is Great David’s Greater Son. Selassie-I is of the House of David, which is
of the House of Judah, which is the divine and eternal throne established by the
Lord. Selassie-I was born of Davidic descent. He is the Root of King David. Ras
Tafari comes through an undefeated genealogy from King Solomon and Queen
Sheba. Therefore, Selassie-I is the Lord’s returned through proper order—through
the line of David, who was from Judah (a son of Israel). His name, Haile Selassie,
literally means, “Might of the Trinity.” The name “Ras Tafari” means, “Head
creator” in Amharic. “Ras” is a title given to Ethiopian royalty.
48
The Rasta Foundation—Death
49
The Rasta Vibration—Living Diet
By eating artificially we, therefore, live artificially. Living through metal cans,
processed foods, and plastic wrappers, our minds become processed and our lives become
wrapped in a false covering. Artificiality cuts us off from essential contact with Mother
Nature. Being dependant upon the artificial processes, rather than the natural processes,
enslaves us mentally and physically. If we cover ourselves with purity, purity of thought
and intention, we will be true to ourselves and to the earth. The Rastaman is an earthman
that utilizes the earth’s natural creations and vibrations. The Rasta believes in “One
Love” among all living things.
Rastas generally adhere to a set of strict guidelines regarding diet. Rastas forbid
the eating of pork and this is the one rule that is accepted by all Rastas. As a whole,
Rastas are vegetarians and avoid eating the death of animals—including beef and
chicken. Rastas also avoid shellfish and fish with no scales as well as large fish that are
over 12 inches. (Large fish have more developed spirits and souls than do smaller fish.)
Rastas believe in not killing other creatures. Therefore, Rastas are mostly vegetarians and
fruitarians. This is being Vital or I-tal, which is a completely natural and living diet.
“Ital is a term used by Rastas, derived from "vital,” which means a natural
and healthy way of life.
One aspect of Ital is the Ital food: because the body is a temple, you
should not eat impure food. Also, you must take care of your body, cause
it is Jah creation. Body is the Chapel.
Ital is generally a vegan diet, even if some Rastas eat fish. Some prohibit
salt, some not.
In all cases, Ital prohibits pork, preservatives, and chemical ingredients.
Ingredients have to be the most natural possible.“ –French Dread
So, what is I-tal food? Simply put, I-tal food is organic, non-processed food directly from
the earth (i.e., vegetarian or fruitarian by most definitions). "I-tal is vital" best
summarizes the Rastafarian belief that pure food from the earth is the most physically and
spiritually beneficial. Interestingly, white table salt is not I-tal because of the chemical
refining it has been through—a real change from natural sea salt. Ganja is considered I-
tal since it is smoked, or drank as a tea, in its natural state. Moreover, ganja is considered
a holy herb and healing agent that can be used in pretty much any recipe or occasion.
50
The Rasta Vibration—Living Diet
Disease and illness would be rare if our blood stream were pure. Yet, disease,
illness, and fatigue come from an abundance of mucus, toxins, and poisonous waste
matter in the system. Such the case is the result of dead foods being taken into the body
that cannot be assimilated or eliminated. Foods too high in protein cause indigestion, as
do meats of all kind, eggs, fish, and cows’ milk. The use of starchy foods also seriously
contributes to intestinal ills and constipation. Acidic blood is one of the results of excess
of sugar and starch. Greasy-fried foods are another cause digestive troubles.
I-tal living is more than a just way of eating, and is more than dietary and
hygienic laws. Living like a Rasta, which is a way of life and not an organized religion, is
I-tal living. Along with the idea of a natural and pure way of life, a Rasta lifestyle is
inclusive of all aspects health. I-tal Rastas will not put chemicals in their mouth, which
are unhealthy, unnatural, and poisonous. I-tal Rastas will not spread and rub chemicals of
death onto their body that virtually all “Grooming” products contain.
One of the most toxic killers found in all shampoos and virtually all other “Grooming” products is
Sodium Lauryl (Laureth) Sulfate. This toxic killer is actually a harsh detergent that is found in
products that “Foam.” It is used in industrial engine degreasers, floor cleaners, water softeners, and
auto cleaning products—a very strong and effective degreaser. As a result, its use will dry the skin
and hair—striping away natural oils. People who frequently use “Body products” will later suffer
from dry skin, balding heads and, at worst, cancer, and premature death!
51
The Rasta Vibration—Living Diet
The reader should be on the lookout for many other toxic chemicals found in daily
“Beauty and grooming” supplies. Many are active ingredients in industrial products.
(Look for Propylene Glycol found in common body products and know that it is the
active ingredient in anti-freeze.) Furthermore, remember that chemical poisons enter our
bloodstream through the millions of pores on our skin—our skin breathes!
Reasoning
Rastafari is both a philosophy and a way of life that steadfastly adheres to the
laws of nature. Such thinking made manifest by the foods Rastas eat. If the body is a
temple, then it should be protected and cared for as such. All things in nature, fruits,
vegetables, and herbs are been provided by JAH and should be held sacred. Rastas
believe in a concept of One Love. This refers to the belief that we are all one (I and I) and
should not hurt any other living thing because we will also unknowingly be hurting
ourselves. This concept is at the heart of Rasta deliberation. They all may be One;
as Thou, Father, art in Me, and I in Thee, that They also may be One
in Us; that the world may believe that Thou hast sent Me And the
Glory which Thou gavest Me I have given them, that they may be
made One, even as We are One: I in them, and Thou in Me, that they
maybe made Perfect in One. (John 17:21-22) This passage illustrates the
biblical basis for the concept of I and I.
Rastas recognize countless natural and spiritual reasons for avoiding meat.
Man was not intended to kill and digest meat. Flesh-eating beasts have long
sharp teeth and jaws that only move up and down. Humans have short and dull
teeth with jaws that can grind from side to side—like an ape that grinds fruits,
nuts, and plants. In addition, flesh eaters secrete a huge amount of hydrochloric
acid (much more than humans) that easily digests flesh, bone, feathers, fur, and
hair.
Humans, like plant eaters, have long intestines—12 times our body length.
The intestines of natural carnivores are smooth and short—only 3 times the
length of their body, which allow quick passage and digestion. Human intestines
have ridges and pockets that hold food for as long as possible—best for a non-
meat diet. Because toxic flesh goes very bad the moment death occurs (gaining
bacteria and parasites), it is harmful for meat to be in the body for many days—
traveling the long avenues of human intestines. Because fruits and vegetables (I-
tal foods) do not spoil as fast as meat, they are better digested than meat.
As well as avoiding meat, I-tal Rastas avoid processed foods. Processed foods are
all embalmed with chemical poisons and, thus, are no longer I-tal. This means that they
are no longer natural and certainly not vital. Preservatives, artificial additives, and things
of this un-nature are avoided for good reason. “For ye are the Temple of the
Living God, as Jah hath also said—present your bodies as a living
sacrifice (Romans 12:1), I will dwell in them and walk in them; and
52
The Rasta Vibration—Living Diet
I will be their God and they shall be my people.” Rastas take this passage
to heart and assume that whatever they are polluting their bodies with also is polluting
JAH.
Life is a cycle of karma (“What goes around comes around”) Animal meat,
which has come from animals who have lived their entire lives in cruel dark
factories (especially in America) and suffered frightening deaths by machines, is
not good to eat. Such a negative life means that extremely negative vibrations
have are part of every fiber of their being. These same animals are living in
conditions similar to that of slaves (most animals born and die in their same
cage) and most are literally insane from their extremely unnatural situation. The
real horror comes when the animals, which are still alive, face death at the blades
of machines. To eat such meat is to take in the vibrations of the animals’ pain,
suffering, and fear, and death into your own body. These vibrations will surely
stay with us long after a partial digestion. What goes around comes around.
Whatever food you eat, you eat the essence of what was done to the food.
o The author feels that in early times (before this modern day of chemicals and poisons,
which are being fed and injected into livestock) that animal meat was much better to
eat. Meat was also eaten sparingly (in times of need)—not like today’s people—eating
commercially processed meat virtually every day. In past generations, a different and
proper respect was given to animals and their spirits. Today’s meat is hardly fit to eat.
Today’s meat is saturated with negative vibrations!
"If ya eat flesh ya becomes a walkin' cemetery, a walkin' tomb, storing all dat
dead flesh inside of ya. Dat supposed ta be buried in de ground, nah in de
body. Ya take yah temple and ya make it a burying ground."
--BONGO ROACH
"We know of life becaz we are feelin' life becaz we used ta be dead and we
know what life is now. Changin' from dat carnivorous eatin' ta dis
'erbivorous life, we feel de difference. We know it and we tell ya about life."
53
The Rasta Vibration—Living Diet
–RED
To eat purely, vitally, and I-tally, is to eat foods that are alive within life’s natural
living temperature range. However, through an ancient deception, man has been made to
think that he must put fire to his food. The process of cooking (including frying, baking,
boiling, and, yes, even steaming) food at high temperatures is what kills and destroys the
vital elements of the food. Death begins when vital enzymes are destroyed at 108
degrees! Even doctors know that when any cell tries to reproduce using broken or dead
(cooked) building blocks, which are amino acids and other essential nutrients found in
foods, the new cells produce weaker and weaker cells—weaker than they originally were.
The more a person eats cooked food, the more this process occurs (known as aging)
until, finally, the cell is too weak to carry its vital functions and dies. The source of the
most healthy and vital life is found in eating healing, cleansing, and nourishing, living
foods made perfect by Jah Ras Tafari!
I-tal or completely pure Imagine how our bodies
and natural, vibrations and minds would be if we
comes when life is lived ate nothing but meat
in such a way that our everyday.
very being radiates
positive vibrations from
our mother earth. There Imagine how our bodies and
are two essential parts minds would be if we ate
to the I-TAL concept: nothing but fruits, nuts,
vegetables, and grains
1. Live in such a everyday.
way that you, By eating the second, we live longer,
who are part of gain health, and emit positive feelings.
the human race,
By eating the first, we die sooner, lose
mentally cease health, and emit vibrations of death.
living in a rat
race. "You got Living Foods Give Us:
the horse race,
you got the dog Strength & Mind Power!
race, you got
the human
race…Oh it's a Energy!
disgrace to see
the human race A 120-Year-Old Healthy
in a rat race." Life!
54 -Bob Marley, Rat
The Rasta Vibration—Living Diet
Read Dr. Suzar Epps’ book, Drugs Masquerading as Foods, as it is the best book
ever written on nutritional truth!
55
The Rasta Vibration—Moral Code
Sam Brown, an earlier follower of Rasta, listed a 10-point moral code of Rasta:
56
The Rasta Vibration—Speech
Rasta Essence
HAILE I JAH RASTAFARI—FOUNDATION OF
CREATION. I AN I KNOW HISTORY HAS PROVED
AND SHOWED DAT ETHIOPIA IS THE CRADLE OF
CIVILIZATION. ETHIOPIA IS DI INCUBATOR OF DI
EARTH, WHERE LIFE HAS FIRST STARTED TO EXIST
FROM…I AN I ALSO KNOW…HAILE I SELASSIE I HE IS
ALSO THE FULLNESS OF KING SOLOMON—THE
RETURNED MESSIAH TO EARTH DIS DAY. FOR IN
PROPHECY HAS SHOWED DAT IN DIS DAY HE
SHALL COME IN DIS NAME, DAT IS SO TERRIBLE
AND DREADFUL—RAS TAFARI. HIS MAJESTY IS
CREATOR FOR DI EARTH. I AN I KNOW DAT
PROPHECY HAS SHOWED DAT ANYONE WHO
REALLY HAVE THE ARC OF THE COVENANT IS
REALLY CREATION PURE MASTER AND EARTH
RIGHTFUL RULER…I AN I KNOW DAT RAS TAFARI
IS REALLY THE HEAD OF EVERY FULLNESS—TRUTH
AND RIGHT…GIVE THANKS AND PRAISE TO THE
MOST HIGH EVERY TIME. –RAS
RAS TAWNY
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The Rasta Vibration—Speech
“It just arises in conversation, describing many things. Or several times you
have several different types of reasoning and you step up with the words.
Now that you have seen that the Chinaman in this country, if him want to
destroy you, him can destroy you, and you can stand in his presence and
speaking something to destroy you and you can’t know. You can stand in the
presence of the Indian man and him speaking something to destroy you and
you don’t know. And you have other people here who speak different
language and you can be in the midst of them and them speaking something
to destroy you and you don’t know. So we, the Rasses, suppose to speak,
that here, there and anywhere we find ourselves, we suppose to speak and
no one know what we speak beside ourself. That’s how we get to start.”
(Chevannes, 166)
Rastaman’s conception is one of reality. Basic words and terms take on new
meaning. Such as “Overstand” in place of “Understand” and “Downpress” instead of
“Oppress”. Rastafari is word power. Instead of weapons, words are used to solidify ideas
and establish justice. The Rastaman uses the power of words to deliver his message. This
is evident in Nyabingi drumming, where the sound of the drums convey messages that all
can understand. Every sound the Rastaman makes, whether through words or drums, is a
message towards truth.
Rastas speaks a twist of English because, in colonial Jamaica, the original African
language was vanquished over time by the British rule and enslavement. Granted, all the
island of Jamaica speak a dialect of English called Patois {Patwah}, but Rastas speak
even a sub dialect of Patois. The variation of the Rasta language starts with the
replacement of the word Me with I. The personal pronoun “I” is the most important.
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The Rasta Vibration—Speech
The “I” is the most basic and important element in Rasta speech. In Rasta speech,
there is no ME, there is no YOU, and there are no WE or US—there is only I and I.
Everyone is an “I,” so there is no need for second person dialog. Selassie is an “I,” and
his name becomes Selassie-I. Most would read this “I” as Roman numeral after Selassie.
Such as in Selassie-I (the first). Obviously, the Roman numeral I stands for the number
one and signifies “The first.”
To the Rasta, this I also stands for “I,” as in a person. Rastas always say I
(pronounced eye) after Selassie. The same “I” sound is found in the end of the word
Rastafar-I. “We don’t make no one a second person. We don’t say ‘I and him’ or ‘us’.
We just say ‘I-an-I’ because every person is a first person.” (Chevannes, 211)
The concept of “Seeing” is a concept in Rasta belief that is unmatched. The eye is
the organ of sight. This is why the Rasta and non-Rasta in Jamaican use the popular
words “Seen” and “Sight,” as in, “Do you see” or “See it”? For if one cannot “See” (with
the eyes, mind, or heart), one cannot come to terms with reality. To “See” something is to
accept reality. Take the name of Selassie; the word, sound, and power of “See” comes at
the beginning and end of his name. See-las-see. This can be further witness to the truth of
Selassie-I as Alpha and Omega—the Beginning and the End.
The use of the “I” sound is present in the majority of all Rasta speech. The
integration of this sound is found in many words such as the Following:
I-tal (vital)
I-dren (brethren, which Jamaicans pronounce as bredrin or bredren.)
I-ternal (eternal)
I-preme (supreme)
I-man (me or you)
I-ditate (meditate)
The list can go on and on and one can see that these I-words are easy to create.
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The Rasta Vibration—Speech
Not everyone in Jamaica is Rasta. However, all people in Jamaica have at least
minor associations, either in passing or in person, with Rastas. The general Jamaican
population, particularly the youth, have integrated a great deal Rasta lingo into their
normal speech and conversations. Since the Rasta culture is the biggest cultural force in
Jamaica, the majority of the people in Jamaica have soaked in the common lingo and
expressions of the Rasta. Many of the popular Jamaican Reggae musicians are Rastas
and, therefore, have employed the language of Rasta. Reggae-Rasta musicians are also
icons to the people.
The remainder of this book, following parts two (Reggae) and three (Bob Marley)
is filled with the speech and the language associated with Jamaica and the Rasta.
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The Rasta Vibration—Reggae Music
It is from the African homeland that the true heritage of Jamaica births itself.
Consequently, both the Reggae and Rasta movements are also rooted in Africa. Virtually
every Black person in Jamaica can claim direct African-slave ancestry. The Jamaicans
living today are the posterity of African slaves who were brought to the Caribbean to
work on sugar plantations. Shown above: two famous Bob Marley and the Wailers songs
relating to slavery. Shown below: African slaves in Jamaica.
The roots of reggae music date back to slavery times. Planters who celebrated
various slave holidays formed orchestras. Their events were filled with a rhythm and a
dance that was purely African. A core issue of reggae music stems from the brutality of
slavery and colonialism. The rhythms, chanting, and dances have all been maintained in
Jamaica since the first slaves arrived from Africa. Current reggae is an extension and a
remnant of African music.
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The Rasta Vibration—Reggae Music
Along the same roots, reggae music reflects the basic rhythmic influences of
Nyabinghi drumming and is considered the “Backbone of Reggae.” The traditional
drumming of the Rasta Nyabinghi helps to keep the vision of the African homeland alive.
Few people know that Reggae music is an imitation and extension of the religious
drumming of the Rasta Nyabinghi. Reggae music is meant to carry a beat this is in protest
towards the injustices of politics, which is what the Rasta Nyabinghi was founded upon.
(See Nyabingi chapter.) Interestingly, Jamaica has had a profound effect (mainly because of
music) upon the rest of the world. Reggae music, in its various forms, is known in many
nations as an enjoyable and pure beat.
The general society of Jamaica, in the beginning of the reggae scene, was opposed
to the new music. The emerging reggae music was in rebellion to the establishment of the
government and was constantly pointing out the obvious injustices of politics and society.
To the educated “Stoosh” Jamaicans, and those who aspired to Babylon, anything coming
form America, the U.K., or even Canada was considered superior. This ideology and
thought process resulted in reggae being the music of the ghetto and was disregarded to
all but the poor class of the Black society. It was not until the rising popularity of Bob
Marley, over a decade later, that the masses finally caught on to the power and depth of
the Reggae-Rasta movement and its message. During his lifetime, Bob Marley had
almost no following among African Americans. Below, is one of his famous quotes
pertaining to his music.
“Reggae Music
is always there, ya
know. But, di ting dat makes our music so
important is our—is the lyrics I tink. Yes, it is
necessary to understand da lyrics. Ya know, it
have meaning too. But, it becaa some people
undastand words, ya know, some people neva
got chruu dem sit’ation dehso. But, majority of
the world suffa—masses of the people suffa—
dis music come from di masses of the people,
ya know?” -Bob Marley
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The Rasta Vibration—Reggae Music
For a tiny impoverished island that has only been an independent nation since
1962, Jamaica has produced a truly astonishing realm of music. The new music era
started with Ska (1960-’66) then to Rock Steady (1966-’68) then to various forms of
mainly Rasta developed music named Reggae. The music from 1969-1974 is called
“Early Reggae,” and music from 1974-1983 is “Roots Reggae.” The current and popular
reggae is called Dancehall Reggae, which began in 1983.
During the 1970s, Rasta-inspired reggae themes became central to the sprouting
national consciousness of Jamaica. The most famous of all reggae-Rastas was (and still
is) Bob Marley. Other famous dreadlocked reggae-Rastas, who revolutionized reggae,
were Burning Spear, Peter Tosh, Bunny Wailer, Jacob Miller, Third World, and (Islamic
non-dreadlocks) Jimmy Cliff. Currently, many reggae artists capitalize in the limelight of
the Jamaican-dreadlock-Rasta culture and claim to be Rastas. All the same, it is through
reggae music that powerful messages, which are about common social injustices, can be
felt and understood. Reggae today, as we know it, probably would not exist if it had not
been for the Rastas—especially Bob Marley. Surely, other forms of music would exist in
Jamaica, but the vibrations of Ras Tafari were too powerful to be contained solely in
Jamaica. The world now knows of Ras Tafari through the dreadlocks of Bob Marley—the
one Rasta missionary needed!
By the end of the 1950’s, music all over the developing world was changing to a
new beat. The musical pressure in Jamaica was based upon the powerful American
Rhythm and Blues influence. R&B soul music was the music of choice for most all
Jamaicans at the time. Soon, the Rhythm and Blues came to and end and was replaced by
Rock & Roll. The White man’s Rock & Roll era and music were not taken too well in
Jamaica. Accordingly, new music was now being created in efforts to imitate the “Soul”
sounds and beats found in R&B. The era of Jamaican music was now beginning.
Jamaica is well known (besides its beautiful beaches) for two things—Reggae and
Rasta. Both of these phenomenons originated in Jamaica. Thanks to the influential Bob
Marley, to this day, they continue in their progress. It is safe to say that people knowing
nothing of Jamaica, except for their idea that it is a “Nice Caribbean vacation spot”, will
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The Rasta Vibration—Reggae Music
most certainly have some knowledge about any of the following: Bob Marley, Reggae
music, Dreadlocks, Rasta, and Ganja. It seems that these topics are almost always
associated with Jamaica. It is true, however, that these all are part of the history, culture,
and society of Jamaica. It is safe to say that the Rastas were the people who made a name
for Jamaica.
Reggae has always been based upon a danceable beat—known as the “Reggae
beat”. One genre of reggae music is Conscious Reggae, whose lyrics deal with important
social issues and moral messages. Even this reggae music is a music made to dance to.
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The Bob Marley Vibration
Part Two:
The Bob Marley Vibration
1945-1981
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The Bob Marley Vibration
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The Bob Marley Vibration
Buffalo Soldier
Buffalo Soldier, Dreadlock Rasta
There was a Buffalo Soldier
In the heart of America
Stolen from Africa, brought to America
Co-written by Bob Fighting on arrival, fighting for survival campaigners,
Marley and N.G. whom the
I mean it, when I analyze the stench
Williams, a.k.a. To me, it makes a lot of sense Indians had
How the Dreadlock Rasta was the Buffalo Soldier
King Sporty. The And he was taken from Africa, brought to America dubbed
Fighting on arrival, fighting for survival
song recounted "buffalo
the true story of Said he was a Buffalo Soldier, Dreadlock Rasta soldiers," were
Buffalo Soldier, in the heart of America
four post-Civil awarded the
War regiments of If you know your history Medal of
Then you would know where you coming from
the U.S. Army - Then you wouldn't have to ask me Honor as part
Who the heck do I think I am
the 9th and 10th of a public
Cavalry and the I'm just a Buffalo Soldier relations move
In the heart of America
24th and 25th Stolen from Africa, brought to America to justify and
Said he was fighting on arrival
Infantry. These Fighting for survival glorify the
Said he was a Buffalo Soldier
units were Win the war for America genocide of
composed of Native
Dreadie, woe yoe yoe, woe woe yoe yoe
black privates Woe yoe yoe yo, yo yo woe yo, woe yoe yoe Americans,
(repeat)
under the Buffalo Soldier, trodding through the land underlining
Said he wanna ran, then you wanna hand
command of Trodding through the land, yea, yea the U.S.
white brass, who government's
Said he was a Buffalo Soldier
fought for a Win the war for America policy of
Buffalo Soldier, Dreadlock Rasta
quarter century Fighting on arrival, fighting for survival Manifest
Driven from the mainland
against the To the heart of the caribbean Destiny. Such
Cheyenne, were the ploys
Singing, woe yoe yoe, woe woe yoe yoe
Comanche, Woe yoe yoe yo, yo yo woe yo woe yo yoe that, then as
(repeat)
Kiowa, Apache, now,
Ute, and Sioux. In Trodding through San Juan comprised the
In the arms of America
the end, fourteen Trodding through Jamaica, a Buffalo Soldier politics of
Fighting on arrival, fighting for survival
key black Buffalo Soldier, Dreadlock Rasta neutralization.
Singing, woe yoe yoe, woe woe yoe yoe
Woe yoe yeo yo, yo yo woe yo woe yo yoe
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The Bob Marley Vibration
“Baan faddaless,
neva know mi fadda, my madda wuk 30
shilling a week fi keep mi go to school.
We hab no education—we have
inspiration. If I was educated I would
be a damn fool.”
The young and pre-Rasta Bob Marley.
Nine Mile Jamaica was the birthplace of Robert Nesta Marley. Bob seldom saw
his father, who was a British army captain stationed in Jamaica. Sent off by his mother at
the age of five-and-a-half, Bob was met by his Father in the city. Bob and his mother
believed that Mr. Marley was going to enroll him in school. Upon meeting his father in
Kingston, instead of going to school, he was left with an elderly caretaker on the streets.
It was on the poor city streets during his primary years that he developed the foundation
of his character. Finally, at the age of seven, a friend of Bob’s mother recognized the
stray youth and reported his situation. Bob was then shortly reunited with his mother.
Contrary to Bob Marley being a popular Black icon during his prime, as a youth,
Bob was tormented because of his lighter-than-black skin color. At one point, before his
worldwide fame, his girlfriend’s brother terminated their youthful romance by saying that
he did not want, “No white man screwing up our bloodlines.”
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The Bob Marley Vibration
“Ya
Ya know I have no prejudice
‘bout myself. Becaa, why mi don’t have no prejudice
‘bout myself—My fatha is a white and madda black.
Now dem call mi a ‘half-caste’ or whateva. Well, mi
don’t depon [on] nobody’s side. Mi no depon no black
man’s side nor di white man’s side. Mi depon God’s
side—da Man ooo create mi an caaz mi fi come from
black and white.”
“Robert Nesta Marley, O.M., did more than any other person or group to
introduce Rastafari, Reggae, and Jamaica to the rest of the world. Even in
death his influence is still being felt.” Barry Chevannes, author of Rastafari.
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The Bob Marley Vibration
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The Bob Marley Vibration
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The Bob Marley Vibration
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The Bob Marley Vibration
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The Bob Marley Vibration
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The Bob Marley Vibration
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The Bob Marley Vibration
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The Bob Marley Vibration
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The Bob Marley Vibration
Most people think great God will come from the sky
Take away ev'rything, and make ev'rybody feel high
But if you know what life is worth
You would look for yours on earth
And now you see the light
You stand up for your right, yeah!
So you'd better get up, stand up, stand up for your right
Get Up, Stand Up, don't give up the fight
Get Up, Stand Up, stand up for your right
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The Bob Marley Vibration
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The Bob Marley Vibration
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The Bob Marley Vibration
We must look forward as did Marcus Garvey. We must also realize that these are the Last
Days, in which ancient prophecies are now being fulfilled! It is only a matter of time
before the world will be either united or destroyed. Unfortunately, the prophecies and
predictions, which are in the Bible, all point to the latter. The battle has begun and it is in
its awakening stages. It is unquestionably up to us to look forward and realize that the
power is in the FAR EYE—Ras Tafari!
It was in this house (below left), in Nine Miles Jamaica, that Bob Marley was born. The
same house is also his humble resting place where a mausoleum has been made (below
right). Visitors can come to the house and tour the area by making arrangements with
Bob’s Mother, Cedella Marley Booker. Nine Mile is owned and operated by
Bob's family. Contact Bob’s Mom at her Email: <cmbe@msn.com>
Bob Marley died at the age of 36. While on tour in the U.S., he was taken
ill for several months. In May of 1981, he died in a Miami Hospital. He
died from the culmination of melanoma cancer. Just prior to his death he
was awarded Jamaica’s Order of Merit, which is the country’s third
highest award of recognition The Hon. Robert Nesta Marley, O.M. was
given an official Funeral by the Jamaican people, which was the largest
funeral ever on the island. It was a day of national mourning as the entire
Island of Jamaica overlooked their prophet’s funeral.
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The Rockers Movie Exclusive
Part Three:
The Reggae-Rasta
Vibration
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The opening scene of Rockers was shot at the hut of Elder Ashley ‘Higher’ Harris
in a remote location high in the hills of Jamaica. This filming of the opening scene
involved having to hike on footpaths to the lush tropical hermitage of Higher. In real life,
Higher lives a holy Rasta existence in the hills above Montego Bay, Jamaica. Because he
is an ultimate Rasta, he does not cut or comb his hair, eat anything that has been killed, or
drink anything but spring water. Rastas are known for their herbal healings and during
the movie; Higher’s preparations actually healed the movie soundman of a severe skin
allergy. Higher greets the audience in the opening scene with a set of outrageously-
matted dreadlocks—they have even taken shape of a rug in the back
The opening scene was filled with penetrating ganja smoke created from a Rasta
Chalice. Ras Michael and the Sons of Negus, the Abyssinians, and the film crew were
tightly trucked in Higher’s hut playing the song Satta Amasagana. Authentic Nyabingi
drumming backed up the song, which was played by Ras Michael and the Sons of Negus.
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The reader should know and remember that many languages and dialects (especially the
Rasta dialect) consist of mainly of feelings and expressions rather than correctness of
use—like in “Formal” English. To many “Educated” people, Rasta speech is considered
being, “Rough, vulgar, and very informal.” The Rastaman does not fear the “Educated”
because he knows that his words will be felt as a vibration. The Rastaman says what he
says in his own way only because it is the way he feels. Many words, which you will
come to know later in the Speak Jamaican section, are descriptive words that have deeper
meaning and roots. Nevertheless, the Rastaman’s expressions and words are based on
visible truth.
A hard-paying Rasta.
Ah hahd-pea-en Rasta.
A good-negotiating Rasta.
A hard-paying man is a type of expression used to describe an individual’s business and
street skills. In this case, one who is very proficient and skillful in being paid; hence, a
hard-paying man. When something is done ‘Hard’, it is done well.
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H: Wha’ppun Trusty?
What’s up Trusty?
T: Nutten Horse.
Nothing Horse.
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T: Seen—I.
Ok—I see.
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Horsy: Yes, I.
Yes, man.
Horsy: True.
Ok.
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Slang used:
Mi know dat from bigga source.
A bigger source is another person who possesses confidential information.
Mi a dweet hard.
To do something hard is to do something the best you can. (Dweet = do it.)
A jus true.
Means that what was said is correct and acknowledged.
Control dis.
To “Control this” means to simply take charge of it.
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Magie is sitting down feeding her three children just before Horsy comes
home.
H: Wha’ppun Magie.
M: Nutten.
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M: No.
H: Magie, put dem pon dem bed mon, put dem pon
dem bed mon. ‘Tap jump pon di bed now!
Magie, put them on the bed, man. Stop juming on the bed now.
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H: Wa ya mean foolishness?
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M: Yes, cool.
M: Cool, cool.
Good, good.
K: Yes daddy.
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H: Cha!
Whatever!
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Pon di bizness.
At the place of Business.
This section shows and proves that shrewd bargaining skills are needed to
avoid getting ripped off. If you go to Jamaica, don’t pay full street price!
JT: Well, see one nice skate yah weh wudda suit yu.
Well, this skate (skate is slang for bike) here would suit you.
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JT: Jus come wit seven mon, jus come wit seven
hundred dolla mon.
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D.H: [He sees Jah Wise] Hey Jah Wise, Jah Wise!
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Horsy lights up
the Chalice.
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R: Wha’ppun Horsemout?
What’s up Horsemouth?
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H: Yeh!
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H: Irie, mi bredrin!
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Y: Selassie’s Son!
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H: Layta mi bredrin.
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Sunshine
Sunshine is a beautiful girl that Horsy meets during his great adventure.
H: Wha’ppun daughta?
S: Wha'ppun, sa?
S: A true?
S: Hmmmmmn ☺
H: All dis ting (touching her necklace) mi love alla dem ting,
ya know?
S: Yeh mon.
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S: Hmmmmmn ☺
S: But my fadda—(Yells are heard from her father looking for her)
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[After the father walks away with Sunshine, Horsy stands up and
speaks words of pure Rasta visions.]
Hulsey: Well, I’m so old that you know that would take a long time. [Laughs]
I lived in New York since 1971 and was involved in the film scene since
the 70’s. This is when I got started in film. I made some documentary
movies in Central and South America. Soon, I ended up visiting Jamaica
and was a fan of Jimmy Cliff from the movie, The Harder They Come,
which was one of the inspirations for making Rockers.
Zuke: How did you come about going to Jamaica and what happened there?
Hulsey: I went down there on vacation and ended up owning a house with some
people in Montego Bay. From there, I met the director of Rockers, Ted
Bafaloukos, through a friend in New York. Ted wanted to make a film—
he had been hanging out with a lot of the Kingston [Rasta] musicians. So
we got together and he said, “I want to make this movie.” Initially, it was
going to be a documentary about the whole reggae scene down there. We
kept making visits and meeting people down there and got to know some
of the Kingston legends, which were almost legends then in their own
time. The mid to the late 70’s was so fertile and had so many great people.
Unfortunately, a lot of them aren’t with us anymore.
Hulsey: Yes, but after our many meetings with people, there was so much interest
in Jamaica among some of the wealthier people in Jamaican and other
New York investors that we ended up expanding it into a feature film. We
created a storyline and that’s how it began. It was a very special time and
we kind of knew it then, but we didn’t know that we were not only going
to make a feature film, but also we were going to be documenting a time
that was the epitome—the apex—of reggae in its purest most beautiful
form. I call this time period the Golden Age of Reggae.
Zuke: It seemed that your timing was perfect for the making of the best
reggae movie of all time!
Hulsey: Yeah! We were lucky and things just seemed to happen. The more people
we met there, you know, everybody was interested and wanted to be in the
movie. And the musical scene down there is very close knit—everybody
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knows everybody. All the producers, musicians, singers know each other
and play on each other’s stuff.
Hulsey: It was [and still is] a very violent scene—having to deal with the politics
of the country. There’s two political parties there…your on one side or the
other. But the reggae people, at least to some degree, where able to
transcend that—but not entirely.
Hulsey: We were there in 1976 during some scouting. In December of that year
there was an election, which is always a violent time, Bob Marley was
shot in the arm and he left the country. So that is one thing missing from
the movie—that is the Bob Marley crew because they weren’t there! In
‘77, they were gone, kind of in exile at that point.
Zuke: I was going to ask you—Did you try to get Bob Marley in the movie?
Hulsey: We hadn’t really approached him or anything. But, I’m sure there would
have been some involvement on his part and things would have been
different if he were around but he wasn’t there. We shot the movie in the
summer of ’77 and when we came back in ’78, to do the musical score, it
coincided that Bob came back to the island.
Hulsey: He organized the Peace Concert. And this is a concert were virtually
everyone who is anyone in the reggae scene played at [Jamaica’s]
International Stadium. The Peace Concert was about getting peace
between the two political factions in the country. So, the prime minister
(Manley) and the opposition leader (Seaga) were there. The highlight of
the concert was when Bob Marley got them to shake hands live on stage.
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So, that was really interesting. A lot of people have said that they thought
part of the process of what brought about the peace movement was the
making of ROCKERS. Because when we were doing it, everyone wanted
to be involved in the film. It was kind of like a lot of the political violence
just stopped—because everyone was trying to be involved in being in the
film. Every Jamaican thinks they’re a star—from the tiniest kid to the
oldest grandma! So all these guys: the political scene, the musical scene,
the street and ghetto scene were all kind of wrapped up together. Not that
I’m trying to take credit for the peace concert, but it certainly was the most
magnificent thing I’ve ever seen. You know, to see Bunny Wailer, Jacob
Miller, Big Youth, Bob Marley, Peter Tosh, Gregory Isaacs, and Dennis
Brown—Just everybody performed that day.
Zuke: What was the key element that makes all viewers of ROCKERS feel
the energy and vibration of the Rastaman?
Hulsey: I have to give all credit to the director Ted Bafaloukos. He was brilliant—
smart enough to let these guys really be themselves. Not sort of be
“Actors” or try to be actors, they were already bigger than life! So the
thing was that they were themselves—they didn’t even use different
names! Even the dialog, it was somewhat scripted, but you know, you just
say this how you would say it. And he let them improvise a bit. I think that
this is what gave it that real and true depth that everybody feels. You
know they’re not acting but like going through there daily lives. The other
thing that I think makes ROCKERS great is that there is music—constant
music. We figured out that there is like five minutes of total time during
the film that there is no music either in background or somewhere—there
is always this great reggae music going on!
Zuke: How did you choose the Rockers Movie music score?
Hulsey: Really, that was credited to Bafaloukos. He was the director and took care
of details and decisions like that. As the producer, my job was like unto a
Shepard over the flock. The flock was the cast, crew, finances, and safety
of everyone involved.
Zuke: What is your position on ganja as the religious rite of the Rasta?
Hulsey: Well, I find it fascinating the way that the whole Rastafarian spiritual
movement developed—I wouldn’t even call it a religion because I think it
would be denigrating in a way. I think Rasta, even though they have
certain tenants and beliefs with ganja as their sacrament, is a freethinking
man’s religion. You’re allowed to interpret things on an individual basis
and so it’s not so dogmatic like many religions are. There isn’t priesthood
and a heirarchy—somebody that has to be in between you and God.
Rastafari is more direct. As far as them using ganja, I think they should be
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Zuke: What were your first impressions of the Rastas and their dreadlocks?
Hulsey: I always liked the dread hairstyle. I came out of the 60’s and 70’s when we
had our hair very long. So, we related to the long hair as form of protest
and statement. But, it goes beyond that for Rastas. Rastas are a very
unique set of people, including Jamaicans; they stand up for what they
believe.
Hulsey: No. Rastafari is not for me; but I know many people, including people in
America, who have made it a way of life and I think that is great.
Hulsey: I’m not into prophecy or things like that but I don’t see it dying out or
become a really major movement. Rastas aren’t really out to gain
converts. Even you may think so in the music, the music is really about
praising Jah, Rastafari, and not trying to get people to think their way.
They are not like the Christians who go out trying to get everybody to be a
Christian. I don’t think Rasta is about that.
Zuke: Tell me about the dread with the matted hair like a carpet—Ashley
“Higher” Harris.
Hulsey: [Laughs] Well, a Jamaican friend of mine introduced Higher to us. This
friend introduced me to Higher who lived as a hermit in the hills above
Montego Bay. We shot some test film while visiting Higher and knew that
he would be great to have in the movie to represent the “Elder Rasta”.
Higher was great. I remember going up there and him serving us Cannabis
seeds with honey served on a banana leaf. [Both of us laugh]. It’s quite
something to live in nature the way he does.
Zuke: How did the general population of Jamaica treat the Rastas?
Hulsey: They were always persecuted. They used to be referred to as the “Black
Heart Man”. The Jamaican social ladder is very stratified and has to do,
obviously, with money and class. But, there is also the skin color factor
where the lighter-skinned people think they are above those of the darker
skin. But, the Rastas were basically always persecuted and many of them
went to the hills and certain tenement yards to live. But, due to the reggae
music, they became the cultural standard bearers. Their speech and
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Hulsey: That’s a good question. When we finished the movie, there was talk of a
Rockers II and there’s still talk of it now. When we released the DVD a
few years ago and things took off again, we had some people interested in
taking it off the ground. And I was thinking about that and doing some
sort of Kingston-Brooklyn axis type of thing and not just all Jamaica. A lot
of people came up here [NY] for Jamaican culture and I wanted to do
something like that. Again, so much energy is involved in a movie. I don’t
think my health is able to undertake such an event but, again, you never
know. I think it [ROCKERS] happened because it was destined to happen.
Whether it will happen again I just don’t know.
Zuke: What’s the future for you pertaining to the perpetuity of the
ROCKERS movie—keeping it alive?
Hulsey: Ever since it has been made, it has kept itself alive. We’ve also helped
with releases of video, DVD, theater showing, and TV spots. All these
things take energy, time, and money. Essentially, it’s a labor of love. I
think as long as people want to see it, we will help them see it whatever
way they want. Back when we made it, people said this movie is going to
be a classic. We wanted to believe it and now we are happy to see that the
movie has covered a piece of history and piece of culture that can never be
reproduced. It is what it is.
Reggae Rastaman Big Youth (on left) smiling with ROCKERS producer Patrick Hulsey.
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Part Four:
The Jamaican Vibration
The Language—Jamaican Patois
{Patwah}
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Overview of Jamaica
The first inhabitants of Jamaica were the Arawack Indians who lived on the island
from about 800 A.D. The total Arawack population was less than 75,000. Evidence
supports that these Indians were directly related to the Indians of Central and South
America. Columbus, who discovered the Island in 1494, described the Arawaks as very
peaceful people. However, they were all enslaved and made to grow sugarcane. Within a
few short years they were all killed off! The Spaniards, needing more slave workers, went
to Africa to hunt, capture, and transport massive amounts of natives to Jamaica. Within a
short time, many Africans were made laborers in Africa. The Spanish rule ended in
Jamaica in 1655 giving way to British domination. In the 1700’s, the British maintained
the monopoly on the slave trade in the West Indies. Jamaica was at the center of the
English slave trade. The Jamaicans of today are essentially the descendants of these
slaves.
British dominion over Jamaica finally came to a political end in 1962. It was at this time
that the country started to redefine itself. By blending relevant traditions of the past with
newer institutions, Jamaicans have created a new and unique society. It was also in this
same year that the Jamaican flag (as seen on the front cover) was newly created. The
flag’s green triangles stand for agriculture and hope for the future of the country. The
yellow stripes stand for both the sun and sand of the island and for the color gold, which
represents wealth. The remaining black triangles stand for the past—the country’s
African heritage. The black also represents the burdens borne by the people.
"Burdens and hardships there may be, but we have hope and the sun still shines".
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Because of the stunning sandy beaches, clear rivers, brilliantly colored tropical
flora, and the cool and refreshing mountainous interior, Jamaica has long attracted
vacationers from around the world. However, the reality of the Jamaica is that it remains
a very poor third-world country.
The Language
This purpose of this section is to teach the language of the Jamaican people. This
section mirrors the current era in Jamaican language. Jamaican Patois {Patwah} is a
language that is rich in feelings of freedom, rebellion, and national pride
This section has been designed, formulated, and developed to teach anyone to
master Jamaican Patois. The reader must remember that Jamaicans are an energetic
people. Consequently, their words, expressions, and phrases are deeply rooted with
feelings and energy. Most words are said in an open and strong manner because the
people are open and strong. This section will surely teach the reader about Jamaican
culture and common social interactions.
This section is filled with many words that come directly from popular Jamaican
reggae songs. In addition to the basic speech patterns of the people; the many slang terms
and unique expressions, which are found in this section, should allow the reader to get a
good grasp on common street lingo.
The sooner one realizes that Jamaican Patois is another world and level of
English, the sooner the reader will forget about the bounds, limits, and rules of our
common English. When the student sees that Patois uses English only as a foundation of
speech, Patois will flow out with personal feeling and character. The reader must be
aware that there is much flexibility in the language. Patois truly is another dimension of
English.
Readers of this section must practice each lesson by speaking aloud and with
confidence. Each student of this course must also strive to develop his or her own
character and Jamaican accent.
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Please refer to the glossary at the back of this book to find all the basic Jamaican
words and phrases. The author has confidence that anyone can learn the language just by
going through each lesson. Just read it! This material has been designed to “Sink in”.
Therefore, just by reading, any reader will become acquainted with the principles, rules,
lingo, and the facts of the language. Each reader must take time in reviewing each lesson
and example. Only in this way, will the words, structure, and sound of Patois become
familiar and easy.
The most common values of English vowels and consonants are supplied for
learning the language phonetically. But, in most cases, word speaks for itself. This will
get you, the reader, accustomed to the sounds of Jamaican Patois. The words in bold type
are the words spelled in Jamaican Patois. The italicized type (e.g. pat-wah) is the
phonetic re-spelling of the word. In this was, the reader can to pronounce words and say
them correctly. The reader should be aware that if a word in bold is italicized, then it is a
common slang term.
[Note: This entire Jamaican language-learning section deals neither specifically with
Rasta speech patterns nor with their dialect. This section represents the majority of
Jamaican speech, which is not Rasta orientated.]
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Di Fuss Lesson
Wa dis an wa dat?
Wah dis en wah dat?
What is this and what is that?
Any student of any language must first start with basic objects. Only later, will the
student be able to integrate words and combinations into sentences.
You can see that “A” is used exclusively with nearly every sentence. It is
used as, or in place of, a preposition. It is used also as a prefix and as an
indefinite article. E.g. A dis (is this / this is), a fly go (to go fly / flying to), a
nuh mi (it’s not me), dem a fool (they are fools). “A” means the following
in Patois: a, are, it, that, is, one, ECT. It is your key to speaking.
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Di secon’ lesson
Bashment is a slang word for “Party”. But, it also means anything that is new, cool, and
trendy. Fashionable clothing is important for most people in Jamaica.
Di bashment tredds.
Dee bash-ment tredz.
The cool threads.
If you think Jamaicans, especially the youth, wear cheap and ugly clothes
you are in for a surprise. The popular brand names that are in style in
America (Nike, Puma, Mecca, Tommy Hilfiger, Kangol, Fubu, Echo) are
also in demand for socially attentive Jamaicans. Valued clothing is highly
esteemed and coveted in Jamaica. Unfortunately, the reality is that the
general Jamaican population do not have the means to wear exclusive
clothes that are so acceptable and trendy to wear. The song Ganja
Smuggling, by Eek A Mouse, shows us a description of common life.
“Dung deh in the ghetto I go, where sufferation I once know.
Mummy an daddy, all a we so poor, we all had to sleep on the
floor, ey! Storm it come and it blow dung me door, me haffi nail
up me window. Me shoes tear up, me toe just a show…”
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*Since most initial “H’s” in Jamaica are held silent, the word
“Him” is said without the “H” sound.
Rule: As you can see from the previous example, “Offa” is formed by
combining the words off and of (off of your chest). This is basic and
essential Patois. The same is used for “In” and “Out”, which then becomes
inna and outta (can be spelled also ina and outa.)
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See ‘im bashment clothes an ‘im bashy hat pon ‘im head?
See ihm bash-ment klu-as en ihm bash-ee aht pon ihm head?
Do you see his nice clothes, and his cool hat on his head?
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Di terd lesson
Wa di shape an kula?
Wah dee sh’eap en kuh-la?
What is the shape and color?
Di phone black, mon. Black like di Afrikan mon!
Dee f’own blah-k, mon. Blah-k like dee Af-ree-kon mon!
The phone is black. Black like the African man!
Key to success: Using the ever-common Jamaican Patois ‘A’ is perfect for
replacing the word ‘Is’. When Patois does use the word “Is”, it is in a very different way.
This is explained below.
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Look ‘pon this: The word “Pon” is used for the words ‘On’ or ‘At’. The
pronounciation can be Paan or Pon.
The word “OR”: The word “Or” can be pronounced either (oh) or
(are).
Know this: There are two very distinct ways of saying no. One way is pronounced
noah (who built the Arc) and the other is nuh. The first no (noah) expresses more
strictness and authority. The other no (nuh) seems softer and under the breath. While
noah and nuh both mean no, they can also sound like the word know—as in “I know”
(Mee nuo). But “No” an “Know” both, however, are slight phonetically different. Know
is said nuo (new-oh). No is said either nuh or noah. Also, it is very common to put “You
know?” at the end of a sentence. Mi kyaan bodda, yu know? (I can’t bother, you
know?) This simply adds extra character to a conversation, you know?
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Di fort lesson
Ooo dem?
Ooo dem?
Who are they?
A genkleman Ooman Bwoy Pickney
Ah gen-kel-mon Ooo-man B-why Pik-nee
A gentleman Woman Boy Child
Sa: The expression “Sa” doesn’t always necessarily mean “Sir”, per se. It
can serve more as a general conversational sound. Yeh sa, a true. (Yes, that
is true.) Sa is generally used after agreeing or disagreeing with someone—
man or woman. No sa, mi no did undastand. Yeh sa, now mi see it.
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*This song comes from Buju's first major hit, Love Mi Browning, in 1991. The song
became an international hit, but it was not without controversy.
Love Mi Browning, which term praises light-skinned women, caused much controversy in
color-conscious Jamaica where the majority of women are dark-skinned. (Keep in mind
that among black woman, those of lighter skin color are considered more elite in the
social ladders of contemporary Jamaican society.) So, after indirectly insulting so many
dark-skinned women, Buju attempted to quiet the protests by recording his next single,
Love Black Woman.
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Note: There are many people of Indian descent In Jamaica. They are
commonly referred to (derogatorily) as “Coolies”.
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Mi a go lick yu up if yu no tap.
Mee a go lick yuh up eff yuh noh tap.
I’ll hit you if you don’t stop.
Dat nigga big still. As lickle yu see’im look, ‘im big still.
Dat nig-ga big still. As lik-el as yu see ihm look, ihm big still.
That guy is very powerful. Even though he looks small, he is powerful.
Still Note: The word “Still” is used at the end of a thought and is for
expressing true feelings or factual happenings at the current time. E.g. Mi no
like ‘im still. (I don’t like him). Dat look good still. (That looks good). It
doesn’t mean that is actually good only at the moment, it is just an
expression and a backing word.
Truss mi mon!
Truss mee mon!
Trust me!
Truss mi mon!
This expression, ‘Truss mi’, is used when stongly agreeing with someone’s line of
thought. Knowing this great expression will surely get you far in speaking Jamaican. It is
like saying any of the following in English: Believe me, yeah, I know, and yes. Notice
that this expression is not asking the other to “Trust them”, per se, but it is simply a way
to agree in conversation.
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Di fif lesson
Words are a combination of sounds.
In a’i oouse
In ī owse?
In the house.
Some words that you speak don’t have to require saying each individual sound.
*The word “Light” is used to signify electricity and current. The word
“Power” is not generally used in Jamaica in regards to electrical energy.
Notice above how we simply use “Deh ina’i oouse”, the same as “Deh in a
di oouse.” There is no need to try to say the entire ‘In a di’ but it will sound
like “In’ī” when said correctly.
It is important to realize the sound made when saying “A di’ the stress is
both in the a and the i. Practice at this time saying “A di”. (A di meaning: at
the, of the, it is, the, ect.) As you repeatedly say this, faster and faster, you
should stress to say only the syllables—the a and the i. You will soon see
you are mainly pronouncing the ‘Ī’. This concept is used for faster speech.
Too much current fi use alla’ee lights. Yu know seh ita cost
dear.
Too much kern’t fee use all eeh lights. Yu know she it ah cost dear.
Too much electricity (power) is being used when all the lights are on. You know it costs
dearly (exceedingly).
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A fi dem ’i’?
Ah fee dem eeeh?
Is it theirs? (This combination is at the advanced level of sound combining and the
resulting sound is eeeh. This also goes to say that the word ‘it’ can sound like ‘ih’, or
‘eeh’.
Eeeh? This same sound of eeeh is also used as a universal sound for
expressing either a need for response or simply just a sigh of sorts. Also, it is
always used when needing something to be repeated. Just like saying,
“What?” in America.
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Di six’d lesson
A fi mi Yard
Ah fee mee Yaad.
My Home—Jamaica.
Fi is perhaps the most powerful words in patois. Not only does fi indicate possession ang
belonging. But also sets up verbs as an auxiliary verb. Fi is also used in place of “To” and
“For”.
Note: Fi shows possession when used before the subjects being talked
about. E.g.: Fi ‘im, fi she, fi mi, fi dem; his, hers, mine, theirs.
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The single term “One” is used quite often for replacing “A”.
Mi a go bring one beer is better Patois than to say Mi a go bring a beer.
Mi got one lick pon mi head is better than Mi got a lick pon mi head.
Yu know sey, mon, mi can dead pon di place! Mi waan buss outta di
concrete jungle my yuut. Mi naa like fi see war all di while.
You know, man, I can get killed here! I want to leave the ghetto (Trench Town),
my friend. I don’t like to see fighting all the time.
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But the Americans are involved heavily with Bablyon (the corrupted system) You, as a
Rasta, can’t mix up with that!
…What to deprive? I-
I-mon from my rights.
Murderer – Sung by Barrington Levy.
Yeh mon, mi see it. Mi know seh dat alla di U.S. business people is a
murdera an di corperation na care (key-air) bout wi. So, mi a go tink
bout sup’m else fi a do.
Yes, I see. I know that all of the U.S. business class and corporations don’t care about us. So, I’ll
think of something else to do.
Yu bes’ wait fi tings get betta here ina Yard—yu naa even hab
bandoogle!
You should wait for things to get better here in Jamaica—you don’t even have a fake
visa.
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“Is” in Patois, use it to say ‘It is’. In Patois, proper tense and
grammar is omitted—this is the essence of Jamaican speech. When
speaking Patois, we want to forget the proper English system and
speak how we want to. This concept is especially important when
speaking as a Rasta. Rastas know that English is the current and
main language of Babylon, which must be broken.
“Is” is also used in place of, ‘Are’ and ‘Am’. Is dem di one. (Are
they the ones?) Dat ooo mi is. (That’s who I am.) Yu is pretty. (You
are pretty.)
Yu haffi dweet.
You have to do it. * Notice the combination of have and to.
Yu fi dweet.
This has the same meaning as above but now the “Have to” becomes implied. Fi is what
signals and helps the verb.
Uno fi learn dis: Uno is the plural for you (yu). Uno is used to refer to
more that one person. Can be used to mean: anyone, everyone, you, you all,
ECT.
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Always use “Wi” for the use of the following: us, ours, we.
New word: Use Nyam as a word to replace the word eat. Pronounced
(nee-yam) Also, the word “It” can be pronounced ih or ee. Just remember
that you have flexibility in Patois.
Hush.
Sorry.
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Di sebent lesson
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‘On’ is said “Pon” in Jamaica. Depon is another word for ‘On’ but is the
combination of ‘There’ and ‘On’. Depon is used when one needs to show
placement and location.
*The use of deh ‘bout is from the words ‘there’ and ‘about’. This means
that the something is around or near by.
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• You must know that Deh means ‘There’ and Yah means ‘Here’. But
dehya (deh+yah) means ‘Here’.
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Di eight lesson
A wa do dem?
A wah do dem?
What’s going on with them?
“A wa do dem” is a common expression used to ask about others doings. However, it
does not have to be talking about people only—it can also be talking about specific
objects.
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Di nine’t lesson
Note: The word “Foot” is used to refer to any part of the entire leg.
Mi tumak a hurt (hat or hut) mi. She winjy.
My stomach hurts. She’s very thin.
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Kiss mi neck!
Expression usually demonstrating surprise or excitement.
Man hab two foot; is fi say dat man no hab ongly one foot but
‘im hab two foot.
Man has two feet; this is to say that a man has not only one leg but two. (In Jamaican
Patois, foot means any part of the entire leg including the foot.)
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Instead of saying tall, in Jamaian Patois you can say long to mean the same thing.
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Di tent lesson
Also, to ask “Why” in patwah, you can ask “Wa mek”, meaning literally, “What makes”.
Mi a tell yu say dat disya wata (wah-tah) and disya air a mek it
rain, mon.
I’ll tell you that this here water and this here air permits it to rain.
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Yeh, mon, a true. Mi can see dat. It all about di feel and di
vibration. Right?
Yes, that is right. I can see that. It is all about the feel and vibration. Right?
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Di elebnt lesson
Weh
Where, which, that (that has, that is, that will be,
that was, that did), who, was.
The word weh (like the word seh) is one of the trademark Jamaican words. It
is also a word that is everywhere in Patois. Mastering this word and its usage
will ensure any practitioner of Jamaican Patois sure fluency.
Weh ya go?
Where are you going or where did you go?
Di ooman weh mi did see, she did vex (also said with a ‘b’ bex).
The woman that I saw was angry.
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Di twelb’t lesson
Ya hear mi now?
Yah eer mee nou?
Do you hear me now?
Note: It is very common to put “Ya hear” (said with out the “H”) at the end of many
sentences. This is to verify that the other person understands you.
Note: Zeen is a very popular Jamaican word. So, use it when asking
somebody to agree with your thought—zeen? It is just like saying, okay or
all right at the end of an English sentence. You can also absolutely use zeen
in the beginning of a sentence to agree with what was just said. It is like
saying yes, I understand, or sure. There are several other endings and
beginnings similar to zeen. They are the following: See it? True? No true?
Jah know? Selassie know? And, of course, Yeh, mon.
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Di terteent lesson
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*Duns is slang for money. It always seems to finish, hence the word done.
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Real Ghetto food: Dutty gyal (dirty girl) and Shake out are two terms used for
canned mackerel. A Ghetto steak is name for chicken back, which is a food common
among the poor. Sketell, when referring to anything, means that something is very cheap.
In this case, a ‘Sketell’ is a cheap-boxed drink that one sees in little Jamaican stores or
vending huts. Bag juice is the cheapest drink one can get in Jamaica. It is purchased and
drank, of course, in a bag.
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Wa leff?
What is left.
* Niggeritis is a term used when one gets tired after a nice meal.
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Di forteent lesson
Pon di road.
On the road.
Inna dem taxi dutty? Nuh sa, dem nuh dutty, but dem faas.
Are the taxis dirty? No man, they’re not, but they’re fast.
Yu kyaan rely pon da bus driva dem; dem always late an tek so
lang fi come.
You can’t rely on bus drivers; they are always late and take so long to come.
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* Asking or begging a bly means to receive space from someone on the road
when driving. Jamaican roads can be very narrow. Getting a bly is getting
courtesy on the road from other drivers. A bly is a favor.
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Conducta: Hail up massive! Wi want yu to know that yu are riding on the safest bus dat run pon di Papine
to Downtown route. The mogle of wi bus is a 1980 Elcava, owned and operated by Rough Rider transports.
Dis mogle can survive any adversaries an cantraversies. As unu can si, dis bus get nuff lick up an bad man
shot up nuff time an it still drive like new! Dis bus sit up to 55 passengers, howeva, due to wi commitment fi
excellent service, wi nuh leave anybady straddling pon di streets. So, expect fi have up top 140 people in
yah by time wi reach downtown. During di journey, wi may encounta unexpected turbulences. Deese are
known as potholes. In di case of a sudden bump, please refrain from bawling out, “Lard, Jesas, mi dead
now!” Our driva is an experienced driva an will mek sure di axle an whell noh bruk aff ina one a dem. But,
incase wi drap ina one an kyaan come out, please do not climb troo di window dem til unu pay unu bus fare.
I will shot unu rass wid mi 45. Di bus is not equipped wit seat belts. Please hol’ pon di railing when di bus a
tun di corna dem. The bus is capable of driving pon 2 wheels around corners and bends. When di bus a tun
one wicked carna pon 2 wheelie, wi ask dat our seating passengers bear it if smaddy slide dung ina dem
seat an squash yuh against di bus side. Our seating passengers might experience seating passengers
loosing dem balance an falling ova pon unu. Please do not yell out "Hey batty bwoy, come off a mi rass lap!"
Dat may cause serious shoot out.
Pon exiting di bus, please na expect dis bus to come to a full stop. Wi asking dat yuh hop off a di bus step
skilfully. If unu drap an lan’ pon unu backside an bruk sinting, Rough Rider nuh response. This is NOT a
non-stop journey. As a matta fact, wi stop any which part wi waan wi stop at every yaad gate—all ina miggle
road wi stop. Howeva, di bus noh stop fi police. In case of an unexpected police chase, the driva will be
forced to increase the bus normal speed from 100 mph to 160 mph. Yuh will be instructed to hol’ on tight an
shet unu mout. In case this bus is hijacked by a terrorist known as "Pick pocket", hol’ di bwoy an murda ‘im
rassclaat. Wit dat said, if wi reach down toen ina one piece, please prepare fa new passengers fi shoob unu
dung before unu can get off, Noh min’ dem. But seat kina ration. Tank yuh for teking di iriest Rough Rider
Elcava pon di route... And hope yu enjoy di ride.
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Di fifteent lesson
Di aat tunes.
Dee aht toonz.
The hot music.
Demya d.j. chat too much bout unda gal pickny inna dem
musik.
Those deejays talk too much about womans’ privates in their music.
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* To whine means to move your lower torso while dancing. Woman who do this very
well are considered to be greatest dancers in the Jamaica.
Unno feel irie? When dem feel di bass, den dem jus bus’!
Do you all feel good? When they feel the bass, then they just bust out!
She a champion.
She is a superior dancer.
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Di sixteent lesson
Di mogeling type.
Dee mog-ah-ling tīpe.
The modeling (show off) type.
Gess mi riggle.
Guess my riddle.
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Di sebenteent lesson
Pon di street, dem a move real cool fi look a man billfold. Bad
bwoy tief anyting dem yeys behold.
On the street, they move very calmly to look for people’s wallets. Criminals will steal
anything their eyes behold.
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Di eighteent lesson
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The Jamaican Language
Di nineteent lesson
Di bar.
Dee bah.
The bar.
A Wa ya drink?
What will you be drinking?
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The Jamaican Language
Mi ca kyarri yu a mi yaad?
Can I bring you over to my house?
Lissen mi now. Fi get a slam, sey, “Yu hab sweet vice and is
pretty like money.”
Listen to me now. To get laid, say, “You have a sweet voice and are pretty like money.”
Yu level?
Are you okay?
Mek it stay.
Leave it be.
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The Jamaican Language
Di twentied lesson
175
The Jamaican Language
Di twenty-fus lesson
176
The Jamaican Language
Yu tink so? Yu jus tan deh. See eff mi nuh leff yu.
You think so? You just wait and see. See if I don’t leave you.
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The Jamaican Language
Di twenty-secon lesson
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The Jamaican Language
Di twenty-terd lesson
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The Jamaican Language
Some bwoy nuh know ooo dem a deal. Dem fi stop and check.
Some people don’t know with whom they are dealing with. They [need] to stop and
check.
Truss mi, yu naa waan tess nuh rude bwoy raggamuffin outta
street. Real bad mon near ‘bout.
Trust me, you don’t want to test any bad boys out on the street. Real bad guys are around.
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The Jamaican Language
If yu did live in’ia ghetto, you would buy cot till yu cudda able
fi buy bed.
If you lived in the ghetto, you would buy a cot until you were able to buy a bed.
‘Im a chat sey dat ‘im a Don Gorgon and ray ray.
He said that he was a true ganster and blah blah.
When di don dideh inna foreign, ‘im did waan fi come back a
Yaad. ‘Im a Yaadi fa real!
When the man was in America, he wanted to come back to Jamaica (Yard is a term for
Jamaica). He is a “Yardi” (a Jamaican) for real!
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The Jamaican Language
Di twenty-fort lesson
Di sex chat.
Sexual talk.
There simply could not be any Jamaican book written without this chapter. (That
goes for the remaining ones too!). Sex is an essential element to the life, culture and well
being of many Jamaicans. Sexual talk is the talk and act of getting “Work” (wuk = sex).
This is simply part of the existing society. Jamaicans are not ashamed of sex. Moreover,
they are not ashamed of speaking freely and openly about getting it! Understanding this
will prepare you for talking in a sexual nature (or at least being able to listen to it without
feeling shy and offensive). There are many creative Jamaican words and innuendos in
this chapter. Mastering this section will surely give you a feel for the culture, mind, and
actions of the Jamaicans—and may get you far in Jamaica!
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The Jamaican Language
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The Jamaican Language
Di ooman dem seh di wutless bwoy nuh know how fi cock it up.
Women say that the non-stimulating men (worthless boy) don’t know how perform.
Gal, yu body at like lava, yet still a one man pick yu cassava.
Girl, your body is so fine, yet only one man has sex with you. (Cassava is fruit.)
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The Jamaican Language
But di mon musa seh, “All fruits ripe when mi gyal a clean.”
But the man must say, “things are so nice when my girl cleans me.”
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The Jamaican Language
Mos man sey, “Pyur gyal, pyur gyal, pyur gyal waan mi.”
Most men say, “Pure women, pure women pure women (meaning many, only, and all
women) want me.
Wickedest Slam
Beenie Man (1995)
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The Jamaican Language
Rubbers
Frisco Kid (1997)
Intro:
I wonder more and more
If prevention is better than secure, (woa
naah)
I want to see that girl next door
But mek sure I have dem in store (check
it)
Chorus:
Mi want a jook offa Jacqualine Chorus
But mi haffi draw for my Verse 2: Mi si dung an mi check inna di
system
rubbers, for my rubbers
An mi decide say mi naah be nuh victim
Sex nice but the AIDS ting Nobaddi naah gimmi nutten weh nuh
Wi mek yuh die like flowers, die have no cure
out like flowers A rather ride no more
Repeat No rubbers no ride yaah mi sistren
Verse 1: Safe sex a weh mi strongly believe in
When mi stop an mi look inna mi crystal An mi naah tek no check so mi makin
ball sure
Mi get fi find out say, no man a nuh wall Mi have codoms galore
An most pretty gyal yuh kyaan trust dem Chorus
at all, at all, at all, at all (hey) Verse 3:
Yuh find a young girl an through she Rain a fall and mi temperature rise
small Jackie say fi check har, she up a Miss
Yuh think say she naw gi yuh bun with Joyce
Paul Busy mi get busy cause mi well want a
But if yuh ever hear how much name a slice
call, a call, a call, a call (hey) Haffi make haste cause the slam deh pon
She have Peter, Mark and she deh with ice
Saul Reach up a Jackie but mi start check
She even have a married man over wise
Whitehall Pyur bumpy bumpy deh pon Jackie eyes
So, mek sure when yuh in love yuh nuh Pyur blister blister deh pon Jackie thighs
fall, nuh fall, nuh fall (mi bredren) It look like she have su’ppen under
disguise
Chorus
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The Jamaican Language
Di twenty-fit lesson
Di bad word.
Dee bahd wud.
The bad words.
Any Jamaican Patois Language-Learing course without cuss words would be less than
your money’s worth. In Jamaica, bad words are used anywhere in any part of any
conversation. However, not everyone uses them. Of course, some people simply do not
like bad words.
You will notice that the majority of the bad words use the suffix “Clot” (also spelled and
pronounced claat), which is a cloth. The essence of Jamaican bad words is mostly based
upon nastiness and filth rather than religious blasphemy (e.g. “God Damn). For example:
Bumbo claat and Rass claat, which are the kings of Jamaican bad words, both literally
mean a rear-end cloth. Their American equivalence is like to sayng the “F” word.
Note: To say the word above, drop the ‘Y’ and say it again in a
slurred manner using two only syllables. (Pusswhool)
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The Jamaican Language
Suck ya mudda!
Suck your mother!
Jump ‘im raas claat and shot up ‘im bumbo raas claat!
Jump him and shoot him!
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The Jamaican Language
Wa di blouse an skirt!
Blouse and skirt is a politically correct version of bumboclot!
Bloodcleet.
This word is like saying freak or friggin’ instead of f***. Basically, it is a
comical version of bloodclot.
Wa cha! How yu can sey dat? Mi tell yu neva fi say bad wud.
What! How can you say such a thing? I told you never to say bad words.
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The Jamaican Language
Di twenty-sixd lesson
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The Jamaican Language
192
The Jamaican Language
Yo mon, wi fi gon mek one flex pon Negril disa weekend. Zeen.
Wi mus find some lambsbread. Zeen?
Hey, should go to Negril this weekend and chill. We got to find some crucial herb. Is that
cool?
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The Jamaican Language
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The Jamaican Language
BUN IT
Elephant Man & Mr. Vegas
MODERN GANJA DANCEHALL REGGAE SONG 2
(2000)
Intro: Chorus:
Elephant Man: Why dem waan stop di weed Mr. Vegas: Gimme di weed and mek mi
man tings, star? Leggo! meditate
So mi go so bun it all day, bun it all night And gimme some time and mek mi
It's all good, it's alright concentrate
Pass mi lighta cause mi weed haffi light And gimme di chance to kill di pirate
Weed man from all bout tonight, so mi go so, (Elephant Man: Weed man from all over di
ay!!!!!!!! globe!!)
And mek mi send dem packin through di gate
Mr. Vegas: Gimme di weed and mek mi Gimme di weed and mek mi meditate
meditate And gimme some time and mek mi
(Elephant Man: Weh wi fi do wid di weed!!!!!) concentrate
And gimme some time and mek mi And gimme di chance to kill di pirate
concentrate And mek mi send dem packin through di gate
And gimme ah chance to kill di pirate
And mek mi send dem packin through di gate Verse 2:
Gimme di weed and mek mi meditate Elephant Man: Then, runnin wid mi weed and
(Elephant Man: Weh wi fi do wid di weed!!!!!) mi nuh si nobody fi stop mi
And gimme some time and mek mi Feds and di FBI dem waan fi trap mi
concentrate Long time mi hear seh di fassy dem ah watch
And gimme ah chance to kill di pirate mi
And mek mi send dem packin through di gate Nah give dem di chance fi come mob mi
When mi big up di weed man dem inna
Elephant Man: Den!!, ten pound ah weed Texas or Philly
weh wi screechie pon di border Move di shipment fast because wi nuh silly
Try stop mi wid all dem big bulldog yah Wait till mi whole di one informa Billy
Wi ah bun weed wi and John Delgada Ah him bust mi shipment ah Philly
Leff from Jamaica bun weed ah Fort Lauder.. So mi go so bun it all day, bun it all night
Toddler love weed him all ah give him baby It's all good, it's alright
madda Pass me ganja cause mi weed haffi light!
Hey Vegas gimme dat five hundred bag yah
Kick back ah mi yard and all ah listen to
Sizzla
Boom Dandemite gimme ah rizzla so mi sing,
ay!!!!!!!
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The Jamaican Language
Di laas lesson
When dem young, dem did wheel dem hair fi mek locks.
When they were young, they twisted their hair to make dreadlocks.
Dem neba cut dem locks. Dem mek ee grow fi beat di world
wit.
They don’t cut their dreads. They let it to grow so they can beat the world with them.
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The Jamaican Language
Busta Rhymes—
“JAmerican” Rap star (of
Jamaican decent). Excerpt from Rastaman
Chant. Chant Down Babylon album. (1999)
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The Ragga-Dancehall Vibration
Part Five:
Dancehall Explosion
The RaggaVibration
In Jamaica, sound systems have been the mode of broadcasting music for decades.
In the beginning, they were mobile units (usually packed in a van as pictured below) that
enabled people passing through town to be able to listen to music. These first mobile
units came out of economic necessity in the 1950’s. In America, one could purchase a
nice home stereo (record player and speakers) for about five percent of his yearly income.
At the same time in Jamaica, he would have to spend his yearly income to afford such a
luxury. Today in Jamaica’s cities and towns, instead of mobile units, there are enormous
speaker sets found nearly on every busy street corner. What a unique, fun, and
entertaining atmosphere for passers by!
Jamaica is a culture that loves music—there is no doubt about that! The culture of
Jamaica is, indisputably, a music culture. Jamaicans love music. The music culture is a
sound-system culture. Music is played everywhere on the small island. Tourists walking
along any Jamaican city street will be able to hear the deep and pounding bass coming
from massive sound systems blaring the current and popular Jamaican music—dancehall
reggae. Today, essentially, reggae music in Jamaica is known as dancehall. Dancehall
music is present day Jamaican Reggae, which voices the current population's concerns,
conflicts, fantasies, and frustrations. The music also offers an escape, a humor, and a new
outlook towards the country’s harsh economic situation.
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The Ragga-Dancehall Vibration
Dancehall reggae came from a vanishing Roots-Reggae era. With the success of
Bob Marley, whose music later became mainly lyrical and intellectual, Reggae music
established itself as music to enjoy while enveloped in a cloud of ganja smoke. Bob
Marley was the one who revolutionized reggae. The Bob Marley era was the peak of
Roots Reggae. Bob and his contemporaries were looking for an international market.
Unfortunately, with this shift, it seemed that the local Jamaican people and artists were
forgotten. With the international efforts of reggae, it seemed that reggae had lost its
original feel, which was in the rhythm. Worst of all, many bandwagon artists lost touch
with the everyday concerns of the common Jamaican. To the native Jamaican, the
constant songs about Rastafari, which were previously popular, became boring, outdated,
and lost its appeal.
In 1983, there was a show called “Dancehall ‘83,” which several popular deejays
performed including Yellowman and Charlie Chaplin. The event was well marketed and
a massive crowd of dancegoers packed the venue. Because of the big success of this
show, (due to the deejays) the name “Dancehall” was used to promote later shows. It was
at this time that songs of popular deejays ruled virtually all the dancehalls. The new
music that was being played became known as “Dancehall” and the name has stuck ever
since. However, dancehall was no longer just a place where dances where held, but it
became the new form of reggae music—deejay music. In addition, once digital music
took off in Jamaica in 1985 and computers played a big part in mixing beats, dancehall
became the in vogue scene. This spawned the new music revolution of Jamaica called
Ragga.
The most current and popular style of Reggae music is known as Ragga. In this
style, instead of having actual band members playing instruments, one main artist is
backed up by digital instrumentation. Ragga music uses popular beats and tunes that are
mixed with available digital machines. Listeners of Ragga will most certainly feel the
desire to dance, thus, reggae music keeps its original purpose—to dance! Today in
Jamaica, when one hears the word “Reggae,” he or she will usually think of ragga. Ragga
is the genre of what virtually all the new popular Jamaican songs are.
The key feature of dancehall reggae is in the deejay. The deejays are the ones who
‘Spin’ and compile the music, feel the audience, and create a lively dance show.
Dancehall has become the newest culture, which has generated many fashions and
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The Ragga-Dancehall Vibration
attitudes. Today’s most popular Ragga deejays are: Bounty Killer, Ninja Man,
Spragga Benz, Sizzla, T.O.K., Lady Shaw, Frisco Kid,
Elephantman, Cobra, Mr. Vegas, Lexxus, Beenie Man, Buju
Banton, Capleton, Shabba Ranks, Sean Paul, Red Rat, Antony
B, Luciano, and Shaggy. These deejays are the stars, symbols, and idols of
Jamaican pop culture.
People often label dancehall as Jamaican rap music. Whether it is or not does not
matter. One should only know that rap and hip-hop music in the U.S. are perhaps the
biggest moneymakers in the music industry. Similarly, in Jamaica, reggae dancehall
music is clearly the biggest export of music and has established itself with an exceptional
global prominence. In reality, the parallels between U.S. Hip-Hop music and Jamaican
dancehall are great.
Although the dancehall scene is a male dominated one, it is the female, like a
queen, who reigns supreme. Her individualized, risqué fashions, adorned with excessive
amounts of jewelry, pastel colored wigs, thigh high patent leather boots and enticing
makeup expresses a bold and defiant sexuality; as the Reggae rhythms blare from the
sound system speakers, she "Whines" her pelvis, rolls her waistline and gyrates her body
in the latest dance moves, leaving her male subjects breathless!
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The Ragga-Dancehall Vibration
The truth that all forms of reggae music are based upon a beat is clearly evident in
dancehall reggae/ragga. The reggae beat is a true beat and it is the beat of the people.
Dancehall reggae is a type of music that typically addresses sexual appetites and violent
attitudes. The music simply is a reflection of the truth—and the truth is of the people.
Apart from the usual sexually explicit and implied lyrics, dancehall music also displays
the current violence that resides in Jamaica. One must remember that music, of all types,
is a reflection of social reality. The deejay simply sings about what is real. In Jamaica, it
is a “Sex is big and guns rule” attitude. Therefore, this is what is sung. Just as how Roots
Reggae sang about the truth of common injustice, Dancehall Reggae sings about the true
appetites of the people.
After the quote below, there are several pages of popular dancehall songs and artists that
reflect the modern Reggae/Ragga music era and are perhaps the most famous songs. Only
a select few are chosen to represent the dancehall movement. The songs chosen are surely
among the most popular and lively dancehall songs of all time.
Super Cat, a dancehall deejay also known as “Apache” (from his half-Indian
ancestry), perfectly describes dancehall music as it pertains to violence:
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The Ragga-Dancehall Vibration
Chorus
Yo
Hey you girl inna di tight up skirt
Ya mek mi head swell til mi blood
vessel burst
Hey you girl inna di tight up shorts
Ya speed up ten more beats to mi
heart
Hey you girl inna di tight up
blouse
Everytime ya pass mi, ya get mi
aroused
Hey you girl inna di jeans
Look pun dat gal deh
See what mi mean Chorus
2. Unno a mad wi / In di latest
1. When mi go Cactus [A popular club in Moschino dress / Tight up on ya
Portmore, JA.]
chest / And ya body a grab mi / In ya
Mi kyaan enjoy miself, mi unconscious mini skirt and Versace shirt / Man
Mi eye dem a pop out brains a hurt / And girlfriend trust mi
Cause mi nah stop lust / Anytime ya pass in ya C.K. glass /
Gal ya come first You a mash up mi rod /
Man nah stop lust Every Tuesday night / Nuff man all a
Aye, aye fight / Gal sleep at night / An mi feel
So why dat haffi print out ya a do it fi spite
Mi haffi hide inna mi car whey tint out Chorus
Jesum 3. Everywhere ya go man surround
All di while deh you (surround ya) / Inna bare lyrics
Yuh mek di whole a Main Street Crew dem / drown ya (drown ya) / Like di
go crazy queen of England dem crown ya /
Gad damn And when ya walk pon di road dey
You hot like di sun and kyaan done play car man sound ya / Jesum, gal ya
Every man see ya well waan fi have fun hotty / Ohhh nooo, gal ya sweet /
Well, To how ya look sweet It hard fi mi
do it But ya haffi give mi girlfriend bun
aye, ohhh nooo, ohhh nooo, aye aye
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The Ragga-Dancehall Vibration
203
The Ragga-Dancehall Vibration
Mi Cyaan Sleep
Red Rat (1998)
Chorus:
Mi seh mi cyaan sleep,
Mi cyaan get fi doze off
Woman dem inna mi room a take her clothes off
Mi waa piece,
She inna nighty a pose off
Mi did a try lock mi hose off.
Verse 1:
She have inna one piece a temper a temp mi
And mi feel tired and strength nuh deh deh plenty
But the pose whe mi si mi woulda take a twenty,
Even a thirty forty fifty sixty.
Mi realize seh her belly empty,
Put on the turn on perfume, when mi scent it,
Try to avoid, but mi start get lengthy
Just get lengthy lengthy more lengthy. ... cause
Verse 2:
Mi head hot mi fussa
Mi third leg wussa,
She really really make mi want to be like Usher.
She know mi is a luster, Good friends: Red Rat
Mi feel like crusher. on the left and Beenie
Mi did buss before mi start, but now mi busser. Man on the right.
The nighty weh she inna just a get mi
And if mi try to resist it woulda hurt mi
She pop it off gees, a that alert mi
And now mi cyaan sleep and it worth it.... hey
Verse 3:
Watch how she pose
Put on you clothes
Wha dat a expose
Unno look pan those!
204
The Ragga-Dancehall Vibration
Brand
Beenie Man (1997)
Cho :
A bet yuh never see mi inna mi Mecca
Nor Shabazz Bredda, nor mi Karl Kani sneaker
Yuh never see mi inna mi Ruff
But Yuh see mi Hilfiger, An mi Versace blazer
(RPT)
Cho
205
The Ragga-Dancehall Vibration
Bookshelf
Beenie Man (1998)
206
The Ragga-Dancehall Vibration
Chorus Sey badman nuh flee, after dem bwoy dem nuh tough like wi
Some only bad thru dem a walk ina posse dem a fool
Caw dem nuh see how we lock di city
And dem done nuh tough like wi
(repeat)
First verse
Hey no bwoy can dis me, caw man ana no rummie
If yuh dis di program you go jump up on di cd
When mi come back well somebody have fi dead
music mi ah sing from after di DJ
207
The Ragga-Dancehall Vibration
208
The Ragga-Dancehall Vibration
209
The Ragga-Dancehall Vibration
210
The Ragga-Dancehall Vibration
211
The Ragga-Dancehall Vibration
SOME BWOY
BWOY
By Spragga Benz (1998)
Intro:
Cho:
Cho:
212
The Ragga-Dancehall Vibration
Introduction:
Oy, Mr. Mention
Ask Yuhself this question
Unno say unno a Don man
An a unno run the program, the program
But have yuh ever stop to think wha mek a gal cheat
Yuh need fi check yuhself before yuh start kiss yuh teeth
Caw yuh nuh ready fi this yet bwoy
Have yuh ever wonder what mek a girl cum
A woman fus fi satisfy before yuh say yuh done
Yuh caan say a thing if yuh end up a get bun
Caw yuh nuh ready fi this yet, bwoy!
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The Ragga-Dancehall Vibration
Deport Dem
By Sean Paul (1999)
Dutty Yo!!!
Yeah yeah, yeah yeah
Dutty Yo!
Yo yo yo yo!
Sean Paul a mek di whole world know
Again wi nuh sorry, a dutty wuk di gal dem ina every territory
But wi hafi start keep dem ina category
Mandatory alla mi gal dem hafi fit, dem hafi ready
Can’t keep up wit di trend man a lef it
Bad man nuh sorry cause wi done hit di cherry
Done legendary nuff gal wah fi marry
One ting wi hafi tell dem necessary
Big-up unu self if unu got it
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The Ragga-Dancehall Vibration
Hey me and yu kyann guh nuh weh yu I an I naah guh romp wit nuh guy
know Or mi haffi mek a cruise inna mi rubbah
Shut up yu moooout shoes
A my gyal dat my yute gal a get bruise
My boo Seana Paul win an Vegas a lose
Yow, a whappen to yuh? Shilalalalalala boomboom shi laay
Seana Paul and Mistah Vegas again I an I buck a hot gyal today
dutty yo lalalalalala boomboom shi lau
Trilalalalalala boomboom shi laay I an I man haffi get di gyal yaah
I an I buck a hot gyal today An mi alone have di key to har
lalalalalala boomboom shi lau apartment
I an I man haffi get di gyal yaah Shi only waan use Vegas fi pay rent
Well, competition haffi gwaan ca’ me Shi seh shi love mi body scent an mi
fus accent
Sight da gyal yah - Jah know seh a war Shi nuh waan nuh likkle bwoy wheh
bus’ jooks wid him parents
between Seana Paul and Mistah Vegus But nuh see how mi have di gyal wee-
A which one a pour di coffee dung in har ee-eak?
t'ermos? Ooman want a man wheh can dwee-
Mi haffi get da gyal yah now ee-eet
man a gyow yuh deh gyow Shi want di lovin right trou di wee-ee-
Shi leggo har numbah pon mi eek
would be di wrong numbah yow An shi nuh waan nuh man wheh love
Mi beg har for a date slee-ee-eep
An den shi kill yu wid di "No" Could yu be tellin mi dat I-man is a punk
Seh dutty still know man a nuh bait, a when seven days a di week nuh an yu
man nuh ole poppyshow stop from get junk?
Becau mi haffi mek a try Well I-man bun up di chronic—a di
Haffi get a bly highest grade skunk
Getti neegle eye an charge up mi body cau Jah know mi
naah flunk. Ay!
215
The Ragga-Dancehall Vibration
War
By Mad Cobra (1998)
Intro:
Which gal a dis and she nuh inna your class,
How she fi dis and she nuh inna your ya gi di yow
Which gal a dis and she nuh inna your class,
Left them pan the bypass, yow hey
Chorus:
Dem gal deh over deh so, dem a flex like cellular
Hand to hand and a get use regular, Deejay Cobra or Ewart Everton
A look you man and turn round want fi war, Brown a.k.a. Mad Cobra was
Well if a war them a wha??? WAR! only 26 years old when he
Gal over deh so, dem a move like cellular became the first dancehall
Hand to hand and a get use regular,
reggae artist to score a #1 hit
A look you man and turn round want fi war,
Well if a war them a wha??? WAR! on the US Billboard pop charts.
He was the first dancehall
Verse 1: artist to do so and only the
True the man dem like and the man dem a hype you, second in all of reggae to have
The gal and her friend dem nuh like you, that distinction. His nickname
Dem all a plan fight you, wid acid fi spoil you,
came from a character in the
Make a gal know you nuh frighten.
Yow if dem did hot dem coulda chat, but dem fi move and goway, G.I Joe comic books and was
Before you haffi bus out weh dem dashway given to him by a schoolteacher
Furthermore hot gal nuh wear them deh, who noticed young Brown's
Bus it out because mi still a chat say tendency to doodle fearsome
snakes all over his notebooks.
Verse 2:
He got his start with such
Follow follow naa put them nuh where
Dem coulda vex till them bus’ you nuh care, sound systems as Mighty Ruler,
You haffi move with the new hype this year, Inner City, and Climax. It was
Run go bye weh she sight you a wear. his uncle Delroy "Spiderman"
Liberty tek and everybody start hear, Thompson, an engineer at Tuff
How them go trust hair style fi dem hair,
Caa bruck out gal underwear tear, Gong Studios who produced his
See the done project over there. debut single "Respect Woman"
in 1989. He was a hardcore
Verse 3: deejay at that time and was
Teeth white, miggle tight, and future bright, controversial for promoting
Man all weh blind say him see you as the wife,
gay bashing in such songs as
Work wid it and mek a gal know you hype
Nadia nuh worry cause you done know you nice "Crucifixion" long before Buju
A ‘iggler top mi si the whole a dem a mek Banton and Shabba Ranks
Like a you make a gal nuh really know how fi dress gained similar notoriety.
Mi never hear nuh nobody seh dem gal deh ready yet
All inna sun hot them a wear turtle neck
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The Ragga-Dancehall Vibration
Look
Bounty Killer (1999)
Chorus:
Look into my eyes. Tell me what you see?
Can you feel my pain? Am I your enemy?
Give us a better way. Things are really bad.
The only friend I know is this gun I have.
Listen to my voice. This is not a threat.
Now you see the nine, are you worried yet?
You've been talking 'bout you want the war to cease.
But when you show us hope, we will show you peace.
Verse 1:
Look into my mind. Can you see the wealth?
Can you tell that I want to help myself?
But if it happen that I stick you for your ring,
don’t be mad at me it's a survival ting.
Look into my heart. I can feel your fear. 1992
Take another look. Can you hold my stare?
Why are you afraid of my hungry face? Today, whilst most other Dancehall artists
Or is it this thing bulging in my waist? chase and try to reflect the American Dream,
Chorus by focusing on “Bling Bling”, Bounty Killer
Verse 2: stands steadfast in his conviction to defend
Look into my life. Can you see my kids? what he believes is right for his people.
Let me ask you this, do you know what hungry is? “This is not JAmerica. We are
Well, in this part of town, survival is my will. sending the wrong message to our
For you to stay alive, you've got to rob and kill. people. They’re singing about ice
Look into my house. Would you live in there?
Look me in the eyes and tell me that you care, when poor people don’t even have a
Well, I've made up my mind to end up in the morgue. fridge.” Wherever Bounty Killer sets foot,
Right now I'd rather die, cause man a live like dog. whether ‘Yard’ or abroad, he is mobbed by
Verse 3: his legion of fans, and has always been a firm
Look down on my shoes. Can you see my toes? favorite with the females. Classic Dancehall
The struggle that we live nobody really knows. ‘Gal tunes’ - such as ‘Maniac,’ ‘Request,’
Stop and ask yourself, would you live like that? ‘Cellular Phone,’ ‘Living Dangerously,’ ‘Cry
And if you had to then, wouldn't you bus’ gun shot? For Lie For,’ ‘Benz and Bimmer’ and
Look into the schools. Tell me how you feel? ‘Follow Mi Arrow,’ have all kept the ladies
You want the kids to learn without a proper meal. enthusiastically happy throughout Bounty
Den what you have in place to keep them out of wrong? Killer’s career.
If they drop out of school, dem a go bus dem gun.
Chorus
Fiercely private, Bounty Killer is a devoted Father, though he is yet unmarried. “Some men are all about
the leg and the thigh,” he illustrates. “But I’m not just looking for a beautiful woman, I want a beautiful
lady. When I find someone with the qualities of Miss Ivy, I might consider it. But, I’m a thug youth and
that ain’t gonna be easy to happen.” With the Summer 2001 release of ‘Ghetto Dictionary,’ armed with 30
high-caliber tracks, the Warlord stands firm on his Reggae foundation (steering well clear of Hip Hop
collaborations or Rap influences over his flow and lyrical content). Allying himself with VP Records is a
clear signal that Bounty is 100% devoted to the promotion of pure, unadulterated Reggae music. “I’m
going as hard as ever,” he thunders. “When people hear this album they will hear the sun, the sand, the
people, everything that is Jamaica.”
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The Ragga-Dancehall Vibration
Messenger (1997)
Chorus: Verse 2:
Jah send I as a messenger Yuh remember how Jah send Jonah
To teach the youths about roots and And Elijah, Moses and Noah
culture Martin Luther King and Marcus too
An tell di massive fi remember Jah Dem never falter, Di man dem duh dem
Dats all I a deal wid iyah works and move on
So I nuh dey yah fi look I and I must
Verse 1: carry on Jah works
Some man a sing bout how dem bus
love bump Chorus
Dem forget Jah and put dem woman up
front Verse 3:
There's a time and a place for I an I nuh come yah fi turn nuh wood an
everything, woh woh stone
Dem a talk bout, how dem fire dem gun I an I come yah fi teach so yuh better
An a talk bout how dem buss gatlin learn
But I dont have no time to mingle in Yuh better love Jah and live
sin, woh Give all the love you can give
Prepare to move on
Chorus Cause this place is not your home, woh
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The Ragga-Dancehall Vibration
The Rastaman
“ always
for the people, the Rastaman full of
nuff love, the Rastaman always beat
him drum, the Rastaman always
equal rights and justice and against
oppression and depression, death
without dignity and exploitation. The
Rastaman always eat of certain
things and do not go certain places.
Therefore, the Rastaman always stay
clear and purified. And checking' the
word "Ras," the word mean "Head"
and I and I and Black people the
head of civilization, so therefore,
every Black man and woman a Rasta.
So it's all about yourself.” --Capleton
219
The Ragga-Dancehall Vibration
Like many other young artists at the forefront of Jamaica's Rasta-roots movement,
Sizzla's militant Rasta stance is expressed through his adherence to Prince Emmanuel's
priestly Bobo Shanti Order (Bobo Dread)—whose members wear turbans and carry
brooms as a symbol of cleanliness. Another famous Bobo Dread artist is Anthony B.
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The Ragga-Dancehall Vibration
Most of us know the bouncy, eclectic sound of Jamaican music. Its roots trace back to
the 1950s. This form of music sprang into modern culture when Bob Marley put out his
first single. Of course, the face of Jamaican music continued to change when Vybz
Kartel emerged as a Jamaican musical force.
Vybz Kartel, Adidja Palmer, had a rocky start to his career. A student in Jamaica, Palmer
attended Callabar High School, according to Wikipedia, the Free Encyclopedia. Callabar
High, of course, began a career that would soon change Palmer’s life in a big way. His
transformation from student to artist came after he was expelled from Callabar High
School. He did go on to study History, Geography and English at Kingston Tutorial
College.
Though Vybz Kartel’s musical journey began in high school, his love for music led him
to take on various musical and writing projects. After an endless string of ghost writing
projects for other artists, Palmer decided it was time to take the future of reggae music
into his own hands. It was time for him to create his own voice, his own musical
presence.
One night, Palmer and two other friends were reflecting on his experiences as a ghost
writer, and decided to start a group called Vibes Cartel. The group broke up, because of
disagreements with another band member, but Palmer continued on under the name,
Vybz Kartel. Now on his own, Palmer continued the band on his own, Wikipedia said.
Musical influences in his life urged him to move forward as a musician.
At times, it was tough. Palmer faced many challenges, including the fact that he had not
yet been discovered as a mainstream artist.
However, having a rough start in school did not stop him from moving forward with life.
Music was very much a part of him. His uncles, who were also musicians, introduced
Palmer to various types of music, Wikipedia said. He began singing locally in 1993. A
teenager at the time, Palmer began his rise to fame in 1998. He was discovered in
Portmore by many locals, and quickly became a critical voice in the music scene,
Wikipedia said. For more information about Vybz Kartel, visit
http://en.wikipedia.org/wiki/Vybz_Kartel.
Quite recently, controversy about Kartel’s lyrics has arisen. The lyrics in songs, such as
Virginity, are explicit and carry strong sexual undertones. This, of course, has sparked
controversy among Christian other anti-Semitic groups.
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The Ragga-Dancehall Vibration
Palmer has faced some hard times, yet he has continued to flourish. The Jamaica Online
Star recently conducted an interview with Palmer. The publication then published a
transcript of the interview. When asked why he left the Alliance, Kartel said he wanted
to start afresh and take a different direction. Once he broke away from the group, Kartel
changed his name to Addi Di Teacha. However, most still call him Vybz Kartel, the
Jamaica Online Star said. To read this interview, visit http://www.jamaica-
star.com/thestar/20081129/ent/ent3.html.
The feud between the Bounty Killer and Vybz Kartel arose out of a disagreement. The
Bounty Killer threatened to start a war in New York, if Blak Ryno performed Drive
Through Prize, a new song that was created while the Alliance was still together. This
feud has continued to rage, according to Dancehall Mobi, an online publication.
The feud was mainly between Mavado and Vybz Kartel, who had been butting heads for
quite some time.
Vybz Kartel said he has no reason or plans to reunite with the Alliance. That would only
be taking a step backward, and his grandmother taught him better than that, Vybz Kartel
said in the interview.
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The Ragga-Dancehall Vibration
David Brooks, who is also known as Mavado, was at one time quite happy with his
association with the Alliance, a group of which Vybz Kartel was a part. Originally, they
had the idea of bringing uniqueness to Jamaican dancehall music. With this desire in
mind, Mavado became a part of a group called the Alliance. Little did he realize that his
association with the group would lead to big problems.
Mavado is praised for his Japan tour, which took place on August 22, 2009 at the AICHI
Reggae Breeze Festival. Some dubbed the event as a cross between Fully Loaded and
Sumfest, according to Dancehall News. To learn more about the event, visit the
Dancehall News website at http://news.partyxtraz.com/2009/08/mavado-instant-success-
in-japan.html.
Of course, that is not Mavado’s only achievement. His single, So Special, made the
Billboard Hot 100 Hip Hop and R&B Chart, according to the Jamaica Star. For more
information about Mavado’s success as an artist, visit http://www.jamaica-
star.com/thestar/20090921/ent/ent1.html.
Mavado was born on November 30, 1981, said Wikipedia, the free encyclopedia. Like
Vybz Kartel, Mavado’s passion for music developed early on; his grandmother took him
to church every week, exposing him to church music. This fueled Mavado’s love for
singing and music as a whole. It had become his passion. For more information, visit
http://en.wikipedia.org/wiki/Mavado_(singer).
Mavado associated himself with the Bounty Killer, another musical influence that fueled
his desire to make music, particularly Jamaican dancehall music.
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The Ragga-Dancehall Vibration
But buzz about the artist’s misgivings with the Alliance began to heat up. In November
2008, Vybz Kartel and Mavado continued to duel about song lyrics, which were rumored
to cause violence in the future.
In 2007, the two began to feud over lyrics, said Clash-onelife.blogspot.com. Mavado,
frustrated with the fighting, left the group. Of course, a year later, in 2008, the problem
was still going.
According to clash-onelife.blogspot.com, there was a lyrical war between the artists that
once were associated with the Alliance. One track, which was created when the band
was together, was going to be performed at a neighborhood show. As a result, the
Bounty Killer threatened violence. A press conference was held in 2007, to resolve
problems between the former Alliance members.
All was thought to be sorted out by Mark Shields and others involved in the mediation.
However, Mavado and Vybz Kartel once again started to badmouth one another. Each
created songs that put the other down. For more information, visit http://clash-
onelife.blogspot.com/2008/11/war-again-mavado-kartel-feud.html.
And the violence began. Mavado is believed to have fired shots. The shooting was
believed to be the result of the ongoing feud between the former band members. It
almost caused Kartel’s wife to die, Vybz Kartel said in the article.
Vybz Kartel’s wife was just pulling into her driveway, when shots were fired. She didn’t
even have time to protect herself from the bullets. For more information, visit
http://www.jamaica-star.com/thestar/20070110/news/news1.html.
224
Mavado
[verse two]
Music or gal over gun, tell dem nuh stop
di fun
Cause if dem stop di fun dem muss
prepare fi stop di gun
Di yutes dem blood a run, dung deh inna
di slum
Dem mek a bag a promise and nah fulfill
none
Mama cry out!!!!!
Yuh tink dem response how much
innocent yute die out
Look how much sell dem sell and no
weh dem nah buy out
If revolution should a start dem rich
enough can fly out
Selassie I!!!!!!!
225
Mavado
226
Mavado
B
Baan- Born. A weh ya baan? (Where were you born?)
Baby madda- Mother of a child.
Babylon (bah-bee-lon)- A Rasta word for the police and the corrupt system.
Backside (bok-side)- Refers to someone else’s self, expressed towards another person. A
rude way to refer to someone. Move yu backside. (Move your self).
Badda (bad-da)- Bother. Naa Badda mi. (Don’t bother me.)
Bad like yaz- Expression for saying something is really cool.
Bad man/bwoy- Criminal type guy. A really bad individual. Bad man no flee.
(Gangsters don’t run away.) Dat a bad bwoy. (That is a gangster.)
Bag juice- The cheapest fruit punch money can buy.
Bait (be-it)- Scoundrel, punk, scum, and these types of people. Ooman naa like bait.
(Women don’t like punks.)
Bald head- A Rasta label for one who is too caught up with the evil system—Babylon.
Also is anyone who is a non-dreadlocks; usually white people.
227
Jamaican Glossary
228
Jamaican Glossary
C
Ca (cah)- Because. Also can be the word “Can”. Mi ca hab…? (Can I have…?)
Card- To play a joke or trick. Dem play a card pon mi. (They tricked me).
Cargo- A big and heavy gold or expensive chain one wears to show wealth.
Casco (kas-ko)- Imitation, fake designer clothes.
Cat- Female genitals. Mi nuh like fi bowcat. (I don’t like to perform oral sex).
Chaka-chaka- Messy and untidy.
Cha/cho- Expression of surprise. Cha! (What!)
Champion- A person who is extraordinary on the dancefloor and in the bed.
Chalice- The Rasta water bong/pipe that is made from a hollowed coconut.
Chatty-Chatty- Overly talkative to the point of irritation.
Check it deep- Check it out. When mi check it deep, a casco name brand. (When I
checked it out, it was a fake).
Chewsday- Tuesday.
Chi chi- Gay, homosexual, queer. Chi-chi man. (Gay man.)
Chuck- Full-size truck.
Clean- Sexual expression for giving a blowjob.
Cock it up- Aggressive sex.
Coil- Term for money when dollars are wrapped in a roll.
Coppa- Copper; a term for a coin valued less than a dollar.
Coo- Look. Coo yah! (Look here!)
Coolie- Jamaican Indian from India.
Coolie hair- Straight hair.
Craven- Greedy. Craven choke puppy. This is a famous line that depicts someone who
wants everything but, when they get it, they can’t handle it.
Cris- Slang for cool and instyle. Dat cris. (That is cool.)
Crosses- Problems and misfortunes. Mi always inna crosses. (I always have bad luck.)
Culture (kul-cha)- Reflecting or pertaining to the roots, values and traditions of Rastas.
Cuss-cuss- Shouting fight with bad words.
Cutchie- A clay-fired earth piece that fits into a chalice needed to hold ganja; a cup.
Cutlass- A cutting instrument; a very large knife.
Cutta- Cutter; can opener; cutting tool.
Cut yeye- Cutting your eye at someone by turning the eyes the other way.
Cyar (key-ar)- Car.
D
Dan- Than
Dandimite- Dynamite
Darkers (dah-kahs)- Sunglasses, shades.
Dat- That
Dawta (doh-ta)- Daughter; woman, good woman friend.
Dead- Dead, die, killed, to kill. ‘Im a dead. (He is dead).
Dear- Expensive. Dat cost dear. (That is very expensive.)
Deestant (dee-stant)- Decent.
229
Jamaican Glossary
E
Ease-up- To relax. Ease up uno self. (Relax yourselves.)
Eat unda sheet- Expression of performing oral sex.
Eaz haad- Ears hard. Means stubbornness or thickskulled; one who doesn’t listen. Yu
rass claat haad eaz. (You are damn stubborn.)
Eff- If
Ends- A place. Mi a go pon one ends still. (I am going to one place).
Eveling- Evening
Everything cook and curry- Everything is just fine.
F
Fa- For. Wa mek yu dweet fa? (Why did you do it for?)
Faas- Fast. Tap drive faas. (Stop driving fast).
Facety (fe-ast-ee)- Bad mannered and nasty; acting fresh.
230
Jamaican Glossary
Fambly- Family.
Fass- Nosey.
Favor (fā-va)- Looks like; resembles. ‘Im a fava a dinna pig. (He resembles the size of
a pig.) She fava har mudda. (She looks like her mother.)
Feel no way- Not taken in offense; not to worry or care.
Fi (fee)- To. This is the main Jamaican prepostion. Mi naa waan fi do it. (I don’t want to
do it).
Fi mi, fi she, fi yu, fi ‘Im- Mine, hers, yours, his. Shows possession. A fi mi cyar. (My
car). Fi dem. (Theirs.)
Fiah (fī-ah)- Fire; also used to designate the smoking of ganja. More fiah! (More weed!)
Fit- when used of fruits and vegetables, it means that fruit is ready to pick and is fully
grown, though not necessarily fully ripe to eat.
Flim- Film; mostly camera film. Mi need fi buy flim becaa’ no flim in’ai camra. (I
need to buy film because there is no film in the camera.)
Flex- To chill and hang out having a time; to plan an activity.
Follow- To travel close to, to follow or seek. Follow back a mi. (Follow me.) Di fly a
follow yu head. (The fly is seeking your head.)
Foot- Any part of the entire leg. ‘Im foot a bruk means that his leg is broken.
Forward- Future; to go or to move.
Fren’- Friend.
Frock- Dress. Also an expression, e.g. Fit ‘n frock means everything is good.
Fram- From; since. Mi dehya fram 6:00. (I have been here since 6:00). Fram when mi
a pickney mi a dweet. (I have been doing it since I was a kid).
Fresh- Not ready; still bitter or sour. Di juice a fresh still. (The juice is still raw tasting.)
Fuckery (fuk-ree)- A maljustice, something wrong and unfair; this is not considered a
bad word. A fuckery dat. (That was a messed up thing).
G
Gaan- Literally means gone. ‘Im gaan. (He is gone.)
Gaan to bed- An expression of loving something very much.
‘Gainst- Against. She fight ‘gainst mi. (She fought against me.)
Galang- Go along.
Ganja- Marijuana.
Gansey- T-shirt.
Gates- Home. Many homes in JA have gates. One’s “gates” is one’s home.
Get- To have, to have had, got, gotten. Mi get fi realize. (I realize or I have realized.)
General- A cool and smooth operator.
Ginnal- Trickster, con-person. ‘Im so ginnal. (He is a tricky person.)
Gimme- Give me.
Give tanks- A expression of gratitude; a Rasta expression.
Glamity- Womans’ sexual private area.
Gleena- Newspaper; the Jamaican Gleener.
Godeh- Go there. Mi no go deh. (I’m not going there)
Gone- Gone, passed, left. Mi see har di Monday gone. (I saw her the passed Monday.)
Gorgon- Outstanding person and very well respected. ‘Im a don gorgon. (He is a master
of situations).
231
Jamaican Glossary
H
Hab- Have
Haffi- Have to.
Half eediat (af ee-dee-at)- A very stupid person.
Hanga- Closet; hanger.
Hangle- Handle.
Har- Her
Haste (hee-ase)- To be in a hurry. Mek haste. (Hurry up)
Hat- Hurt
Higgla- A street vendor; comes from the British word higgler.
Hol ih dung- Hold it down. Means keep it steady; make a secret; not to be told.
Honor (hon-nah)- A Rasta word; greeting or good-bye.
Hose- Penis. Mi kyaan lock mi hose off. (I can’t keep it in side; in this case the speaker
is stating being excessively sexually active.)
Hot steppa- Hot stepper, which is a criminal; fugitive; escapee from jail.
Hush- Sorry. [Person 1] Ouch! Yu hut mi! [Person 2] Hush. {1} You hurt me! {2} Sorry.
Although, someone saying ‘hush’ to you may make you more angry, just remember that
in Jamaican Patois ‘hush’ means to be sorry; an apology.
I
I an I- Rasta speech for me. Me, myself, and I.
I-cense- Rasta word for ganga, which is taken from the Biblical word “Incense.”
I-ditate- Rasta word for “Meditate.”
I-dren- Rasta word for bredren, which is taken from the Biblical word “Brethren.”
I-laloo- Rasta word for “Callaloo”, which is spinach.
I-man / I-mon - Refers to the self. I-man waan dat. (I want that). Rasta for: Me or you.
I-ney- A classic Rasta greeting.
I-ree- Rasta word for “Irie”, which means to be happy.
I-sire- Rasta word for “Desire”
I-tal- Rasta term for “Vital”, which is a strict diet and way of life. Most commonly Rasta
food that is pure, unprocessed, and unsalted.
I-tes- Rasta word for “Heights.” The I-tes color for the Rasta is Red. This word is also
used as a greeting.
I-wah- Rasta word for “Hour.”
I-yah- Me (I) or you.
Ih (ih or ee)-It. Weh ih deh? (Where is it?)
‘Im- Him
Inna- In the. This word can also be spelled with only one ‘n’.
232
Jamaican Glossary
Inna di lights- Expression to say tomorrow. See you inna di lights. (See you tomorrow.)
Irie (Ī-ree)- Means everything is alright. Expression of feeling great and cool.
Iron bird (Irun-buud)- An Iron bird is an airplane. Yu jus come off di ironbud. (You’ve
just come off the plane.)
Is- This means it is, it was, or was it? This is can be used to repace the word it; and can
also pose a question if it comes first in the sentence. Is ‘im a dweet? (It was him that did
it or can mean. Was it him that did it?)
J
Ja, Jamdown, Jamdung- Words for Jamaica.
Jacket- Bastard; a child that is raised by another father. (Usually from the wife cheating
on someone else and the father never knowing.)
Jah- Lord. Jah Bless. (God Bless.)
Jah guide- A Rasta farewell and good-bye. Literally says that “God shall guide.”
Jah know- Lord or God knows; an expression of agreement.
Jake, Johnny, Joe- Terms Jamaicans use to yell and call out when they see white
Americans. Hey Jake!
Jancro- John Crow, which is the name for the hated albino buzzard/vulture; also an
expression of hate.
Jesum Piece- A soft expresson of aggrivation.
Jester- To joke; kidding. Mi naa jesta. ( I’m not kidding.)
Jook- To pierce or poke; to have sex.
Jus begin fi dead- Expression saying that people were really shocked or amazed, like
they could have dropped dead. Dem jus begin fi dead when wi did wi ting. (They
almost dropped dead when we did our thing).
K
Ketch- To ketch; to get, to achieve.
Key- Slang for good friend. Similar to “My main man.” Wa’ppun mi key? (What’s up
man?) This word also means the normal key we are used to for opening doors.
Kill mi dead- Expression of certainty; I’ll do it at all costs, no matter what. Mi muss a
go kill mi dead. (I’ll get there no matter what.)
Kiss teet- A facial expression when the lips are pressed together kissing and the
eyebrows up. Makes a hiss. Also is a very rude jesture and sound of the face and mouth.
Ku- Look. Ku pon dis. (Look at this).
Kya (Key-a) Care. Mi nuh kya. (I don’t care.)
Kyaan- Can’t; can not. Note: some spellings have it as “Cyaan” or “Caan”.
Kyaan done- Can’t finish; never ending. Mi lub yu kyaan done. (My love for you can’t
end.)
Kyarri (key-ah-ree)- Carry.
L
Laas- Last; or lose.
Labba-Labba- Talking to much. Labba mout. (A chatter mouth.)
233
Jamaican Glossary
M
Machet- A machete.
Maga- Skinny and slender.
Man juice- Sperm.
Manley- A Jamaican $1000 bill that has former prime minister Michael Manley.
Mantell- Male gigolo; a real player and whore of a man.
Marina- A sleeveless wifebeater T-shirt, commonly netted.
Mas- An old and wise master; a old-timer who deserves respect.
Mascot- Someone who is lame, inferior; can mean gay.
Mash it up- Expression of doing well; like, “Break a leg”; be a big success.
Mek- Let; make. Mek wi dweet. (Let us do it). Mek up yu mind. (Make up your mind).
Dat di best eva mek. (That’s the best ever made.)
Memba- Remember.
Mi- Me, I, mine. Mi soon come. (I’ll be there soon). [Can be pronounced Mee or Meh]
Mon- Perhaps the single most important Jamaican word, “Mon” can represent every
person in Jamaica—man, woman, and child. Yes mon! (Yes man, woman, or child!)
‘Mongst- Amongst
More time- Popular expression for saying good-bye. This must be said with power and
voice. More time! (Later!)
Mos def- Most definitely. An expression meaning, of course, yes, sure, ECT.
Mr. Mention- A real ladies man who is the talk of the town so to speak.
Mudda- Mother.
Muss- Must.
Mussi- Must be.
My yute- My youth. Friendly expression of calling a friend or youger one. Hey my yute.
(Hey my friend).
234
Jamaican Glossary
O
Obeah- The withcraft or spiritual science native of Africa. It is the type of voodoo in
Jamaica. She a put Obeah pon ya. (She cast a spell on you.)
Odda (ud-dah)- Other. Dey nuh odda way. (There’s no other way.)
Ongle- Only.
Ooman- Woman.
Ooo- Who. Is fi ooo? (Whose is it?)
Ova- Over.
Ovastan- Rasta word for “Understand”. Literally means “Overstand”.
P
Pear (peer)- Avocado.
Peas- Beans. Rice an peas. (Rice and beans).
Pickney- Child, children, kids.
Poas- Post; to mail.
Priors- Prayers.
Pull- To open. Pull di can a peas. (Open the can of beans).
Pum, Punash, Punaani- Female genitals.
Pussyclot- Curse word.
Pussyhole (pus-swhol)- Curse word.
Pyur (peer)- Only; used in conjunction with things in large quantities. Always remember
to say this like peer. Pure gal waan mi. (Many girls want me).
235
Jamaican Glossary
R
Radda- Rather.
Ragga- The current name of popular regae music. Ragga music relies heavily on a digital
equipment.
Raggamuffin- A Jamaican ghetto dweller. Naa mess wit no raggamuffin. (Don’t mess
with a ghetto person.)
Rakstone- Rocks, stones. Rakstone inna mi shoe. (I have rocks in my shoes.)
Rass/Raas (rass/rahz)- Common word and expression meaning ass; also it can add
intensity to objects or basic words in normal speech. Ending a word with clot makes it a
curse word.
Ray Ray- This is a term used when someone is talking too much or telling a story.
Similar to saying blah blah.
Ready- A person, usually always a woman, who is sexually attractive.
Red- High or drunk. Also is the color of a person who is not fully Black. E.g. Red Rat.
Red yeye- One who is covetous and jelous of things. Yu yeye too red.
Reespek- Respect. A very popular Rasta greeting that shows courtesy.
Renk- Foul; smelling bad; very rude.
Response- Responsible. Response fi ooo? (Responsible for whom?)
Rest- To relax and settle down. Rest mon! (Calm down!)
Rhaatid (rah-tid)- A mild exclamation of surprise or irritation. Similar to gosh, heck, and
damn.
Righted- Correct and with sense. Dat nuh righted. (That was with out sense).
Rockas- Music to “rock” to. Slang for music and enjoying such.
Romp- To mess with or play. Yu wanna romp wit me? (Do you want to mess with me?)
Rope een- To join in or come in on an activity going on.
Rude bwoy (rood bwhy)- A basic slang term. Can be a common greeting to a cool friend
or it can describe a tough guy, rebel, or criminal. Wa’ppun rude bwoy? (What’s up
man?) ‘Im run di rude bwoy bizness. (He runs the criminal business).
Run a boat- A saying where many people will cook and eat a big dinner.
S
Sa (sah)- Sir.
Salt (saál)- Bad luck, unlucky. Mi get salt. (I was unlucky.)
Samfi (sam-fī)- A trickster and conman out to get money. ‘Im a samfi man. (He is a
conman).
Sapps- A man who is controlled by a woman.
Satday, Satnight- Saturday and Saturday night.
Sciecne- A term for the following of the Obeah witchcraft cult practice. She a scientist
becaa she follow di Science people dem. (She is an occult practitioner [Obeah] because
she follows people of that cult.)
Scenty (sent-tee)- Smelling good; a good scent. Mi put mi turn on perfume an mi
scenty. (I put on my “Turn on” perfume [turns on the woman] and I smell good.)
Screw- To be angry. Screw face. (An angry face.)
See it - Slang for “Do you understand or do you see”.
236
Jamaican Glossary
T
Tack- Bullet.
237
Jamaican Glossary
Tall- Long. Har hair tall, ee? (Her hair is long, huh?)
Tallowah- Strong and sturdy.
Tam- A large oval-shaped Rasta hat used to cover dreadlocks.
Tan- Stand, stay, wait and see; also to be as in to be such a way. Tandeh. (Stay there,
just you wait). A so ‘im tan. (That’s the way he is).
Tanks- Thanks.
Tan pon it lang- Expression of having sex for a long time.
Ten toe turbo- An funny expression meaning to walk and use your feet. It must be
known that the majority of Jamaicans walk for transportation.
Teet- Teeth.
Teif- Thief; to steal. Di teif a teif mi tings. (The thief has stolen my things.)
Tek- Take or get. Tek time. (Take time / slow down).
Tess- Test. Yu waan tess mi? (Do you want to test me?)
Trash an ready- A popular slang expression meaning to be very stylish and fashionable.
Tree- Tree; also the number three. ‘Im a tree bunna. (He cheats “burns” on three
women.)
Truu- Truth; true; through; threw.
Truss mi- Trust me.This is an ever-popular expression used when agreeing with some
one. Basically means: “Oh yeh, believe me, I know”, ect.
Truut- Truth past tense. ‘Im tol di trut. (He told the truth.)
Tun- Turn. Im tun deh. (He turned there).
U
Unda gal pickney- Expression for what is “Under the girls’ pants”.
Undastan (un-dah-staan)- Understand.
Uno or unno (uh-no)- The plural form of you, you all, the all of you, ECT. Also means
all. Uno yu. (All of you.)
Upful- Positive feelings. Yu so upful. (You are cheerful.)
V
Van- Pick-up truck.
Vank- To beat, eliminate, or conquer. Comes from the word vanquish.
Vex- This the key word that is used to mean angry, mad, upset, furious, ECT. Naa mek
mi vex, mon! (Don’t make me mad!)
W
Wa (wah)- What.
Wa day-The other day. Memba wa day weh wi dweet? (Do you remember the other
day when we did it?)
Wa mek? - Why
Waan- Want; need.
Wanga gut- One who has a fat stomach; one who likes to eat and seems hungry all the
time; a hungry-belly.
238
Jamaican Glossary
Wa’ppun- What’s happening? This is the most popular greeting used. Always say this
instead of the American, “What’s up.”
Weh- Where; past tense of was; present tense of is; that is.
Wear- To wear; it is worn, worn, wears. Batty ridas still a wear by di gal dem. (Short
shorts are still worn by the girls.)
Wheels- Car.
Whole heap- Slang for very large quantities; a lot, a whole heap. Very common to use.
Wi- We, us, our, ours. Naa touch wi tings. (Don’t touch our things). Yu a come wit wi?
(Are you coming with us?)
Wicked- Slang for bad or evil. Dat wicked, nuh? (That’s cool, huh?)
Winji- Very thin and unattractive. She too winji. (She’s too thin.)
Wit- With.
Wrap up- Slang for kidding or joking. Mi naa wrap up. (I am not joking.)
Wood- Penis.
Work (wuk)- Slang for sex.
Wutless- Worthless. When used in conjunction with a man it means one who is lousy in
bed. ‘Im a wutless bwoy. (He is a worthless, sexually useless, man.)
X
X amount- Countless; many. Mi get x amount a lovin. (I receive plenty of love/sex.)
Y
Ya, Yah- You, here, also can mean yes.
Yahso- Over here; right here.
Ya nuh see it? - Slang for, you know?
Yaad- Yard, place of residence, house, home. Tek mi a mi yaad. (Take me home.) Mi
baan a Jamaican Yardi. (I was born a Jamaican.)
Yeh- Yes.
Yeye (yī)- Eye.
Yeyewata- To shed tears, cry.
Yuut- Youth. A popular name for calling a friend; can also refer to someone younger.
Also popular using man as ending. Yu a mi bredrin fram yuuts. (You’re my friend
from youth.)
Z
Zed- The letter Z. Fram A to Zed. (From A to Z).
Zeen- Understand, you know, you see, okay, yeh, ECT. One of the most popular words,
zeen. Zuke a mi lass name, it a begin wit zed, zeen. (Zuke is my last name, it begins
with the letter z, you see). Zeen can be signal a question or agree with a statement.
Zion- This is the holyland talked about the Rastas, which is in Ethiopia.
239
Countryman the Movie
Fisherman dialog.
Countryman: Yu see dis? Is a Snappa. Di fisherman here use traps and catch 'im.
Sometime rough rough wedda come and tek away di trap wit di fish in it. And dis fish
will live in dis trap and di trap will catch odda fish and feed 'im till 'im grow big. And di
trap get big and di trap get weak. And one day dem just break out. Well, is just so you
must do.
Death is a force of nature. Just like lightning. The righteous face it everyday and pass it
by. But, those with evil in their hearts fear it. Dat is why there is no need to slay di
wicked. Just leave them to face death and they will perish.
Bad vibrations dialog between police sgt. and a man hired to kill Countryman.
Countryman’s dialog and lesson with Bobby (the crashed pilot) and his girlfriend.
241
Countryman the Movie
Countryman: No, sista. I’m a stronger force. Di wind, di sea, even di ert defend I. Yu,
sista, came here in a small plane. Dat plane is a nice lickle invention, But nature bring it
down. An now is the same type of invention is hunting fa yu. But nature protcect yu.
[Laughs] Ya see it?
If I says to yu, brodda: Go to di highest school in Babylon and speak with the wisest men
there and find out all there is to know about machine.
And I says to yu, sista: Go into di swamp, into di sea, down into di ert and learn all there
is to know from di creatures yu see there. From di sun and from di star.
Hear yu know. Yu said dat yu can mek a rocket dat will tek yu to di moon. Don’t yu tink,
sista, yu could do a ting and cause lightning and blow his rocket outta di sky?
Countryman: Sure!
-How?
This dialog is between Countryman and a friend of the police, who is looking to get a reward
for capturing the lost pilot.
Man: Well, Country. See change here; own a nice boat, mon.
Country: Whappun?
Man: Police man jus check mi. Dem offer a 5000 dollar reward for anybody ooo can help
dem capture di pilot of the crashed plane. As how yu know dem swamps good, dem easy
fi yu catch ‘im.
Country: Mi no, sa! Mek soldier find ‘im. Di next ting mi go look fi’m soldier shot mi—
tink me’s outlaw. Hah! Mi gwaan in dis lickle boat. Man free!
Man: Bwoy, I wudda love dem try teif one a dem boat now. Mek I get fi catch ‘im. Like
how mi an di misses cudda use di money.
Country: Hold dis fi yu an di misses meantime now. [Handing two freshly caught fish]
242
Bibliography
Selected Bibliography
1. Adams, L. Emile. Understanding Jamaican Patois—An Introduction to Afro-
Jamaican Grammar. 1991. LMH Publishing. Kingston, Jamaica.
6. Diop, Cheikh Anta. The African Origin of Civilization: Myth or Reality, ed.
and translated by Mercer Cook. New York: Lawrence Hills & Co., 1974.
11. Oats. Live Foods for the Living. Ras Vibe Magazine.
Vol 1. First Quarter 2/02-5/02. pg.15.
14. Robinson, Rowan. The Great book of Hemp. Park Street Press, Vermont.
1996.
243
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Special Orders
and Offers
Direct orders and volume discounts for this book
can be processed at the following Internet
websites:
www.Reggae-Rasta.com
&
www.SpeakJamaican.com
244
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