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The Rastaman Vibration

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.

© 2009 Far-Eye Productions, Second Edition by Ras Zuke

Designed by Ras Zuke

First Printing: 2002. Naples, Florida. USA. (Acid-free paper)

ISBN: 0-9720635-0-1
Library of Congress Control Number: 2002093954

Library of Congress Cataloging in Publication Data


Ras Zuke
The Rastaman Vibration: With Bob Marley and Jamaican Patois.
Includes Bibliographic Reference and Glossary
1. Cultural Studies (Jamaica / Rastafari). 2. Linguistics (Jamaican Creole / Patois).
3. Reference. 4. Music—Reggae. 5. West Indies: Caribbean—Jamaica. I. Title

IN COOPERATION WITH:

www.Reggae-Rasta.com
www.SpeakJamaican.com
www.RockersTheMovie.com
The Rastaman
Vibration
With Bob Marley
And Jamaican Patois

Re-introducing— the all time best ever Reggae-Rasta Movie—

ROCKERS!

With Speak Jamaican Patois—the Complete Course!

Featuring the “Dancehall Explosion” with Popular Reggae/Ragga

Artists and Lyrics!

Jamaican Reggae-Rasta Culture and More!

By Ras Zuke
Special Thanks

Thanks are first given to Patrick Hulsey, producer of


ROCKERS—for his endorsement of the inclusion of the
movie in this book.

The Author gratefully acknowledges the following:

 ReggaeSound.com for music lyrics.

 RedRat.com for pictures and biography.

 The many famous reggae artists that are in this book.

 The many wonderful business owners in the Reggae, Rasta, and


Jamaican business community.

 To the Jamaican-Reggae-Rasta Internet World and to the many


webmasters responsible for public information and pictures.

 To the many photographers whose photos are appreciated.

 Dr. Suzar Epps—for her great and informative writings, which


excerpts are contained in this book.

 To all the DJs and Selectas for their insights.


Preface

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.

This book begins by tracing man’s history as recorded in the Bible.


After a new seed of “History” is understood and planted in your mind, you
will become familiar with the origins and development of Rasta movement.
You shall also know about the following: Dreadlocks, Ganja, the lineage of
Judah, and the I-tal diet. You will also see that Rasta is simply a way of life.

Laced throughout various pages of this book, the words of Rasta-


Prophet Bob Marley are in attendance for all to read and comprehend. An
entire chapter is devoted to Bob Marley.

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.

The latter part of the book, which is non-Rasta related, is dedicated


solely to understanding and speaking Jamaican Patois (Patwah). In soon
time, you will be able to understand and speak Jamaican Patois. This book
will give you a good taste for Jamaica and its people. This section
incorporates many colorfully detailed elements of the Jamaican
conversational language. Included in this book are common slang terms and
popular Jamaican music lyrics from the current dancehall-reggae music era.
The Speak Jamaican section is divided into many basic lessons and
constitutes a complete language-learning experience.

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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Part One:
The RASTA CREATION,

The RASTA FOUNDATION,


&
The RASTA VIBRATION

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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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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 descendants of Japheth, the youngest son of Noah, settled beyond


Mesopotamia. They went over the European costs of the Mediterranean and settled along
nearby places. They went into Turkey and from there, they moved into various places and
into the Caucasus Mountains of Western Russia. From there, they further settled into
Europe and Russia. They are the ancestors of the Caucasian people. The sons of Japheth
are the Gentiles—the Whites. (Gen. 10:1-5.)

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.]

Some scholars suggest a euphemism, which suggests


believing that a major sexual transgression took place on the
part of either Ham or Canaan. Sexual transgression is placed
next to murder in a purely religious context. Murder, as
Bible readers remember, was first committed by Cain, who
“Rose up against Abel his brother, and slew him…And Cain
said unto the Lord, My punishment is greater than I can
bear.” Cain was then “Cursed from the earth…and the Lord
set a mark upon Cain…” Some suggest that this “Mark” is
the skin of the Black man. Because Cain’s punishment was
greater he could bear, his posterity would then have to bear
punishment for him. It is further reasoned that this mark
serves as an identification of Cain’s children.

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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.

Ancient Ethiopia and Egypt


To discuss Ancient Ethiopia without discussing ancient Egypt is impossible. They
are known to be the same. The Word “Ethiopia,” as we now have it, is a Greek translation
of the Hebrew word for “Black people.” In Greek, “Ethiop” means “Burnt” or “Black;”
and when the Old Testament was translated form Hebrew to Greek, “Cush” was changed
to “Ethiop.” An early eyewitness of the Egyptians was Herodotus, who according to his
own words said, “The natives of the country were black with the heat”. On another
occasion he stated, “They are black skinned and have wooly hair.” (Barrett, 72)

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!

The Nose of the Sphinx


Reporting on the puzzle of the racial identity of the ancient Egyptians and first
inhabitants of the area, Count C. Volney, a distinguished French scholar who visited
Egypt in the late 1700s, wrote with astonishment "...When I visited the Sphinx, its

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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.

The Everlasting Covenant of Abraham


Gen 17: 1, 7-8 (See also Gen 12: 1-2)—
The Lord appeared to Abram (Abram was from Shem), and said
unto him, I am the Almighty God; walk before me, and be

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thou perfect…And I will establish my covenant between


me and thee and thy seed after thee in their generations
for and everlasting covenant, to be a God unto thee,
and to thy seed after thee. And I will give unto thee, and
to thy seed after thee, the land wherein thou are a
stranger, all the land of Canaan, for an everlasting
possession; and I will be their God.
Abraham was commanded to leave to the land of Ur of the Chaldees and journey
to Canaan (now Palestine), the land promised to him by God. The Chaldeans were an
African people of Hamitic descendent. It was in this land that Abraham was born. Gen.
11:28. Abraham, carrier of the blessings that descended from Shem, was entered into a
covenant with God. Upon his arrival, Abraham found the land of Canaan inhabited by
Hamitic people. Gen. 15:18 clearly reaffirms the boundaries of the land to be
inherited by Abraham, which was from, “The river of Egypt unto the great
river, the river Euphrates.” Thus, from the Nile to the Euphrates includes the
vast land of what now is the Middle East. Gen. 15:19-21 lists the Hamitic tribes
people and nations that inhabited the region promised to Abraham.

The 12 Tribes of Israel


A thing to know is that Abraham is not from Ham but from Shem. However, the
children of Shem, who are Abraham’s posterity, “Dwelt” with the children of Ham, the
Canaanites, throughout the scriptures—becoming a truly mixed people. The great
covenant of Abraham was passed to his chosen son Isaac, who was commanded not to
marry a Canaanite. Gen. 24:3. Isaac, who at this time was the Prophet, had two sons
Jacob and Esau. Jacob would be the chosen son and heir to the Covenant. Jacob, like his
father Isaac, is also forbidden to marry a Canaanite. Gen. 28:1, 13-15. Jacob, whose
name later was changed to Israel (Gen. 32:28 and Gen. 35: 9-12), had 12 sons.
His 12 sons where born of different women and handmaids. Jacob’s first wives were
Leah and then Rachel. Leah bears: Reuben, Simeon, Levi, and Judah. Rachel remains
barren. Jacob marries Bilhah, a handmaid, and she bears Dan and Naphtli. Jacob then
marries Zilpah, also a handmaid, and she bears Gad and Asher. Leah later bears two more
sons, Issachar and Zebulon. Rachel finally bears Joseph and Benjamin. His 12 sons are
the famous 12 Tribes of Israel. Now the important part is coming—Israel loved Joseph
more than all of his children. Gen 37: 3. Joseph is now a key figure, which we shall
discuss next.

Joseph marries a black woman begetting Ephraim


and Manasseh
Here begins the story of Joseph, who was sold into Egypt by his brothers. “The
Lord was with Joseph.” Joseph lived well among the Egyptians and even
interpreted the dream of Pharaoh. Pharaoh gave Joseph to marry Asenath. This woman

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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.

Exodus: The mixed race (Shem and Ham) of


Israel is lead out of Egypt.
Exodus 7-8 After the death of both Jacob and Joseph, “the children
of Israel were fruitful, an increased abundantly, and
multiplied, an waxed exceeding mighty; and the land was
filled with them. Now there arose up a new king over
Egypt, which knew not Joseph.” At this time, about 400 years of history
passed since the death of Joseph. This new king realized the political power that the
Israelites had gained. So, he put them into bondage to serve with rigor. Ex. 13-14. This
is where the story of Moses comes into place. The king orders the killing of male Hebrew
babies by casting them into the Nile River. This is where Moses was found floating in a
basket. Pharaoh’s daughter, who realized that the baby was a Hebrew, found him and
adopted him. If Moses had been a white baby, it would have been very difficult to
conceal him from her father's anger and raise the boy to a grown man.

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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contain the history of Moses. A further note you probably do not know—Moses was
married to an Egyptian! (Numbers 12:1)

The King James Bible


Without really searching, one would never know how much of a part the Black
people of the earth played during earth’s TRUE HISTORY. The uneducated would also
never recognize that the Blacks are indeed the Children of Israel. Because of the way
history is taught, many remain blind. I need not explain that the Europeans, including the
Roman and British Empires, have presented history only in reference to their eyes—eyes
of colonizers and enslavers. Even the common King James Bible is a translation that was
intended not for Blacks or the other natives of the earth, but specifically for the “People
of England” as it reads on the Bible’s preface page. By England having “The word of
God,” they would use this mask for centuries to oppress and enslave millions of people
for political power. Missionaries have been sent not to bless the lives of people of every
nation (as the mask appears), but to Christianize and colonize. The heading on the preface
page of the King James Bible reads:

TO THE MOST HIGH AND MIGHTY PRINCE


JAMES
BY THE GRACE OF GOD
KING OF GREAT BRITAIN, FRANCE, AND IRELAND,
DEFENDER OF THE FAITH, &c.

[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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Bob Marley speaks on the Bible and King James:


“See, Christ promised that he will return within 2000 years. And
so when Him come, he will be the King of Kings, the Lord of
Lords, the Conquering Lion of the Tribe of Judah—through the
lineage of King Solomon and King David. Now, my life have
great meaning to me. So, I really search to find out if God is
here. And I search and I look. I look in Ethiopia. I look all
about. I look in Germany because I am not prejudiced. I look for
God. I look in Ethiopia and I see one man stand up with these
names, Emperor Haile Selassie, name King of Kings, Lord of
Lords, Conquering Lion of the Tribe of Judah, through the
lineage of King Solomon and King David written in the Bible.
One of my things is that…they say that King James edit the
Bible, I don’t think he would edit it for the benefit of Black
people. So, when the revelation turn out that Haile Selassie is
the King of Kings and the Lord of Lords, straight through the
lineage of King Solomon and King David, then you really know
that this is the Christ return. Because we know in this world that
when the white man edit, he wouldn’t edit it in our behalf. He
would more edit it and make it look like England would be the
big thing. But in the Last Days, it prove that it’s Ethiopia, Haile
Selassie, you know, and Haile Selassie name is Rasta. So, we
are called Rasta—called by his name.” —1980.

The Tribe of Judah—The line of Christ through


King David—in Ethiopia.
Judah was one of the 12 tribes of Israel (from Shem). Judah had a Canaanite
(Hamitic and Black) wife, Tamar. 1 Chronicles 2: 3. Now, Judah and Tamar had a
son, Pharez. It would be through Pharez that King David would come. Ruth 4: 12-22.
Now, this is as far as we need to go. For it is established that the line of Christ was
through David from the tribe of Judah. This signals great importance because it shows
that there was a Black presence in the lineage of Jesus. Christ is known as the “KINGS,
LORDS OF LORDS, CONQUERING LION OF THE TRIBE OF JUDAH,
ELECT OF GOD, AND EARTHS RIGHTFUL RULER.”

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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.

18
The Rasta Creation

The Bible speaks of the Lord coming in a new name to a New


Jerusalem. (Rev. 3:12). This new name came into effect on
November 2, 1930 in the New Jerusalem—Ethiopia (Zion). This
was the day of coronation of Ras Tafari to the new name of Haile
Selassie, meaning “Might of the Trinity,” to which was added
“King of Kings, Lord of Lord, Conquering Lion of Judah, Elect
of God, and Light of this World.” No longer a lamb to the
slaughter, as Christ was, but a Conquering Lion. It is believed by
Rastas that the new name of the Lord is none other than His
Imperial Majesty—Haile Selassie. Thus, he is Jah (LORD) Ras
Tafari. Selassie is Christ—in His new name!

Ras Tafari—
Haile Selassie, the first.

It was with the following scripture, Revelation 5: 2-5, that the Rastas
proclaimed his divinity.

“And I saw a strong angel proclaiming with a loud


voice: who is worthy to open the book, and to
loose the seals thereof? And no man in heaven, nor
in earth, … was able to open the book, neither to
look thereon…And one of the elders saith unto me,
Weep not: behold the Lion of the tribe of Judah, the
Root of David, hath prevailed to open the book and
to loose the seven seals thereof.“

Psalms 68:4 “Sing unto God, sing praises to His name:


extol Him that rideth upon the heavens by his name JAH,
and rejoice before Him.”

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."

Baby Ras Tafari Makonnen.

19
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.”

Revelation 19: 16—


And he hath on his vesture and
on his thigh a name written, KING
OF KINGS, AND LORD OF
LORDS.

Selassie-I is the king of kings’ pon


ert (earth). Now, which guy pon di ert is
rich like di king of kings? —Bob Marley.

20
The Rasta Creation

Garvey—Precursor to the Rasta


Rasta is the movement that accepts His Imperial Majesty, Haile Selassie-I, as Divine.
Jamaican born Marcus Garvey, who said to the people, “Look to Africa for a crowing of
a Black King; he shall be the Redeemer.” These were the words of prophecy that started a
fire in the hearts and souls of Black people. This fire urged the people to repatriate, or
return home, to Africa. This was the awakening of the Ras Tafari movement.

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

21
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."

“Marcus Garvey was a


prophet, mon. Marcus Garvey tell
us to look to di east to da King. And lot of ting
Marcus Garvey say. And lot of ting come to
pass, and some still leave, and everyone see it.
‘Mean, get more stronger you know, is really
caz everyting weh ‘im say in dem time a
happen today—and everyone a see it
happening. It well played.” –Bob Marley

22
The Rasta Creation

Rasta Beginnings — Preacher Leonard P. Howell


Just as the Rasta movement was escalating, Marcus Garvey moved in London in
1933. Garvey’s association with the Rasta movement, consequently, was non-existent.
Garvey, however, never adopted the belief that Haile Selassie was God. Marcus Garvey
was the one who got the Black masses to first realize the importance of Africa. It was
Leonard Howell that recognized and really started the Rasta movement. Howell was the
one who took the crowing of the new king seriously and started to preach the divinity of
Haile Selassie-I. He realized that the time to “Look to Africa” had come, in 1930, when
Ras Tafari was crowned “King of Kings.” Howell started to preach throughout Jamaica.
Howell listed the following six basic principles that penetrated the hearts of new Rasta
recruits, but soon was arrested:
1. Hatred for the White race. (From the basis of slavery, oppression, injustice, and lies.)
2. The complete superiority of the Black race. (To give the Black race hope and determination.)
3. Revenge on Whites for their wickedness.
4. The negation, persecution, and humiliation of the government and legal bodies of Jamaica.
5. Preparation to go back to Africa.
6. Acknowledging Emperor Haile Selassie as the Supreme Being and only ruler of Black people.

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.

“His head is as the most fine gold, his Locks are


bushy, and black as a raven.” (Songs of Solomon 5:11 emphasis
added.)

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

24
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.

A White Dread. A Native Jamaican Dreadlocks.

A Rasta peering into Babylon.

Ras Benji. Photo by Jake Homaik.


Smithsonian Institute.

25
The Rasta Foundation—Dreadlocks

A Sadhu (Shiva worshipper) with long locks. “Skully” from Israel Vibration.

26
The Rasta Foundation—Dreadlocks

A Rasta enjoying an I-tal lunch. A Rasta from the Abyssinians.

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.

 Ras Tafari is God.

 Natural is better.

 Babylon will fall.

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.

“Dreadlocks are a symbol of humans in


their natural state.”

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

demonstration and symbolic voice against organizations and governments of oppression.


In essence, dreadlocks are a manifestation and devotion of truth.

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

The Divinity and Energy of Dreadlocks


According to the Bible, where God or the "Ancient of Days" is described as
having "Hair like the pure wool." (Dan. 7:9) “ The Power that causes galaxies to spiral,
and planets & atoms to spin; that causes the double helix spiral of the DNA molecules -
this same spiraling power causes spiraling hair... otherwise known as NAPPY, kinky,
curly, frizzy, wavy, WOOLLY hair! The words, SPIN, SPIRAL, and SPIRITUAL have
common roots! The Supreme Power spins; spirals; it is spiritual. It moves or spirals the
universe! The entire universe dances in spirals and rotations; everything in it reflects the
"SPIRaling, SPIRitual" essence out of which it is made! The "SPIRal," especially the
Golden Spiral, is simultaneously the most profound motion and design in the universe -
built into all life forms, from seashells to man, to spiraling nappy hair! Your blood spirals
through your veins! Plants spiral up from the soil! And nappy hair spirals out from the
hair roots! Ball your hand into a fist and slowly extend each finger and you will see for
yourself how the tip of each finger opens in a golden spiral path! Straight-haired people
also have a spiral on their heads, visible as a whorl pattern with its center in the back of
the head, where their straight hair grows out slanting in the whorl's direction. Wooly
haired people have both, the whorl pattern and the individually spiraling strands of
helical, coiled, spring-like, nappy hair ... the choice of the gods!” (Epps)

High Tension Wires


Hair is really antennae, which can
receive and transmit energy! A vital benefit that
these naturally amplified and tightly packed
antennas bring are that they allow for sharper
perceptions and can alert the brain to sense unseen
dangers. A Rastafarian explains that dreadlocks are,
“A quality of Black people that are high-tension
wires, which transmits divine energy and inspiration
from Jah [God], the creator, to Rasta, the mirror."
(Nichols)

Becoming a Dreadlocks Rasta


“So I an I sight then that within such manner of man chanting to I an I, I an I couldn’t turn them
away. Yet when I an I dreadlocks even chant and say the man is a spy…now I an I dreadlocks
would have to find out the truth. Jah say I an I must test the man when them come to I an I, and
know what Irie [goodness] dwell in the man…So when you come ‘mongst I an I dreadlocks, you
have fi take what sounds you get because you have on the shape and features of a beast. But
when the man dread up within certain knowledge now, then I an I can accept you as a man who
has taken the step towards the integrity of the King of Kings of the Iternal one of creation.”
(Rastafari, 212)

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 speaks on Bob Marley’s 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.

“Bob exposes op-pol-lied violence—as dis white man mash yu


and tell yu, ‘excuuuse me sir!’ Bob exposes dat. Deese are di
messages we wanted Bob to expose—worldwide—to his
generation. Like in dis album now, (pointing to cover of Catch
A Fire) if yu look pon him locks, him did’n develop his locks
dat could beat di world wit, zeen? It was only growing. And
dem could’n tek dat lick off dat whip—di locks whip! So dem
haffi get at him head quick, yu know wa’I mean, and stop it
from grow.” —Mortimer Planno
(Film footage and words from Catch A Fire DVD, 1999)

31
The Rasta Foundation—Ganja

Ganja—The Holy Herb

Rasta Coconut Chalice. Derminte and Bongo Stephan with chalice.

“We use cannabis ya know? We use


di herb. Herb is di healing of the
nation. Like how is the destruction
of mankind, herb is the healing of
the nation. Da more you accept
herb is the more yu accept
Rastafari, yu dig wa mi a say? Wi
ooo accept herb, herb is important
but herb is more important to the
people ooo don’t accept yet—becaa
dat’s the reality, I mean, a not
similar to something you crave, but
you check it inna yu sense and say,
“herb is a plant!” I mean herb is
good for everything. Why deese
people ooo want fi do so much
good fi everyone ooo call dem self
governments and dis and dat—why
dem say yu must not smoke di
herb? Ya see? And we check dat
and we kyaan find, we just see dem
just say yu muss’n use it ‘caa it mek
yu rebel—against what?”
—Bob Marley

Bob Marley in a cloud of inspiration.

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.

From industry to spirituality, Cannabis is the solution!

33
The Rasta Foundation—Ganja

“Hemp is of first necessity to the


wealth and protection of the
country” –Tomas Jefferson

The early Americans (the rebelled British colonizers who


simply colonized the Indian’s land and called it the United
States) used cannabis as a medicine—it was the most
prescribed medicine (next to aspirin) from 1840 to 1893.

Brief Hemp Facts:


 The original drafts of the Declaration of Independence and
Constitution were written on hemp paper.
 Hemp was used for money in America until the early 1800’s.
 Henry Ford built and powered a car from hemp.
 The United States government encouraged farmers to grow hemp to
help win WWII.
 Over a hundred medicines are used from the cannabis plant.
 The hemp seed is nature’s perfect food, packed with protein and
essential fatty acids. (Robinson, The Great Book of Hemp.)

So, why is practical and beneficial Cannabis condemned?

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

Ganja: The Weed of Wisdom


While its use is largely connected with Rastas, ganja use among Jamaicans was by
no means unique to the Rastafarian movement. Before Rasta emergence in the 1930's,
native Jamaican herbalists used ganja as a folk medicine, particularly in teas and in
smoking mixtures with tobacco. Although its use had been prohibited very early in
Jamaica, most peasants had no knowledge of its illegality. With the emergence of the
Rastas, however, the smoking of the herb came to take on new significance. (Swagga).

Ganja is regarded as "Wisdom weed.” Rasta leaders urge ganja to be smoked as a


religious rite, further saying that it was found growing on the grave of King Solomon.
Citing biblical passages, such as Psalms 104:14, Rastas attest to its sacramental
properties: "He causeth the grass to grow for the cattle,
and herb for the service of man, that he may bring forth
food out of the earth."
For the Rastas, whose beliefs do not necessarily form a religion per se, but actually a way
of life, the smoking of the herb symbolizes much more than an attempt by the movement
to, "Show its freedom from the laws of the Babylon." Rather, it is an intensely religious
experience and the key to a new understanding of the self, the universe, and God.
According to a leading Rasta, “Man basically is God, but this insight can
only come to man with the use of the herb. When you use the herb,
you experience yourself as God. With the use of the herb, you can
exist in this dismal state of reality that now exists in Jamaica. You
cannot change man, but you can change yourself by the use of the
herb. When you are God, you deal or relate to people like a God. In
this way you let your light shine, and when each of use lets his light
shine, we are creating a God-like culture and this is the cosmic unity
that we try to achieve in the Rastafarian community.” —Ras Sam Clayton,
1975.

According to Rastas, the average Jamaican is so brainwashed by colonialism that his


entire system is programmed wrong. His response to the world is conditioned by unseen
forces due to European acculturation, and can only be "Loosened up" by the herb. The
use of the herb results in a true revelation of Black consciousness, which brings about the
proper love for the Black race. With ganja use, one's true African identity can finally be
realized. One will also know that the revelations pertaining to Haile Selassie are true and
that Ethiopia is the home of the Black people.

“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 shun cigarettes because moneymaking corporations, whose cigarettes are


injected and sprayed with chemicals, produce dangerous and addictive tobacco. It is clear
that any commercially pre-packaged cigarette contains numerous harmful chemicals. The
tobacco found in today’s cigarettes is certainly not completely natural. However, when
mixing it with ganja, Rastas may smoke tobacco that is pure, natural, and fresh!

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.

“And God said, Behold, I have given you every herb


bearing seed, which is upon the face of all the
earth, and every tree, in the which is the fruit of a
tree yielding seed; to you it shall be for meat."
(Genesis 1:29)

Testimony of Ganja
The following is part of an interview with a leading Rasta:

“…Ganja is really used to bring forth a peaceful and complacent aspect


within man. We do not believe in the excessive use of ganja. It cannot be
used to excess. In that case, it would be bad for man. But, in truth, ganja

36
The Rasta Foundation—Ganja

used moderately is not bad. We do not find ganja as a mental depressor;


ganja sharpens your wit, and keeps you intellectually balanced. It is not a
drug; it is not an aphrodisiac either. We smoke it, we drink it, and we
even eat it sometimes. We do not find it a poison. I have been smoking
ganja since I was eighteen years of age. I now am fifty, and I have never
been to a doctor for any ganja related ailments…”—Ras Sam Brown,
1975. Interview by Leonard Barrett, Sr.

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.

Rasta Coconut Chalice

Clay-fired cutchie to hold ganja.

Rubber hose to draw smoke.

Thumb hole for regulated


airflow.

Water inside coconut

An authentic handmade Rasta


Chalice can be purchased at
www.Reggae-Rasta.com

37
The Rasta Foundation—Nyabinghi

Nyabinghi—Word, Sound, and Power

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.

The term "Nyabinghi" is “Grounations,” to


said to have come from a commemorate revered
religious, spiritual, and events. These events
political movement against are as follows: The
the evil forces of the coronation of his
White man who was Imperial majesty
enslaving the native (November 2), his
peoples of East Africa in majesty’s visit to
the 1800’s. The original Jamaica (April 25,
name meant “Death to the 1966), and his
Whites,” specifically majesty’s birthday
referring to the Europeans. (July 23, 1892).
The early Nyabinghi was
set up as a secret-society Nyabinghi involves
movement in efforts to chanting, dancing,
overthrow colonial spiritual use of the holy
domination. The current herb and chalice (as a
meaning of Nyabinghi is, “Death religious rite), and praise to Jah
to Black and White oppressors.” Rastafari. It is a great gathering of
Rastas “For inspiration, feasting,
Nyabinghi today, also known as smoking, and social contact.”
"Binghi," is the ensemble on (Barrett, 125) Festivities can last
special occasions, which are called for several days.

39
The Rasta Foundation—Nyabinghi

Although there is no unanimous agreement as to the origins or exact spelling of


Nyabinghi, the "The Nyabinghi is heard here, raising the power of earth to
the sky. Through rhythmic beats on the heavy bass drum, you can feel
the earth’s very center…from smaller drums, carry the Rasta cry of
freedom and dignity into the sky above…Rastafari have come to relax
and share their innate power in nature. Some play the drums. Others
dance in an unfrenzied, flowing motion. Each has its own, but all
emanate for, and return to, the essential rhythm. Nyabinghi…Each sings
his own song, all sing the same song—‘Carry Rastafari home’." (Nicholas,
70)

The rituals of Rastafari are fully


expressed in Nyabinghi gatherings.
In this evening snapshot, Jamaican
Rastas enjoy the mystic forces of
their music, which is created by the
following: Drumming, Dancing,
Smoking, Chanting, and
Reasoning.

"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..."

One Rasta Elder describes the Nyabinghi as such:

…The Nyabinghi mean to bring universal cooperation, coordination,


and divine elements for all people, which is of righteous good. And this
Nyabinghi don’t mean that it is a plaything, it mean that it is for full
universal, divine resurrection for all nation which is of righteous
element. And that is the protest of full Nyabinghi to I and I, and
continuous to work it in the fullness of its activity until peace will come
to all nations upon earth in the power of Jah Rastafari as the
coordinator of us all. (Rastafari Voices, 1978 Video Tape)

Nyabinghi music, which is distinctly an offbeat rhythm, reflects of the Rastas


vibration with society. The heavy bass sounds represent the death of the oppressive

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

Churchical Chants of the Nyabingi (Heartbeat Records, 1983)


The Nyabingi chants on this album provide a rare
opportunity to appreciate the righteous anger and
dread indignation, which fuels the creative energies
of Rastafari. These chants were recorded at a
Nyabingi session held on Ronald Reagan's 1982
visit to Jamaica; the session lasted for seven days.
While the President of the United States was
carrying out the affairs of state and enjoying the
accolades of "Establishment" Jamaica, the hills of
upper Trelawney, on the fringe of the famed
Cockpit Country, were ringing with the sound of the
Nyabingi drum while the Rastafari Judgment fire
blazed through the night. Churchical Chants of the
Nyabingi presents for the first time on the
redemption songs of the Nyabingi.

Ras Pidow (below) in Washington D.C 1989.

Below are selected lyrics to the chants contained


in the above album.

FIRE MAN
Fire man
Rasta fire man
Fire man
Rasta Fire man.

KEEP COOL BABYLON


Keep cool Babylon
Above photo by Jake Homiak, Smithsonian Institution
You don’t know what your doing
Keep cool Babylon
You don’t know what your saying
Keep cool Babylon
You don’t know what your doing
Keep cool
King Rasta yard is cool
Jah Jah go chant down lightning and thunder fi
clear di way
Whirlwind come and Jah tek ‘im away
Keep cool, keep cool
Jah Jah yard is cool.

Photo of Ras Michael (on left) playing the akete/repeater drum.

42
The Rasta Foundation—Nyabinghi

The following paragraph is taken from: <http://www.niceup.com/artists/ras_pidow.html>

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.

As a recognized elder of the Haile Selassie-I Nyabinghi Order Theocracy Reign,


Ras Pidow and fellow [Rastafari] Elders through the power of His Imperial Majesty and
the assistance of the Smithsonian Institution made a pilgrimage to America in 1989; their
mission was to spread the truth of Rastafari and to universally expand peace, love, and
“Overstanding”.

After traveling nationally and performing at the Smithsonian's National Folk


Festival, the elders received positive response from the people and the press, including
The Washington Post.

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.

“If herb is a crime, then


God is a criminal.” —Ras Pidow

The Elders of the Nyabinghi Order play


a crucial role in Rasta authority and
operate as a Priesthood, whose authority
is that of Melchizedek.

43
The Rasta Foundation—Judah

The Importance of Judah


Judah, thou art he whom thy brethren shall
praise…The scepter shall not depart from
Judah, nor a law giver from between his feet,
until Shiloh come; and unto him shall be the
gathering of the people be…(Genesis 49: 8-12)

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.

Historically, pirates under British command brought African slaves to


the New World to enrich the Babylonian Queen Elizabeth I. Marc
Antony and Julius Caesar stole the golden Scepter of the House of
Judah, which was magically empowered with the authority and power
to rule the world, from Ethiopia. They undoubtedly used it to build the
Roman Empire. From Rome, the Scepter was stolen by Britain, who
soon inherited the Roman world. Duke of Gloucester, son of King
George V of Britain, was sent by his father to represent the British
throne and to return the Emperor the stolen Scepter as a gift. While in
Ethiopia, the Duke became drunk and wandered off into the
wilderness and ate tall grass, revealing himself as the reincarnate King
of Babylon, Nebuchadnezzar. When the Duke gave Selassie the
Scepter, the Emperor regained his powers. Selassie sent a mysterious
emblem back to England with the Duke to give to his father. When
King George saw the emblem, he was paralyzed and soon died.

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

Jeremiah 8:21— “I am black.”

46
The Rasta Foundation—Haile Selassie

1966 —Visit to Jamaica

I said to the
people, “Be still, and know
dat His Imperial Majesty,
Emperor Haile Selassie of
Ethiopia is di almighty!” —Bob
Marley

A banner to welcome the King of Kings. A Rasta onlooker awaiting H.I.M.

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."

Many Jamaican Rastas, at the time, sought to be taken back (repatriated)


to the African Homeland. However, Selassie insisted, “Jamaica must be repaired and
more fully situated first.”

[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

Rasta and the Concept of Death


So, if the key element in Rasta were accepting His Imperial
Majesty, Haile Selassie-I, as divine, would his death cause any
problems and contentions for current Rastas? The answer is no.
Death is of no relevance to the Rasta. God is the God of the living
and not of the dead. Rastas do not think about death or the dead.
They take literally the Bible’s words, “Let the dead bury
their dead.” It is for this reason that Rasta’s refrain from
attending funerals.

“The most dramatic revelation has


been the death of the King in August
of 1975. His death caused many to
seek out the Rastafarians for some
words of wisdom about their future.
But, to the surprise of many, the
Rastafarians, true to their doctrine
about death, did not show any
emotional response. To them, the
King had not died; he had only
moved away from the temporal
scene in order to carry out his work
as God and King in the spiritual
realm. As a spirit, he will be much
more accessible to his followers both
in Ethiopia and Jamaica. One needs
only to call his name and enter into
his spiritual vibrations to feel his
power.” (Barrett, 253)

49
The Rasta Vibration—Living Diet

I-tal—The Rasta way of life


Rastas know that natural is better than artificial. Artificiality, which is false and
unnatural, is part of the great lie of “Civilized” man. When we consume and eat artificial
foods, this artificiality—this unnaturalness—enters our very being as our lifeblood carries
it through every part of our body. Artificial sugars, sweeteners and preservatives, which
we find in almost every product (especially processed foods and drinks), are so injected
with chemicals that our bodies stray further and further from natural harmony.
Naturalness is to humans what artificiality is to machines. Shall we be humans and be one
with nature? Or, on the other hand, shall we remain part of a great machine and destroy
nature? The Rasta is for the earth. The Rasta is for humanity.

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

Meat is abandoned because it comes from the


Pork is the worst of all killing of animals—meat is death. Pork is specifically
despised above all meats and foods. Pork is called,
meats to eat since harmful
“That thing” to avoid the horrible names of a pigs and
parasites, which are always
swine.
in pork, remain alive even
after incredibly high
cooking temperatures. Pigs I-tal is the natural way of living and eating. I-
are also scavenger animals. tal shuns cigarettes (due to heavy chemicals), alcohol,
and all other chemically made drugs. Cows’ milk is
referred to as "White blood" and is, therefore, not
included in an I-tal diet. The natural use of Cows’
milk is for feeding baby cows and not humans.

Health, if it is taken care of and guarded well,


is a divine gift available to everyone. If health fails,
then nothing can be enjoyed. What good is a million
dollars if you are too unhealthy to enjoy it? If health is
jeopardized, then life is jeopardized. So, let your food be your medicine and your
medicine your food in its natural state. Let us get well and stay well by this simple and
natural way—the I-tal way! To achieve optimal health we must remember that life comes
from life. Live (living) foods are the best source of life-giving energy, not dead and
decaying foods. So, look forward to live foods, such as raw fruits, vegetables and their
juices, herbs, seeds, nuts, and grains. This is the best way to attain and maintain health
and to teach our body to maximize energy, have longevity, and not die prematurely.

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.

Spiritual aspects of avoiding meat:

 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:

1) We strongly object to sharp implements used in the


desecration of the figure of Man, e.g., trimming and
shaving, tattooing of the skin, cuttings of the flesh.

2) We are basically vegetarians, making scant use of certain


animal flesh yet outlawing the use of swine’s flesh in any
form, shell fishes, scale less fishes, snails, etc.

3) We worship and observe no other God but Rastafari,


outlawing all other forms of Pagan
Pagan worship yet respecting
all believers.

4) We love and respect the brotherhood of mankind, yet our


first love is to the sons of Ham.

5) We disapprove and abhor utterly hate, jealously, envy,


deceit, guile, treachery, etc.

6) We do not agree to the pleasures


pleasures of present-
present-day society
and its modern evils.

7) We are avowed to create a world order of one


brotherhood.

8) Our duty is to extend the hand of charity to any brother in


distress, firstly for he is of the Rastafari order - secondly to
any human, animals, plants, etc., likewise.

9) We do adhere to the ancient laws of Ethiopia.

10) Thou shall give no thought to the aid, titles and


possession that the enemy in his fear may seek to bestow
on you; resolution to your purpose is the love of Rastafari.
Rastafari.
(Brown)

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

Articles of Rasta Faith


 The remnants of the House of Israel are the
Ethiopians, who are scattered abroad.

 The tribe of Judah is the Conquering Lion, from


which came Haile Selassie, Jesus Christ, King
Solomon, and King David.

 The life is to testify of Ras Tafari.

 Life should be lived and enjoyed by natural means.

 Dreadlocks and ganja are part of the Rastas


religious rite.

57
The Rasta Vibration—Speech

Prelude to Rasta Language—The


Speech of Protest
Rasta Brother Wato describes the start of the Jamaican Rasta dialect:

“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)

Furthermore, the reader should know the following:

1. The Rastaman vibration is the vibration of resistance to the system


of Babylon.

2. This resistance is available through Word, Sound, and Power

3. The language of the Rastaman is part of the entire movement’s


conception.

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.

58
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)

“But eyes have they and see not, only Fari


could see...” (Rastafari Movement Association, 1976.)

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.

59
The Rasta Vibration—Speech

Clarence, a Jamaican Rasta, explains:

“First there is the Imperial I, who is called Haile-I Selassie-I. Then


there is the I-wah (hour), which represents the unending spiritual
time of Jah Rastafari. And there is the I-ree, which is the time that
all men pass through. And then there is the I, which you will take to
mean myself. And there is I and I, which is myself and all the Rasta
brethren—and even you. As in Let I and I partake of this I-nscience,
which refers specifically to this herb here. Did I tell it too fast for I?
It’s easy. This I-nscience lead to good I-ditation, which bring on the
I-vinity of a mon…”
It is difficult, if not impossible, to teach any language by explanation only. The
remainder of this book is filled with the language of both the Rasta and the average
Jamaican by means of dialogs, words, examples, and song lyrics. You will be learning
both Rasta speech and normal Jamaican Patois. This book shall allow you near mastery in
understanding and speaking the Jamaican language.

The Rastas have contributed more to the Jamaican culture


than any other group.

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.

60
The Rasta Vibration—Reggae Music

Through Downpression Comes Reggae—


The Music of Truth.
Old pirates yes they rob I
Sold I to the merchant ships
Minutes after they took I from the
When I remember Bottom-less pit
But my hand was made strong
the crack of the whip
By the hand of the almighty
My blood runs cold We forward in this generation triumphantly
I remember on the slave ship All I ever had is songs of freedom
How they brutalized our very Won't you help to sing these songs of freedom?
souls—Bob Marley, SLAVE DRIVER Cause all I ever had redemption songs—Bob Marley,
REDEMPTION SONGS

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.

61
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

62
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.

“I hope Jamaicans don’t ever


forget that reggae is a culture.
It’s not just a music, it’s culture
belonging to us, created by us
and we must take care of it.”
–Alton Ellis (Reggae Star)

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

63
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 is a life-loving, life-feeling, and life-giving music. It is of one universal


heartbeat. Technically classified as Folk or World Music, Reggae is a very popular sound
that is spontaneously generated through experience, emotions, and real circumstances.
Jamaicans created Reggae to satisfy their social and spiritual needs in a third-world
country struggling to survive under the oppressive rule in the White man’s world.
Jamaica, which is the reggae capital of the world, has remained the homeland of Reggae
and is now enjoying an elite status in the music world. Many countries play reggae, host
reggae concerts, and broadcast reggae through the radio and TV. The powerful and
inspirational messages, which are contained in genuine reggae, apply to all people.

“The Lyrics you can analyze


The riddim you must feel”
–Ghetto Bard Wayne (Dub poet)

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.

64
The Bob Marley Vibration

Part Two:
The Bob Marley Vibration

1945-1981

Rasta Prophet And


Reggae Legend

65
The Bob Marley Vibration

66
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

67
The Bob Marley Vibration

The Beginning of a legend


Bob Marley was born of a White Father,
Captain Norval Sinclair Marley, and Black
Mother, Cedella Malcolm Marley.

“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.

Youthful experiences in third-world Jamaica proved to shape his character and


develop his heart. It was through his experiences that he was able to empathize with the
world’s sufferers. Sufferers, as called by Jamaicans, are the victims, through no cause of
their own, of a corrupted worldly system called BABYLON. As peter Tosh said about
Babylon, “Is where dem tell you what is right is wrong, and what is wrong is right.
Everywhere is Babylon.” Babylon is what all Rastas oppose. Babylon is the system,
society, and government that covers the eyes of people and leads the soul astray.

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.”

69
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.

Photos by Bruce Talamon.

70
The Bob Marley Vibration

The Words and Thoughts of


Bob Marley
This chapter contains actual statements given by Bob Marley. Since they are
just a compilation of his words, this section is not meant to follow any actual
interview.

“Some people still


searchin’ fa dis truut here, which dis reggae
music yu know bring across ta dem, and di
only purpose it a serve is ta tell di people
RASTAFARI.”

71
The Bob Marley Vibration

With chalice in one hand and granddaughter in the


other, Jah Lloyd, friend of bob Marley, speaks of the
Legend.

Yu memba Bob Marley? I say if yu memba


Bob Marley?

“Yes, I an I are talking ‘bout Bob Marley.


Yes, yeh mon. I an I bredrin dat tek di
soun’ of di Nyabingi outta di ghetto—di
akete. Yeh Mon, an tek it and strum it pon
di gates—right! An use di walking bass an
mek dem stop sing bout girl, an who laas
loving, and who laas kissin, and Etcetera.

72
The Bob Marley Vibration

An him start to sing now, start to sing


bout di truut!”

73
The Bob Marley Vibration

BOB MARLEY’S WORDS

“IT JUST HAPPEN. Natural music. Nobody show


us how to play, unnastand? I an I listen funky music
soul. This is our soul.

“MY FEELING ‘BOUT DIS MUSIC, is dat dis


music will get bigga, an bigga, an bigga, an bigga and
find it’s right people as it get bigga.

“WI CUDDEN AFFORD to buy records so wi


lissen to di radio—anything di radio play is what yu
hear--- So I wasn’t really into dem tings, I was really
into like—ya call it “Spiritual music”, ya know.

“SOMETIME I CAN DIG MUSIC, I can dig


instrumental music. But, lyrics important.

“WELL, YU SEE DI WAY I FEEL ‘bout dis


music is dat it can be copied, you know? But, is not
copy do it—is di feel. Yu know, it carry a feel, weh, if
yu explain to a musician dem know it, but dem kyaan
[can’t] do it.

“DEESE SONGS, people undastand dem or dey can


kyaan undastand dem—but ya haffi sing dem just di
same.

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The Bob Marley Vibration

“THERE IS NO END TO DIS MUSIC,


MON. Dis music yu a go put it up ina yu oouse on a
plaque cyaard [card] as one of the vehicles dat help to
free di people from dis chains and bondage of
oppression.

“THE SYSTEM want pure love song. Like ol’ Frank


Sinatra, dey don’t want nutten with no protest—it mek
too much trouble.

“MY MUSIC WILL GO ON FOREVER.


Maybe is a fool say that. But, when me know facts, me
can say facts. My music go on forever.

“WE WANT SOME PEOPLE POWER. AND


THE PEOPLE POWER IS RASTAFARI!”

“POSITIVE VIBRATIONS, MAN. That's what


makes it work. That's reggae music. You can't look
away because it's real. You listen to what I sing
because I mean what I sing. There’s no secret. No big
deal. Just honesty—that's all.

“WELL, MI IS A COMMON SENSE MON.


Dat mean when mi explain tings, mi explain in very
simple way. Dat mean, if I explain it to a baby, di baby
would undastand too, ya know. So, what mi a say
now—like di Bible. Di Bible say—God say, Him shall
come in a new name and his name shall be dreadful
among the heathen.

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The Bob Marley Vibration

“IF DEM WAAN WIN di revolution, dem haffi


win it wit Rasta. Yu kyaan win no odda way. Becaz’ if
yu win odda way, yu a go fight again. When ya’a Rasta
win—no more war!

“YOU CHANGE if yu change from Babylon to


Rasta, but you can’t change from Rasta to anything.
When di truth awaken in you, you can’t do anything
but accept di truth.

“WELL, I’VE BEEN A RASTA fram eva since.


Dat means yu is yu own man fram di first time yu own
yu’self. Yu do what yu want to do—anything people
waan say ‘bout yu, yu don care. Becaa di Bible say,
God say, Him shall return King of Kings, Lord of Lords,
Conquering Lion in the Tribe of Judah and Him shall
come in a new name. Now dat is di reality of di whole
truut, and di truut is dat his majesty’s earth’s rightful
ruler and dat is Haile Selassie-I, di fers.

“SO DI TEACHING OF HIS Majesty is a truut


towards mankind. Him no make war or nutten—is di
teaching yu know. Now dis a di teaching, right? Of
some who set di example, how one must follow, how
one must live. And his majesty is di only one and di
perfect one who do it.

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The Bob Marley Vibration

“Until the philosophy,


which holds one race
superior and an other
inferior, is finally, and
permanently discredited
and abandoned—well,
everywhere is war…”(Taken from Bob
Marley’s song “War”, which was based upon Haile Selassie’s 1968 speech
in California.)

“SO DAT IS PROPHECY and everyone know dat


is truut. And it come out of the mouth of Rastafari.

“I DON’T HAVE A RELIGION YOU


KNOW? I am what I am—and I am a Rastaman, so,
dis is not religion—dis is life.

“ME NOT OF DI WORLD, ya know. Me live in


the world but I’m not of the world…It’s like Jah say,
the West must perish. It’s devils’ country all right.

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The Bob Marley Vibration

Devils are people of capitalism and penalism—type of


devilism and draculazing. It’s devil controlling. It’s
devil running part of earth, you know, while God in
Africa waiting for we to argue that there’s devil
running this.

“IS FI STAND UP AND TALK FI MY


RIGHTS, I know what dat is, see it? And I don’t care
ooo di guy is—becaa my rights is my right, is like my
life, yu know. All I have is my life. Dat mean if I can
say, “I don’t want dis or I don’t want dat”, when I
check it out—di biggest man was a baby one time. So,
I don’t now weh ‘im get alla deese big ideas wanting to
be rulas ova people. See it—and help enforce Devilism.
(Laughing) Kyaan dig it!

“MY MUSIC FIGHTS against the system that


teaches to live and die.

“FREEDOM to me is when di people unite. Freedom


mean I must be free with in myself. My mind must be
free. The only way my mind can be free is when I
praise Rastafari.

“WE ARE REVOLUTIONARIES, ya know?


Yeh, I see myself as a revolutionary who don’t have no
help and no tek no bribe from no one, but fight it
single-handed with music.

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The Bob Marley Vibration

Get up, Stand Up


(By Bob Marley and Peter Tosh. 1973.)

Get Up, Stand Up, stand up for your right


Get Up, Stand Up, don't give up the fight

Preacher man don't tell me heaven is under the earth


I know you don't know what life is really worth
Is not all that glitters in gold and
Half the story has never been told
So, now you see the light, aay
Stand up for your right! Come on.

Get Up, Stand Up, stand up for your right


Get Up, Stand Up, don't give up the fight

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!

Get Up, Stand Up, stand up for your right


Get Up, Stand Up, don't give up the fight
Get Up, Stand Up. Life is your right
So, we can't give up the fight
Stand up for your right, Lord, Lord
Get Up, Stand Up. Keep on struggling on
Don't give up the fight!

We're sick and tired of your ism and skism game


Die and go to heaven in Jesus' name, Lord
We know when we understand
Almighty God is a living man
You can fool some people sometimes
But you can't fool all the people all the time
So, now we see the light
We gonna stand up for our right!

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

Get Up, Stand Up, don't give up the fight.

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The Bob Marley Vibration

“I REALLY don’t have no ambition yu know? I only


have one ting dat I really like fi happen, I like to see
mankind live together—Black, White, Chinee, any one,
na’mean?

“I MUST PICK A PLACE IN ERT weh I know I


must live. And I know I waan live near my fadda, and
my fadda live in Ethiopia. So, I must live weh my fadda
is.

“DAT IS DI FUTURE. Rasta is di future, seen? I


don’t come to bow. I come to conquer.”

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The Bob Marley Vibration

The future of Rasta

“Unless other individuals who share the


vision of Rastafari begin to contribute to
the development of a social theory, we will
find that the next fifty years of Rastafari
will show some trends which will be best
described as backward or even stagnant.”
–1983 Professor Leachchim Tafani Semaj, “The Rastafari:
From Religion to Social Theory,” Caribbean Quarterly 26, no.
4 (1983): page 30.

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!

“Many more will have to


suffer. Many more will have
to die. Don’t ask me why.”
–Bob Marley, Natural Mystic (1977)

“Marley may or may not have been the saint some


have portrayed him to be. Marley may gave been a
shrewd businessman, a sharp dealer. He may have
been the most honest man in music. He may have
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The Bob Marley Vibration

been a womanizer, or he may just have had a lot of


love to give. He may have been a prophet or just
another minstrel with a knack for a deep sounding
song. It really doesn’t matter any more. What does
matter is the music. The music speaks for itself.”—Ian
McCann (Author)

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

ROCKERS proudly maintains its status as the all-


time best REGGAE-RASTA movie.

“The ROCKIN’, RASTAFARIAN REGGAE MOVIE!”

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The Rockers Movie Exclusive

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 Rockers Movie Exclusive

Greetings and love. To one and all; in I


presence, I-preme coverage of I heights. Love for
everyone everywhere. It is just known that the
cooperation of all tounge, color, and people will
voice the decision of I heights that shall free
everyone—liberate fully everywhere. So, by so
doings now, everyone just cooperate with the love
of I heights to survive.
Knowing that in dis world, war explosive. The
ways of di ONE solve di problem in the heights of
I coverage in full. So it is I-rey. Loveful
heights.

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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.

Rasta slang is the most unique and interesting aspect of


spoken Jamaican Patois. The basic element of Rasta
speech is the use of the “I.” Such as the following:

 I-mon – Me, myself, and I.


 I-rey or Irie – State of happiness.
 I an I – Me, myself, and I.
 The I – Me, myself, and I. Also can be the other person.
 I-ya – Me, myself, and I. Also can be the other person.
 Di mon –The person spoken of.
 Rasta – A common term for someone with dreadlocks.
 Bredrin – A greeting and calling to one in friendship.
Comes from the biblical word “Brethren.” Also spelled and
pronounced Bredren or Brejrin, it is said in its plural and
can be said towards one or more people. A true Rasta word
for bredrin becomes I-dren.

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The Rockers Movie Exclusive

The main character of the ROCKERS is Horsemouth.


In the movie (and also in real life), Leroy
“Horsemouth” Wallace is a talented Reggae-Rasta
drummer. In the movie, his challenges also become
his greatest adventure.

The following is taken from the movie’s first dialog.

H: Wha’ppun Trusty?
What’s up Trusty?

T: Nutten Horse.
Nothing Horse.

H: Wha’ppun? The mon hab ebbyting deh, Rasta?


What’s up? Do you have everything here, Man?

T: Bwoy, mi no hab di full three hundred dolla, yu know.


Man, I don’t have the entire three hundred dollars.

H: Bwoy Trusty, mi broke yu know, Rasta.


Trusty, I am have no money you know.

T: Well, the I can hold two hundred?


Well, can you take two hundred?

H: Two hundred? I-mon a hold dat still, yu know Rasta.


Two hundred? Sure, I’ll take that.

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T: Bwoy, right now yu is a hard-paying mon, yu know!


Memba, I want fifty parcent of yu hear sa.
Man, right now, you are a good money dealer, yu know!
Rememer, I want fifty percent of this.

H: I-mon a look ova dat, Rastaman. So, no bodda worry


‘bout dat Trusty, mon. Mi pay di man faawad.
I will see to that, Rastaman. So ,don’t worry about that Trusty. I will pay you
later.

T: Seen—I.
Ok—I see.

H: Tank yu hear sa.


Thank you sir.

Slang words used:

I-man a hold dat still.


When one literally holds something, one has it and is keeping it.
Thus, to hold means to take, keep, and possess. This word is used
commonly in Jamaica in place of the above words.

Mi pay di man faawad.


Rastas replace the word “Later”, which is society’s materialistic
concept of time, with the word “Forward”, which is more based
on eternal and spiritual progression

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Wa yu waan money fi do?


What do you need money for?
The word ‘Waan’ is in accent for the word ‘Want’. It also means to ‘Need’.

Horsemouth: Wha’ppun Harry?


How’s it going Harry?

Harry: Wha’ppun Horsy?


What’s up Horsy?

Horsy: Right now, Rasta, now yu waan see mi


broke now, Rasta—wha’ppun?
Right now you know that I’m broke, man—what’s up?

Horsy: Wha’ppun, memba ‘bout di money ya’a say


ya’a go gi’mi Rasta?
Hey, do you remember about the money you said you were going
to give me?

Harry: But Rasta, di man no know ‘bout di session


business; weh mi and Tommy, and Bobby, and

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Marquis a write a tune fi go in a studio, yu


know Rasta?
But Rasta, you don’t know about the session music business;
where Tommy, Bobby, Marquis, and I have to write a tune to get
to go into the studio, you know?

Harry: Di man no know bout di bizness—a 20 dolla a


side I an I a get, yu know Rasta?
But man, you don’t know about the business—I only get 20 dollars
on the side, yu know man?

Horsy: The man payed two LP Bunny Wailer, Rasta!


Mi know dat, Rasta—so jus gi’mi di money
mon!
You bought two Bunny Wailer LP’s, man! I know dat—so just
give me the money!

Harry: A ooo tell di mon dat?


Who told you dat?

Horsy: Mi know dat from bigga source.


I know that from a bigger source.

Harry: Horsy, Wa yu waan di money fi do.


Horsy, what do you need the money for?

Horsy: Rasta, mi a show yu, mon. Anytime mi a dweet,


mi a dweet hard now, Rasta. But, mi a go buy a
bike, Rasta!
Let me tell you, man; anytime I do something it is to the
maximum. But, I am going to buy a bike!

Harry: Wa ya go do wid di bike?


What are you going to do with the bike?

Horsy: Mi a jus go distribute it Rasta. Mi a sell


recaad—ya na see it?

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‘Ca, right now, mi no like how di man dem a


gwaan wid di bisness, Rasta. An only yu mi
caan check pon.
I am just going to be distributing. I will sell records—you see?
Because, right now, I don’t like how the business is run. You are
the only one I can check with for money.

Harry: A jus true, yu a mi bredrin, yu know say? An


true progress di man a deal wid, seen?
I an I support dat to di fullness, seen?
That is right, you are my brother, you know? And it is true
progress that you deal with. I’ll support that to the max, you see?

Horsy: Yes, I.
Yes, man.

Harry: Mi a go lend yu di money, seen.


I will lend you the money, all right.

Horsy: True.
Ok.

Harry: Control dis [Handing a coil of money]. Di man cool


now?
Take this. Are you cool now?

Harry: Yes mi brejrin—I-rey.


Yes man—great.

Horsy: Tommy, Wha’ppun?


Tommy, What’s up?

Tommy: Bwoy, mi dehya.


Man, I am here.

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Horsy: Rasta, mi say bwoy; right now see mi a go buy


a bike pon di bisness!
Man! Right now, boy, I will go buy a bike at the place of business!

Bobby: Love Jah.


God be with you.

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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The Rockers Movie Exclusive

Yu neva know mi a come fi dinna?


You didn’t know I was coming to dinner?
The following is the third dialog from the Rockers movie. The charcacters
are Horsemouth and his common-law wife Magie.

Magie is sitting down feeding her three children just before Horsy comes
home.

M: Come, behave yu’sef now. Eat up yu dinna. Pick up


yu dinna an eat it! Come Mikey, yu belly full?
Aright, gwaan an eat now.

[Enter daddy, Horsemouth]

H: Wha’ppun Magie.

M: Nutten.

H: Yu got no food deh?


Do you have any food?

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M: No.

H: Wa! Yu hab no food Magie, mon?

M: Mi neva know say yu a coming to dinna.


I didn’t know you were coming to dinner.

H: Yu neva know mi a come fi dinna?


You didn’t know I was coming to dinner?

M: No fooling, I’m serious (seer-ous).

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.

H: Magie, wha’ppun to di money yu a say ya give mi,


mon? Mi waan fi buy di bike yu know.
Magie, what happened to the money you said you would give me? I want
to buy a bike you know.

M: Yu mean yu a tinking about dat foolishness to buy a


bike?

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H: Wa ya mean foolishness?

M: We hab more important tings fi tink bout right now


dan to buy a motabike.

H: Yu know ‘ow lang mi a live and yu a move selfish


‘mongst I-mon? Mi no like how yu gwaan so selfish
yu know. Look ‘ow long mi a live and yu still so
selfish ‘mongst I. Set mi up mon! Mi I-rey mon!
You know how long I’ve lived and you moved so selfish amongst me? I
don’t like how you go on so selfish you know. Look how long we’re
together and you’re still so selfish. Set me up! I’m good!

M: Aright, I gwaan gi yu dat money. Not becaa I


promise yu, but I gwaan see what yu gwaan tek dat
motabike and do. Becaa I know yu a go broke yu
neck off it!
Alright, I am going to give you that money. Not because I promised you,
but I am going to see what you will do with that motorbike. Because I
know you will break your neck from it!

H: Broke mi neck? I-mon gwaan be di hardest


salesman around town.

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The Rockers Movie Exclusive

Bwoy mi dawta, mi like how yu set mi up you know,


strictly, no joke business!
Break my neck? I will be the best salesman around town. I like how you
setting me up with the money you know, strictly, no joking!

M: Yes, cool.

H: Don’t feel no way, mon. Na vex, mon. Mi I-rey, mon.


Don’t feel bad. Don’t be mad. I am happy.

M: Cool, cool.
Good, good.

+The Next Morning+

The Next Morning

H: [Speaking to kids] Wha’ppun, yu hab yu lunch money?

K: Yes daddy.

H: Aright, bye bye.

H: Wha’ppun Magie? Ya na go work, mon?


What’s up Magie? You’re not going to work?

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M: Mi na work today. Moreova, mi na hab no money.


Yu tek all a di money an buy bike.
I am not working today. Moreover, I have no money. You took all of the
money to buy a bike.

H: Wha cha Magie, mon! Jus cool, mon. Mi hab money,


mon.

M: Cool? Di yuut dem no aks yu fa no food, dem aks mi


fa food!
Cool? The youth don’t ask you for food, they ask me for food!

H: Mi know mi a deal wit. Mi a go mek it, mon. Cool,


mon.
I know what I am doing. I will make it. Stay calm.

M: Ya know wa ya do afta yu tek alla di money an buy


bike? And how know ya gwaan lose more money
dan what yu earn? And den drop offa dat bike!
Do you know what your going to do after you’ve taken all of the money to
buy a bike? And how do you know if you’re going to lose more money
than what you earn? And then drop off of that bike!

H: Cha!
Whatever!

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The Rockers Movie Exclusive

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!

H: Wha’ppun Jah Tooth?

JT: I-rey Horsemouth, my drummer, I-rey.

H: Lang time mi no see you. Watch yah, I-mon wanna


buy a bike yu know, Rasta, Jah know.
I havn’t seen you for a long time. Hear this, I want to buy a bike you
know.

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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F: [A dreadlocks friend comes in on the scene to help in the sale] Irie,


Dutty Harry. Irie, Jah Tooth.

JH: Yes, I. Horsemouth, dis bike yah yu can get fi seven


hundred dolla.
Yes, man. This bike here you can get for seven hundred dollars.

F: Eight hundred wi dida a sell it fa.


We were going to sell it for eight hundred.

JT: Yes, true. Yes, I.


Yes, that is true, man.

H: Wa! Mi no hab dat amount a money, Rasta.


What! I don’t have that amount of money, Rasta.

JT: A true, di I, so wa—a seven a dweet now mon.


That’s true, man, so hear—seven hundred will do it.

H: Wa! Seven hundred?

F: Yes Horsy, good bike mon!

JT: A good bike! Wa yu a chat say mi bredjrin? A good


bike, not even tree months old, I-ya. Horsy, yu muss
caan pay dat, mon. A one day juggle dat mon.
It’s a good bike! What are you talking about man? This bike is not even
three months old, man. Horsy, you must can be able pay this. You can
make that in one day.

H: Five hundred dolla I-mon have.

JT: Jus come wit seven mon, jus come wit seven
hundred dolla mon.

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F: A more money ina dat yu know, Toothy. I bet ‘im


hab more money dan dat.
He has more money in there, Toothy. I bet he has more money than that.

H: I-mon no hab no more money mon, cool out.

F: Yu a ginnal. Gweh! [In a friendly and teasing tone.]


You are a trickster. Go away!

JT: Search ‘im leg now.


Search his leg now.

H: [The friend is now searching Horsy’s leg.] How


di I like search
up mon so, Rasta? Mi no hab no more money. Mi
tell di mon areddi, Rasta! Aright now, gi mi di key
now, Rasta. Just mek mi hold pon dat, seen.
How do you like to search up a man so? I have no more money. I told you
already. All right now, give me the key. Just let me keep it with this, okay.

JT: [Giving Horsy the key] Gwaan!

DH: I-mon gonna ride. I-mon waan di man know dat,


seen.
I am going to ride too. I want you to know that, okay.

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H: No, di man naa ride pon my bike!


No, you will not ride on my bike!

DH: Selassie-I know dat?


Does Selassie-I (God) know that?

H: Di mon naa ride pon my bike. All di while di man


waan ride pon my bike!
You will not ride on my bike. All this time you have only wanted to get a
ride from me!

DH: [Jumping on the bike] I-mon a yu key bredrin—yu fi know


dat!
I am you best friend—you should know that!

H: Key bredrin, wha cha!


Best friend, whatever!

Dirty Harry catches a ride with Horsy’s new “skate”.

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Paint di I a Lion of Judah.


Paint me a Lion of Judah.
[Pushing the bike, Horsy and Dirty Harry enter the backyard of Jah Wise.
Several Rasta “Bredren” are also present.]

DH: Di bike yah got weight, yu know, Rasta!


The bike here weighs a ton, you know!

H: Di I a gwaan like yu no eat fram mannin’, Rasta!


You are going on like you haven’t eaten since morning, Rasta!

DH: Wa di man deal? I an I eat breakfast fram mannin.’


Cho!
What are you saying? I ate breakfast this morning. Gosh!

D.H: [He sees Jah Wise] Hey Jah Wise, Jah Wise!

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JW: Yeh wha’ppun?

DH: Selassie-I, di fers! Jah, mon, wa yu now a deal with,


Rasta?
Selassie-I, the first! God, man, what are you up to now?

H: Hear mi now mi bredrin. Yu know say di man a


haad [hard] yu know, but wudda like di man do
wa—Just paint on sup’m good pon yah [tapping on the
side of the gas tank], lion of Judah fi I, Rasta.
Listen to me now, brother. You know that you are awesome, but I would
like for you to do this—just paint on something good here—a lion of
Judah for me.

JW: Roots, Rasta.


Sure, Rasta.

DH: I an I a sit in, seen?


I will sit down, okay?

JW: Mi skip back weh deh, Rasta.


I’ll come over there soon.

H: Chalice mi I-mon. ({Pyur hi grade!})


Give me the chalice. ({Pure high grade!)}

Horsy lights up
the Chalice.

DH: Wha’ppun Jah Razza? (Clasping hands)

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What’s up Jah Razza?

JR: Jah Jah.

DH: Horsemouth! Chalice! Jah Razza, tek dat chalice up


deh.
Horsemouth! Give me the chalice! Jah Razza, get the chalice up there
from Horsy.

JR: Jah Jah!

DH: Far-I, Rasta Far-I.

H: Selassie-I! (Passing the chalice) Jah Wise, yu hear I now?

JW: Roots, Rasta.

H: I-man a go up pon di hustle out on the forward,


sight? So hear I out now. I would like di I fi do wa—
just paint up a lion up fi I, sight? And a flag.
I am going on a hustle (business) throughout the country, see it? So hear
me out now. I would like you to paint me a lion, okay? And a flag.

Jah Wise paints a Lion of Judah on the tank.

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JW: Irie, Rasta.

H: I-mon wanna flag, sight?

JW: Roots, Rasta.

H: I-mon waan Lion of Judah mark pon it, sight?


I want a Lion of Judah marked on it, all right?

JW: Seen, Rasta.


I see it, okay.

H: Seen. For I-mon a haad salesman out deh, Rasta, yu


know true? Hustling Dirty Harry!
All right. For I am a hard (excellent) salesman out there, you know?
Hustling Dirty Harry!

DH: Yu hustle like rain drops!

JR: Humble thy self and Jah Jah will guide I an I, ya


know?

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I just beg di man a hustling.


I am begging you for business.
The main character of this scene was the real-life reggae-record producer, Jack Ruby
(Laurence Lindo). He was the most famous Jamaican reggae music producer in the 70’s.
This scene begins with Horsy entering Jack Ruby’s studio in Ocho Rios.

H: Wha’ppun Jack Ruby?


R: Yu bumbo-claat dehya, rest, mon!
(Cursing at Horsy) You ass there, leave me alone!

H: Wha? Cha! I-mon just a beg di man a hustling,


Rasta. Why yu hangle I so? Cha!
What? Damn! I am just asking you for some business. Why do you handle
me in such a way? Damn!

[Horsy leaves the studio and later follows Jack Ruby]

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R: Wha’ppun Horsemout?
What’s up Horsemouth?

H: Mi no like how di I hangle me lickle while, ya know,


Rasta!
I didn’t like how you handled me a little while ago, you know!

R: I-ya, di mon know when I-ya mix piece a music I-ya,


di mon kyaan disturb I. Di mon no know how it go?
Man, you know when I mix a piece of music you can’t disturb me. Don’t
you know how it goes?

H: Anyway, yu know come deal di I ‘bout? Right now


recaad mi a sell! Rasta, yu no see it? And mi know
say di I are di hardest produca—yu hear right? So
right now wa, mi waan do delivery work fi di I!
Anyway, you know why I came? Right now I am selling records! Rasta,
don’t you see? I know that you are the best producer—you hear that? So,
right now I want to do delivery work for you!

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R: Di man really feel him can sell up recaad,


Horsemout?
Do you really feel you can sell up records, Horsemouth?

H: A wa do yu, Jack Ruby, wa yu mean mon? Mi a di


hardest out deh, Rasta!
What do you mean, Jack Ruby? I am the best out there, Rasta!

R: Well, a’right. Hear wa. I mek di mon hab him deal.


Mi go give di man 25 cents per album. Right?
Well, all right, hear what will happen. I will let you have your deal. I will
give you 25 cents per album. Okay?

H: Yeh mon! Hold on. Di man no member, di I owe I-ya


money fi di lass session, Rasta.
Yes! Hold on. Don’t you remember, you owe me money for the last
session?

R: Oh, di Friday deh?


Oh, from that Friday?

H: Yeh!

R: Mi a go mek di mon hab it now, I-ya.


I’ll let you have it now, man.

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H: True. Wa, di man love I-mon transport deh, Rasta?


Good. Hey, do you love my transport here?

R: Yeh, I. Just hold dis small.


Yes man. Just hold these bills. [Small is an old slang term for money.]

H: Yu know got a lot a fiah yu know, Rasta, true yu no


know!
It has a lot of fire, you know!

R: Well, hear wha’ppun—I busy now, so, love.


Well, hear what—I am busy now, so, good-bye.

H: Irie, mi bredrin!

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Big Youth (Jah Youth)


As Horsemouth rides his transport in the city streets, he sees his friend, Big Youth, who
is a fellow musician.

H: Wha’ppun Jah Youth!

Y: Selassie’s Son!

H: I-dren! Right now yu waan see mi I-dren do wa—a


distributing work mi a do, yu know, Rasta.
Brother! Right now you need to see what I’m doing—distributing work.

Y: The I are di haadest drummer. Music di I must play,


mon!
You are the best drummer. You must play music!

H: I-mon a know dat, Rasta, but wa cha! Right now, di


big bwoy dem control di recaad business and wa—
mi haffi do sup’m bout it, Rasta!
I know that, man, but damn! Right now, the big boys’ are controlling the
record business and so, I have to do something about it!

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Y: Wa! Dat’s why yu must play di drum and blow di


big guys mind, mon. Truss mi mon.
What! That’s why you must play the drum and blow the big guys’ mind.
Trust me.

H: Layta mi bredrin.

This section concludes the first quarter of the movie and


summarizes Horsemouth’s mission. Soon, however, Horsy falls
in lust with a young beauty named Sunshine. At this point,
Horsy’s mission is fueled not only by money, but also by
pleasure.

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Sunshine
Sunshine is a beautiful girl that Horsy meets during his great adventure.

Horsy lights up a spliff and Sunshine approaches.

H: Wha’ppun daughta?

S: Wha'ppun, sa?

H: Bwoy, yu know say a laang time I-man no see yu.

S: A true?

H: Waa, mi tell yu say yu look well cultured, Jah know.

S: Hmmmmmn ☺

H: All dis ting (touching her necklace) mi love alla dem ting,
ya know?

S: Yeh mon.

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H: Wa’cha (Looking at her dress) I-tes, green and gold.


…Come deal with di I personally. All di way from di
city I-man a come to check fi yu, Jah know.

S: Hmmmmmn ☺

H: Go somewhere with di I dis night, sight?

S: But my fadda—(Yells are heard from her father looking for her)

Father: Sunshine! Where are you?

H: Yu old man dat?

F: Sunshine! Get away fram ‘im. Look yu mudda


fucka!

H: Why yu like hold up man fa?

F: I don’t like yu dreadlocks bwoy shitting ‘round my


daughter. (The father pushes Horsy on the ground.)

H: Yu know see di I play wid di band, Rasta? Why yu


dehya gwaan so? Cha!

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[After the father walks away with Sunshine, Horsy stands up and
speaks words of pure Rasta visions.]

Yu see, if it no fa di lickle daughta deh,


I-mon a mash up di baldhead bredda deh! Jah
know, but wa--I an I do wa--don’t deal wit
violence. I an I is peaceful Rasta man. I
don’t steal, cheat—-yu see it? I-mon serve
(takes off his hat and flashes his dreads--see photo above)
Selassie-I continually! No matta wa di weak
heart say. And I know dat I an I is like a
tree dat plant by di river of waata. And not
even di dog dat piss ‘gainst di wall of
Babylon shall escape his judgement. For I an
I know wa—-I an I know dat alla di yuut
shall witness di day dat Babylon shall fall!

This ends the ROCKERS movie preview. Only by


purchasing your own copy of the movie, preferably on
DVD, can you capture more vibrations of the Rastaman
and see the last half of the movie. ROCKERS is the original
vibration of the Reggae-Rasta culture. The movie remains a
true classic.
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Interview with Patrick Hulsey-


Producer of Rockers the movie.
Summer of 2002.

Zuke: What is your background?

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.

Zuke: So Rockers started as a documentary?

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.

Zuke: Was it safe in Jamaica in the 70’s?

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.

Zuke: When were you there?

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.

Zuke: Did anything of significance happen with ROCKERS when Bob


Marley came back?

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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able to do that. The American Indians had a peyote-based religion. God


put these things on the earth for man’s use. Every one has the right to use
them—they shouldn’t be prohibited or proscribed.

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.

Zuke: Are you Rasta yourself?

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.

Zuke: What do you see the future of Rasta being?

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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conduct became emulated by a large segment of the population because of


the popularity of the music and the popularity of certain stars: Burning
Spear, Bob Marley, Ect. So, the table got turned.

Zuke: Do you see yourself making another Rockers movie?

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.

For complete Rockers information, including


DVD purchases, visit the interactive website at:
<http://www.ROCKERSTHEMOVIE.com>

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The Jamaican Language

Part Four:
The Jamaican Vibration
The Language—Jamaican Patois
{Patwah}

Picture courtesy of Jamaica Tourist Board

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The Jamaican Language

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The Jamaican Language

“The fairest island that eyes have ever beheld.”


-Christopher Columbus, 1494

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The Jamaican Language

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".

Over 90 percent of Jamaicans are of African or part-African origins. The black


majority tries to exercise equality to the remaining 10 percent of the population that are
of East Indian, Chinese, and European origins. Together, all Jamaicans are endeavoring
to live up to their nation’s motto: “Out of Many, One People.”

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The Jamaican Language

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.

In addition, because popular Jamaican dancehall music is such an integral part of


Jamaican society, much of the slang terms and expressions of the deejays are carried over
onto the people—especially the youth. Patois is a language that very often incorporates
new terms (as fast as dancehall deejays can say them), so it is almost impossible to have
exact accuracy regarding the “Newest” popular terms and expressions. However, the
expressions in this section are comprised of words and phrases that any Jamaican will
know and understand.

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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The Jamaican Language

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.]

The lessons in this section are devoted to teaching a


foundation of Jamaican speech and culture. Mastery will
come only with practice, practice, and more practice. Be
sure to practice aloud too!

“Patois is a fast language without


having to say as much as normal
English.”
— Matt Sanders (Editor of The Jamaican
Vibration, 2002)

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The Jamaican Language

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.

Di bokkle Di rula Di bax


Dee bok-el Dee roo-la Dee bax
The bottle The ruler The box

Di paypa Di picha A wa dis?


Dee pay-pa Dee pi-cha Ah wah dis?
The paper The picture What is this?

Hint to memba fo’eva: Jamaican “R” sounds are commonly omitted.


This is especially true of the terminal, or ending, ‘R’. In most cases, even
when the ‘R’ is in the midst of a word (recaad for record), it is not
pronounced.

A di picha dat? Dis a di picha.


Ah dee pi-cha dat? Dis ah dee pi-cha.
Is that the picture? This is the picture.

A di winda open? Di winda a close.


Ah dee win-da wo-pen? Dee win-da ah clooze.
Is the window open? The window is closed.

A di bax dis, sa? Yeh, a di bax.


Ah dee bax dis, sah Yeh, ah dee bax.
Is this the box, sir? Yes, it is the box.

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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The Jamaican Language

Hints for pronunciation: Patois carries a unique sound and


feeling. Jamaican words may be drawn out. With time and
practice, you will develop a feel for what the word should
say. E.g. door would say: doh-ah.

Di box must a kyarri truu di door no di winda.


Dee box muss ah key-yar-ree chr-uu dee doh-ah nuh dee win-da.
The box must be carried through the door not the window.

Di box must a poas.


Dee bax mussa poahs.
The box must be posted (mailed).

A di bokkle bruk? No, di bokkle no bruk, it deh.


Ah dee bok-el bruhk? Noah dee bok-el no bruhk, it deh.
Is the bottle broken? No, the bottle is not broken, it is there.

A wa dat ova dehso?


Ah wah dat wo-ba (or pronounced o-va) deh-so?
What is that right over there?

A whole heap a Red Stripe® bokkle.


Ah ol-eeep ah Red Strīp bok-el.
Many bottles of Red Stripe. (Jamaica’s lager beer)

*Whole heap* is used quite often for describing anything


in large amounts. Not much emphasis should be heard in
the ‘H’ of heap and none on the ‘W’.
A whole heap a ting a gwaan di man a say.
Ah ol-eeep ah ting ah gwaan dee man ah seh.
Many things will are going on the man said.

Come tek dis si’ting outta di box.


Cum tek dis sit-ting out-tah dee bax.
Come take this thing (something) out of the box.

129
The Jamaican Language

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…”

Di hat Pants Frock Purs


Dee aht Pahnz Frohk Puhs
The hat Pants Dress Purse

Di billfold Draws Boots


Dee bill-fohl Drazz Boots
The wallet Under pants Shoes, (and condoms)

Di battyrider Shut Gansey Marina


Dee batty-rider Shut Gaan-zee Mer-eena
The short shorts Shirt T-Shirt Tank top

Di nightie Bling-bling gold chain / Cargo


Dee nī-tee Bling-bling goal cheen / Kah-go
The nightgown Flashy gold chain / big chain (cargo like—hence the word.)

130
The Jamaican Language

Di darkers Lens Yu hab a bashy style.


Dee dock-ahs Lenz Yuh hab ah bash-ee styl.
The sunglasses. Glasses You have cool style / fashion or taste.

Di money noh ina di billfold ina mi pants, but ina mi shoe.


Dee mun-ee nuh in-na dee bill-fohl in-na mee pahnz, but in-na mee shew.
The money is not in the wallet in my pants, but it is in my shoes.

Note: Ina means “In” or “In the”.

Wha’ppun princess! Yu look cris ina yu frock.


Wha’ppun prin-cess! Yuh look criss in-na yuh frohk.
What’s up princess! You look good in your dress. [Princess is what a man would call to
an attractive woman.]

Mi nuh waan dutty mi clothes. Mi a-go do work pon di street.


Mee noh waan dut-tee mee klu-ahs. Mi a go do wok pon dee street.
I don’t want to dirty my clothes. I am going to do work on the street.

She did ina di nighty a pose off.


She did in-na dee nī-tee ah poz aff.
She was in her nightgown posing off.

{Dancehall lyrics from Mi Cyan’t Sleep, by Red Rat}


…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 dat alert mi
and now mi cyan't sleep and it worth it....

She a fava a mogel.


She ah fā-vah ah mog-ehl.
She looks like a model.

NOTE: When you say that someone “Favors” something, it


means that they resemple or look like the object that you
are speaking of.

Him a gwaan like him a mogel.


Ihm a gwaan like ihm ah mogel.
He goes on acting like he is a model.

131
The Jamaican Language

‘Im jus a mogel up di lane ina gold-rolled chain.


Ihm jus ah mog-gel up dee leen in ah goold-rolled cheen.
He’s just modeling up the lane in a gold-rolled chain.

*Since most initial “H’s” in Jamaica are held silent, the word
“Him” is said without the “H” sound.

Di teif a go tek di bling bling offa yu ches.


Dee teef ah go tek dee bling bling of-fa yuh ches.
The thief will take the fancy chain off of your chest.

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.)

Nuff piece a gyal deh walk pon di street.


Nuff pees ah geahl deh waak paan di street.
[Piece of gyal would be slang for a great woman.] Basically means that there are plenty
of nice girls out on the streets.

Oi! Yu did see di one cris shorty deh?


Oi! Yuh did see dee wun kris shorty deh?
Yo! Did you see the nice girl there? (Cris is a term for something nice; a shorty is a girl.)

See di ooman inna Moschino® dress wit di tall hair?


See di ooman in-na Mos-kinna dress wit di tall air?
See the woman in the Moschino dress with the long hair?

She a look good all di while.


She ah look good all dee while.
She looks good all the time.

She a buy di ting fi look man.


Shee ah buy dee ting fee look man.
She buys (or bought) the thing to look for men.

Buy mi one boxa brief an sock fi a wear.


Buy mee wun boxa breef en sok fee ah weer.
Buy me a pair of boxer briefs and socks to wear.

132
The Jamaican Language

Yu star dem tredds.


Yuh staar dem tredz.
Literally means, “You are starring (or are a star in) those threads.” Basically means that
you look great in those clothes.

Tanks mon, but dis a skettel name brand mi a tink.


Tanks mon, but ah sket-tel neam bran mee ah tink.
Thanks man, but this is a cheap brand I think. [Skettle is a term for something cheap and
unadmirable.]

Kangol® a numba one! Da bad man a wear it nuff.


Kan-gol ah num-ba wun! Da bad man a weer it nuff.
Kangol is number one! Gangsters wear it often.

Mi tell yu say, bad man no flex no skettle name brand.


Mee tell yu say, bad man nuh flex nuh sket-tel neam bran.
I’ll tell you that gansters don’t sport, or wear, cheap stuff.

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?

Di rude bwoys tink ongly fi dem bling-bling tings.


Dee rood bwhys tink ong-ly fee dem bling-bling tingz.
The “Bad boys” think only for their flashy things.

Yu know star, mi mus get di bes eva mek.


Yu know staar, mee mus get di bess ev-va mek.
You know man, I must get the best ever made.
[Calling someone ‘star’ is a signal of friendship.]

Gyal, mi waan fi see yu ina battyrida.


Geahl, mee waan fee see yu ina bat-tee-rī-dah.
Girl, I want to see you in “Batty riders” (Short shorts).

Picha dis! Wi jus cool out unda wi lens


Pi-cha dis! Wee jus kool out un-dah wee lenz.
Picture this! We relax under our sunglasses.

Picha dis! Wi a roll ina wi Benz.


Pi-cha dis, wee ah roll inna wee Benz.
Picture this! We roll in our Benz (Mercedes).

133
The Jamaican Language

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!

Di hat green like di leaf deh pon di tree.


Dee aht green like di leef deh pon dee tree.
The hat is green like leaves there on the trees.

Yeh mon, mi love di gold dem. Gold stan fi wealth.


Yeh mon, mee lub dee go-ahl. Go-ahl stan fee wellt.
Yes, I love the gold objects. Gold stands for wealth.

Red a di heights kula fi da Rasta dem. Red fi a blood.


Red ah dee Ī-tes kula fee da Rasta dem. Red fee ah blud.
Red is the highest color for the Rastas. Red is for blood.

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.

Wa di kula a di book? Di book no blue.


Wah dee kuh-la ah dee book? Dee book nuh blew.
What is the color of this book? The book is not blue.

Is wa dis? Is di yellow lamp.


Iz wah dis? Iz dee yella laamp.
What is this? It is the yellow lamp.

“Is” pure success: In Jamaican Patwah, “ is” is used very differently


from normal English. “Is” simple shortens the need to say, “It is”. When
referring to the self, “Is” means “Am”, as in I am—now becomes ‘Mi
is’.“Is” also acts as a substitute for the word ‘Are’, as in they are— now
becomes ‘Dem is’.

134
The Jamaican Language

Is dem ting small? Yeh mon, dem lickle.


Iz dem ting smal-h? Yeh mon, dem lick-el..
Are the things small? Yes, they are little.

ESSENTIAL NOTE: Use Mon (meaning person) to casually agree or


disagree with anyone—use often. Yes Mon! Use mon or man in any
common conversation! You can always use it after saying yes (yeh) or no
(nuh). You can say it either way. Yeh mon or yeh man. It is not gender
specific.

Look pon di maga gyal. Look pon di mampi.


Look pon dee ma-gah geahl. Look pon dee mam-pee.
Look at the skinny girl. Look at the very fat person.

Look ‘pon this: The word “Pon” is used for the words ‘On’ or ‘At’. The
pronounciation can be Paan or Pon.

Jamaica large or small?


Jah-meik-ka laaj are (or oh) smal-h?
Is Jamaica large or small?

The word “OR”: The word “Or” can be pronounced either (oh) or
(are).

No, mon. Jamaica no laaj, Jamaica small.


Noah mon Jah-meik-ka nuh laaj, Jah-meik-ka smal-h.
No, man. Jamaica is not large, Jamaica is small.

Wa dat? Mi no know a wa dat.


Wah dat? Mee nuh nuo ah wah dat.
What is that? I don’t know what that is.

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?

135
The Jamaican Language

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

Hint: Use Bwoy frequently as a common expression like saying “Man”


(mon). Bwoy is very common slang. E.g. Bwoy, mi kyaan bodda! (Man, I
can’t bother!) Use it freely to talk to anyone—man or woman!

Excuu mi Sa. A Mistah Brown dis, sa?


Ex-kuu mee Sah. Ah Mis-tuh Brown dis, sah?
Excuse me sir. Is this Mister Brown, sir?

Yeh bwoy, a Mas Brown dis, mi say!


Yeh bwhy, ah Maas Brown dis, mee seh!
Yes, this is the respected Master Brown, I’m saying!

‘Mi say!’ is a common expression of personal emphasis said at the


beginning or end of a sentence.

An sa, a ooo dis genkelmon? Him a Mr. Edwards?


Ahn sah,ah ooo dis gen-kel-mon? Ihm ah Mr. Edwuds?
And sir, who is this gentleman? Is he Mr. Edwards?

No sa, ‘im nuh Mr. Edwards. But a Mr. Smith.


Nuh sah, ihm nuh Mr. Edwuds. But ah Mr. Smit.
No sir, he is not Mr. Edwards. But Mr. Smith.

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.

136
The Jamaican Language

Di lickle pickney deh, di wash belly.


Dee lik-kel pik-ney deh, dee wash belly.
The little child there is the youngest child in the family. (Wash belly is a term for a
mother’s last child.)

Di young ooman hab tree pickney an one bredda, ee?


Dee yung ooo-man hab tree pik-nee en won bred-da ee?
The young woman has three kids and one brother, right.

EE EE: Jamaican Patwah is known for the unique sounds of


conversation. The use of ‘Ee’ is one of these. It is pronounced just like the
letter “Ee” and can be said once or twice. EE can be used at the end of a
sentence to seek a reply. Or it can be used alone to convey surprise or joy.
EE, look at him hair! (Look at his hair!)

Ee-ee, mi neva know say she arredi hab three yuut?


Ee-ee, mee neba nuo say she a-reddy hab tree yuut.
Uhh-uhh, I never knew she already has three children.

Mi wudda like fi know fi har age.


Mee wud-da like fee nuo fee har age.
I would like to know her age.

Lissen, yu no go know dat—wha’ppun to yu! Yu nuh know dat


di ooman dem neva say dem age?
Lissen, yuh noh go nuo dat—wha’ppun to yu! Yu nuh nuo dat dee ooman dem neba say
dem age?
Listen, you aren’t going to know that—what’s the matter with you! Don’t you know that
women never reveal their age?

As opposed to common age inquiry in the U.S., Jamaicans do not ask


people, especially a new acquaintance, what the other’s age is. Asking
for one’s age is not the best thing to due to bring up conversation in
Jamaica.

Yu a Mr. White. Mi is Mr. Brown.


Yuh ah Mr. White. Mee iz Mr. Brown.
You are Mr. White. I am Mr. Brown.

137
The Jamaican Language

Yu a di student. Mi is di mon an di teacha.


Yu ah dee stew-dant. Mee iz dee mon en dee tee-cha.
You are the student. I am the man and the teacher.

A yu she? Yeh a mi. Yesa mi.


Ah yuh she? Yeh ah mee. Yes-ah mee.
Are you her? Yes, it is I. Yes, that’s me.

Is mi dat? No, a no yu. A no mi.


Iz mee dat? Nuh, ah nuh yuh. Ah nuh mee.
Is that me? No, it’s not you. Not me.

A ooo dem? A ooo di lady? She a Ms. Smart.


Ah ooo dem? Ah ooo dee ley-dee? She ah Miss Smaat.
Who are they? Who is the lady? She is Ms. Smart.

Disa di Lady? Yeh, an she browning, nuh?


Dis-sa dee ley-dee? Yeh,en she brown-nin, nuh.
Is this the lady? Yes, and she is light skinned isn’t she?

*Mi love mi money an ting, but mos a all mi love mi brownin’.


Me lub me money an ting, but mos ah all me lub mi brownin’.
I love my money and things. But most of all I love my “browning”.

*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.

Di man dem nuh like black neggas, dem like brownin.


Dee man dem nuh like black neg-gahs, dem like brownin.
Men prefer light-skinned black women to dark-black women.

*Browning is an exclusive term for describing a woman’s skin color—never


a man’s (unless a battyman or chi-chi man is speaking of another man).

Yu Chiney or Yu a Chin? Wha’ppun Chin?


Yu Chī-nee / Yu ah chin? Wha’ppun Mis-tuh Chin?
Are you Chinese? What’s up Mr. Chinese man?

138
The Jamaican Language

*Chin is a name to call out to anyone that is Chinese in Jamaica.


Similarly, a Chiney (chī-nee) is a Chinese person.

Yu a Mexican? No sa! Mi no Mexican.


Yuh ah Mex-ee-kan? Nuh sah! Mee nuh Mexican.
Are you Mexican? No! I am not Mexican.

‘Im a Indian? Yeh, ‘im a coolie.


Ihm ah Ind-ee-yan? Yeh, ihm ah coolie.
Is he Indian? Yes, he’s an Indian.

Note: There are many people of Indian descent In Jamaica. They are
commonly referred to (derogatorily) as “Coolies”.

Dem a tell yu dem a ooo. A ooo dat a come?


Dem ah tell yuh dem ah ooo. Ah ooo dat ah cum?
They are telling you who they are. Who is coming?

A ooo deh? A ooo dem? Dem is di people.


Ah ooo deh? Ah ooo dem? Dem iz dee peep-el.
Who is there? Who are they? They are the people.

Ooo a dat idiot gyal? Mi no know di gyal deh.


Ooo ah dee ee-dee-at geahl? Mee noh nuo dee geahl deh.
Who is the idiot girl? I don’t know that girl.

Dat gyal inna science yu know—inna Obeah!


Dat geahl in-na sci-ence yuh nuo—in-na Oh-be-ah!
That girl is into science—into Obeah witchcraft!

Di Obeah people dem can mark yu up wit pyur curse.


Dee Obeah people dem caan mark yu up wit pyuur curse.
Those into Obeah witchcraft can mark you with pure (many) curses.

Mi lub alla mi fambly. Mi madda an aunty young.


Mee lub al-la mee famb-ly. Mee mad-da ahn ant-ty yung.
I love all of my famly. My mom and aunt are young.

Di dada lick ‘im.


Dee da-dah lick ihm (or) wet ihm.
The dad hits him. *Both ‘Lick’ and ‘Wet’ mean “To hit’”

139
The Jamaican Language

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.

Some people beat up dem pickney all di while.


Sum peeple beat up dem pik-ney all dee while.
Some people beat their children all the time.

Mi cris wit mi bredda ‘im, but mi kyaan badda wid mi sista—


caa she a neva chat me!
Mee kris wit mee bredda, but mee key-yan bod-da wit mee sis-tah— caa she ah neva chat
mee!
I am fine with my brother, but I can’t bother with my sister— because she doesn’t talk to
me!

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.

‘Im a idiot still. Truss mi! ‘Im kyaan cool still.


Ihm ah ee-dee-at still. Truss mee! Ihm key-yan kool still.
He is still an idiot. I agree! He’s still can’t be cool.

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.

140
The Jamaican Language

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.

Di light did out when mi deh ina’i oouse.


…………………………………deh in-nī owse.
The power went out when I was there in the house.

*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.

Mi in’i oouse right now. (From “Inna di oouse”)


Mee in’ī owse rīte nou.
I am in the house right now.

Ease up off a’i cyar. (From “Off a di cyar”)


Eeez up off a’ī key-yar.
Ease up off of the car.

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).

141
The Jamaican Language

‘Im gaan a’i bathroom.


‘Ihm gaan ah dee baat-rooom.
He’s gone to the bathroom.

Yu did in a’i man owse?


Yu did in ah dee man owse?
Were you in the man’s house?

Get off a’it an leff.


Get off a’eet ahn leff.
Get off of it and leave.

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.

A wa yu dween, eeeh? A faas fly dem buuds, eeeh!


Wah yu dween, eeeh? Ah faas fly dem budz, eeeh!
What are you doing, huh? Those birds fly fast, yeah!

142
The Jamaican Language

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”.

A fi yu dis? A dat a fi yu?


Ah fee yuh dis? Ah dat ah fee yuh?
Is this for you, or simply, is this yours? Is that yours?

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.

A fi mi ting yah. A fi yu si’ting deh.


Ah fee mee ting yah. Ah fee yuh sit-tin deh.
This is my thing here. Its your thing there.

A ooo fa shut dis? A fi dem gansey dat.


Ah ooo fah shut dis? Ah fee dem gaan-zee dat.
Whose shirt is this ? It is their T-shirt.

A fi mi chalice fi bun. A no fi wi ting.


Ah fee mee chaliss fee buhn. Ah nuh fee wee ting.
This is my chalice to burn. It is not our thing.

A dat deh one chalice fi uno? Yeh mon, a fi wi.


A dat deh wun chaliss fee uno? Yeh mon, ah fee wee.
Is that chalice is yours (plural)? Yes, it’s ours.

A di one deh a fi ‘im? Yeh mon, a di one fi ‘im.


Ah ee wun deh ah fee ihm? Yeh mon, ah dee wun fee ihm.
Is that the one there for him? Yes, it is the one for him.

Dat one a fi mi bredda.


Data fee mee bred-dah.
That one belongs to my brother’s.

143
The Jamaican Language

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.

Fram dis time fawaad, we a go


stop spell out di words dem.
From this time on, we shall stop spelling out
the words.

Weh yu waan fi go, mon? Mi waan leff outa J.A., zeen?


Where do you want to go? I want to leave Jamaica, okay?

Wa ya’a say, mon? Mi say mi waan go foreign.


What are you saying, man? I want move (or go) to the U.S.

Yu waan leff di concrete jungle, yah? Truss mi!


Do you want to leave this concrete jungle (ghetto)? You bet!

Yu know mon; Watahouse a war wit Olympic Gardens all di while.


You know man; Waterhouse (a Jamaican neighborhood) is always fighting with Olympic Gardens.

*Jamaican neighborhoods commonly fight with each other. This type of


residential fighting is known in Jamaica as a “War”. Similarly, people, who are
alone, can “War” each other. A war is a fight.

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.

So mi a go look ‘bout safety inna foreign, zeen?


So I am going to find safety in America, see?

But di people deh involve nuff wid Babylon. Yu, as a dread,


kyaan mix up wit dat!

144
The Jamaican Language

But the Americans are involved heavily with Bablyon (the corrupted system) You, as a
Rasta, can’t mix up with that!

Cha! Mon, yu know say dat unno a suffa ina Jamdung.


*(Cha is a expresson of irritation) You know that we all suffer in Jamaica.

So wa, yu a go mek money pon the U.S. business?


So what, your going to the U.S. to make money and business?

Truss mi, mon! Mi like the business idea, mon, zeen?


Yes! I like the business idea, man, see?

Lissen di song an ‘memba wa say:

…Tell dem already—


already—wi haffi tell dem again!
Dem a murdera, seen?

…Dem dress up ina jacket and dem dress


up ina tie, come a courthouse dem want fi
fi
tell pyur lies.

…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.

145
The Jamaican Language

Zeen. Is fa dat reason mi naa go leff.


Yes. It is for that reason that I won’t leave.

“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.)

Fi’s use as an auxiliary verb is very important and it is used to imply or


command action.

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.

Yeh mon, all di while mi dweet!


Yes man, I do it all the time!

Disa how fi start and disa how fi end.


This is how it starts and this is how it ends.

Fi dweet good, yu mus wuk haad.


To do it good, you must work hard.

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.

146
The Jamaican Language

A fa uno dis? Data fi wi. Did uno hear wi?


Whose is this for? That is ours. Did you all hear us?

 Always use “Wi” for the use of the following: us, ours, we.

1. Wi naa go deh. (We’re not going there.)


2. Dem teif wi tings. (They stole our things.)
3. Mek wi go. (Let us go.)
4. Come to wi. (Come to us.)

Uno nuh easy yu know!


You (plural) are difficult you know! (Literally means, “You are not easy.”)

*Uno nuh easy: is a common expression of pointing out that one is


acting difficult or acting in an odd way.

Mi kyaan bodda wit uno.


I can’t bother with you. [Kyaan, meaning can’t, is pronounced (key-yan).]

Uno ready fi nyam? Uno like it?


Are you all ready to eat? You like it?

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.

Ih too spicey—ya put nuff peppa in’ait.


It’s too spicey—you put too much peppers in it.

Hush.
Sorry.

147
The Jamaican Language

Di sebent lesson

Did depon wa?


Did deh-pon wah?
Was on what?
Weh di Rasta dem deh? Yu been deh?
Where are those Rastas? Have you been there?

Dem g’way lang time now.


They’ve been away for a long time now.

Memba when mi dideh a mi yaad?


Remember when I was at my house?

“did” replaces the “to be” verb WAS.


Yeh mon, mi did red when mi come home.
Yes man, I was high when I came home.

‘Im did dreadlocks when mi see ‘im.


He had dreadlocks when I saw him.

Di food did good.


The food was good.

Di gyal dem did hot pon di place!


The girls where hot at that place!

Mi haffi wonda wa depon dem min’.


I have to wonder what is on their mind.

Mi mind chubble ova wa depon dem mind.


My mind is troubled over what is on their mind.

A ooo inna di gleena deh? A wa di gleena?


Where is the Gleener? What is the Gleener?

148
The Jamaican Language

Di Gleena a di Jamaican newspaypa.


The Gleener is the newspaper.

So weh it deh mon? It did depon di cyar.


So where is it man? It was there on the car.

‘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.

Is lang time wi nuh hab no fun, yu waan go pon one flex to


Negril—one vacation?
It’s been a long time since we haven’t had any fun, do you want to go on a flex to
Negril—on a vā-kā-shun? (Flex means a time for enjoyment, pleasure, and fun.)

Yeh mon, wi a go pon di ironbird (I-runbuud) o inna cyar?


Yes, will we go by plane or by car?

No mon, wi a go pon bus fi save money. See mi a say?


No, we will go by bus, man, so we can save money. See what I’m saying?

Anyway, nuh worry bout it, mon. Di money a go dun anyhoh.


Any way, don’t worry about it, man. The money will be spent anyway.

Mek wi tek di taxi caz dem always depon haste.


Let’s take the taxi because they are always in a hurry. (Haste is pronounced heeas.)

*Depon haste is a common expression in Jamaica meaning


to be in a hurry.

Mek haste mon! Wa mek yu neva ina haste?


Hurry up man! Why are you always so slow?

Weh mi keys dem deh? Mi did see dem deh ‘bout.


Where are my keys? I saw them around here.

*The use of deh ‘bout is from the words ‘there’ and ‘about’. This means
that the something is around or near by.

149
The Jamaican Language

See di man ova dehso. Tek dis sinting yahso.


See the man right over there. Take (or get) this thing right here.

To say that something or someone is there simply say “dehso.”


And, “yahso” is used to say here. These are used when the
objects are within visibility.

It yahso. See di ting ova dehso?


It is right here. Do you see the thing is over there?

Yu see mi yah? Yu see ‘im deh?


Do you see mi here? Do you see him there?

Yu fadda a come yah. Yeh, it deh a Jah-mieka


Your father is coming here. Yes, it is there in Jamaica.

• You must know that Deh means ‘There’ and Yah means ‘Here’. But
dehya (deh+yah) means ‘Here’.

A ooo dehya? Mi dehya. A ooo did dehya?


Who is here? I am here. Who was there?

It did dehya. Yu got no food dehya?


It was here. Don’t you have any food here?

Dis yah. Dat deh. Dem ya si’ting na good.


This here. That there. These things are no good.

Common word: Mi dehya is a very common expression that is in


simple response to a greeting. Mi dehya just says, “I’m fine, I’m good,
everything is cool, ECT”. As reference, it literally means, “I am here”.

Hey, wh’a gwaan man? Nutten na gwaan—mi dehya.


Hey, what’s going on (what’s up)? Nothing is going on—everything is cool.

150
The Jamaican Language

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.

Look pon dem. A wa do dem?


Look at them. What about them?

See di coknat deh? Yeh, wa do it?


See those coconuts? Yeah, what about it?

Yu no kyaan pull kaknut eff yu no hab no cutlass or mash-ett.


They can’t open the coconut because they don’t have a machete.

The use of double negatives and even triple


negatives is common and correct in patois.
Mi no kyaan pull dis yah tin a peas caa mi no hab no cutta.
I can’t open these can of beans because I don’t have a can opener. (To open is to pull.)

Wa she a do? Wa ‘im a do?


What is she doing? What is he doing?

She a bring ih yah. ‘Im bring ih.


She brings it here or she brought it here. He brought it or he brings it.

Essential Theme: Words are spoken as if in the present in Jamaican


Patois. In addition, there are no past tenses in the language.
.

Dem a walk go work. Di higgla a sell pon di street.


He walks to work. The vendor sells on the street.

151
The Jamaican Language

Dem depan wi corner an beg fi a Nanny.


They were on our corner begging for money (a 500 Jamaican bill).

Wi gi’im pyur coppa, caa wi no hab no dollas.


We gave him only a penny because we didn’t have any dollars.

Know the following slang terms for Jamaican Money:

Dollas: The basic term for money; dollars.


Copper: Any coin that is less than one Jamaican dollar.
(Has virtually no value and most stores can’t offer its
change).
Bill: A basic 100 dollar bill.
Nanny: A 500 dollar bill.
Manely: A 1000 bill (This bill has former Prime Minister
Michael Manley on it.)

Jamaica has ultra-high inflation. At the time of this


printing, 44 Jamaican dollars is equivalent to one U.S.
dollar.

Di bad bwoy dem a look fi teif man billfold.


The thugs look to steal (thief) someone’s wallet.

Di gal a nyam. ‘Im a chat.


The girl eats. He is talking.

She a bathe (bea-dth). Dem a go shop.


She is bathing. They are going shopping.

‘Im a fight ‘im ooman. Nutten buta cuss-cuss fight.


He fights his woman. It was a non-physical fight.

Always Remember: Always before something is done, or in any


action, you must say “a.” Mi a go. She a go. Mi a fly go. Mi a nyam.
Dem a go. Mi a write dis. Yu a read dis. Ya see mi? Ya see mi a say?

152
The Jamaican Language

Di nine’t lesson

Yeye, nose, teet, an eaz.


Yī, noaz, teet, en ee-ahz.
Eyes, nose, teeth, and ears.

Di head Hair Yeye Nose Eaz


Dee ed Air Yī Noaz Ee-ahz
The head Hair Eye Nose Ear or Ears

Di teet Arm Han Foot Foot bottom


Dee teet Ahhm Ann Foot Foot batt-um
The teeth Arm Hand Leg Sole of foot

Backside Batty Rass Finga Face


Bak-side Bat-ty Rass Fing-gah Feahs
*Buttocks Butt Ass Finger Face

*Backside is also a familiar term to suggest one’s self. [Yu backside!]

*Head can mean both head and hair depending on usage.

Nuh presha mi mind.


Don’t pressure me into decisions.

‘Im bruk ‘im foot.


He broke his leg.

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.

’Im a haad eaz.* ‘Im eaz haad.


He doesn’t listen. He is stubborn.

*This expression of stubbornness literally means “Hard ears.”

153
The Jamaican Language

Tap cut yu yeye (yī) afta mi!


Stop cutting your eyes at me! (Means moving the eyes away in disgust)

Wa mek yu yeye wata.


Why are you eyes watering? Or, why are you crying?

Ebbry time mi tink a Liza, wata coma a mi yeye.


Every time I think of Lisa, I cry.

Move yu backside! Mi ‘ave wanga gut.


Move your self! I have a fat stomach.

Shut yu mout an tap yu chatin’.


Shut your mouth and stop your talking.

Nuh kiss yu yella teet afta mi. Yu a renk bad, mon!


Don’t hiss at me with your yellow teeth. Yu smell bad!

Yu battyhole! Mi naa hab yella teet mon! Yu know say mi a


show white teet still.
You ass! I don’t have yellow teeth! You know I show white teeth.

Kiss mi neck!
Expression usually demonstrating surprise or excitement.

Mon, she fall pon har batty jaw.


Man, she fell on her butt cheek.

Butsiyah! (But-see-yah!) A wha’ppun to yu head?


Dang! What happened to your head?

*Butsiyah is a nameless expression of surprise.

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.)

Ya see mi when mi say dat him bruk da whole of him foot?


Do you understand me when I say that he has broken his entire leg?

154
The Jamaican Language

Dis Satnight wi a go club fi drop legs.


This Saturday night we’ll go to a club and dance. (Drop legs means to dance.)

Yu foot waan fi shave. A maga gyal dat.


Your legs need a shaving. That’s a skinny girl.

Yu head waan fi cut. It look so tuff.


Your hair needs to be cut. It looks so course and tough.

She put braid pon har head.


She put braids in her hair.

Di ooman dem creame dem head.


The women relax their hair.

Mi kyaan bodda sitdung an sumody ina mi head 8 hour!


I can’t bother to sitdown having someome in my hair for 8 hours. (Typically, this is the
time for braiding a womans hair.)

Har hair tall. She hab short hair.


Her hair is long. She has short hair.

See di man deh, ‘im long. ‘Im short eeeh?


See the man there, he is tall. He is short, huh?

“Higgins is a long African man. Is him first come


yah and mek people know dat black people have a home
in Africa…Him nose big and him face like when yu
wudda have marki-marki. Him a African man, like him
face cut, but it don’t cut.yu know?” (Rastafari, pg. 90)
The quote in the book described Higgins (who was the first preacher of the African
movement in Jamaica) as tall African with a big nose and a scared face (marked).
Marki-marki is a word for ugly marks—[Jamaican Patois, and other African based
languages, commonly use double descriptive adjectives.] {One could say, “Him face
cutti-cutti, him skin so bumpy-bumpy, she flirty-flirty, dem stinky-stinky, yu so
naga-naga, ect.”}

Instead of saying tall, in Jamaian Patois you can say long to mean the same thing.

155
The Jamaican Language

Di tent lesson

Yu know seh wa mek?


Do you know why?
The word “say” can be spelled either say, seh or sey. This word is the most common and
most important conjunction in Jamaican Patwah.

“Yu know say” is the most common and distinctive


conjunction in Jamaican Patwah. Otherwise spelled ‘sey’
or ‘seh’, it follows verbs of telling, hearing,
thinking, communicating, ECT. And it is often identical
with or indistinguishable form the verb ‘say’, used in
sequence with preceding verbs. (Adams, 25)

Also, to ask “Why” in patwah, you can ask “Wa mek”, meaning literally, “What makes”.

Yu know say it a go rain (ree-ahn).


You know it will rain.

Yu know seh wa mek it rain?


Do you know why it rains?

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.

Mi neva know say dat.


I never knew that.

Yu know seh wa mek Bob Marley good?


Do you know why Bob Marley was good?

Becaa ‘im sing ‘bout di truut.


Because he sang about the truth.

Mi waan fi know ooo a create di Reggae music?


I want to know who created the Reggae music.

156
The Jamaican Language

“Di reggae beat origionally come from di Africans we


se‘em weh—African music—and from Africans scattered
abroad. So it come as a kinda rebellion.”— The Wailers.
Wa mek reggae music di bess?
Why is reggae music the best.

“One ting ‘bout music is dat when it hits, yu feel no


pain.” –Bob Marley and the Wailers

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?

Wa mek di real Reggae inspiration?


What makes the real Reggae inspiration ?

Lissen wa di big mon a seh.


Lisstn to what Bob Marley says.

“Well, our music has always been music inspired by


what we believe in, what we know, and that is happening,
which we experience everything. Reggae music is news.
Is news about yu own self, yu own history, tings dat you
wudd’n really—dem wuddn teach it to you inna school, yu
undastand? Becaa dem wuddn tell yu dat Rastafari is
God! Yu na’mean? And yet di bible tell you dat with in
2000 years Christ shall return and when ‘im return ‘im
gwaan be King of Kings, Lord of Lords, Conquering Lion
in the Tribe of Judah. Chruu di line is a King Solomon and
King David. Now dat is the reality.” —Bob Marley

157
The Jamaican Language

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?

Ooo di man weh mi did chat to?


Who was the man that I spoke to?

Yu did ku pon di street weh ‘im did tun?


Did you look at the street on where he turned?

Ya, mon. Mi know seh weh ‘im go.


Yes, man. I know where he went.

It depon mi head weh ‘im did lick mi.


It was on my head where he hit me.

Di ooman weh mi did see, she did vex (also said with a ‘b’ bex).
The woman that I saw was angry.

Di place weh too pack. Mi neva get fi enjoy mi’seff.


The place was too packed. I never got to enjoy myself.

 Mi want a woman weh clean.


Want one weh pure
An' mi want weh fine
Di woman weh mi want—she affi one of a kind.
(Crazy Look by Capleton)

158
The Jamaican Language

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.

Lickle more, ya hear! Mi soon come, ya hear.


See you later! I’ll be there soon.

Ya hear wa mi a say? Yu see wa mi a say?


Do you hear what I am saying? Do you hear what I have said?

Wa ya dween, mon? Mi naa do nutten.


What are you doing, man? I am not doing anything.

Dem no kyaan dweet, ya hear. No man, dem a star dat!


They can’t do it, see. No man, they doing great!

‘Ol on, mon, mi dweet! Ya hear? No chat to dem!


Hold on, I’ll do it! Do you hear? Don’t talk to them!

So mi a go dweet, zeen? Zeen, mash it up!


So I am going to do it, okay? Yes, I see, have success!

Mi check yu layta, ya hear! More time!


I’ll catch you later! Bye!

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.

159
The Jamaican Language

Di terteent lesson

Dem belly full up, but wi hungry.


The heads of government have means to
eat, but the masses are kept without.
Them belly full but we hungry.
A hungry mob is an angry mob.
A rain a-fall but the dirt it tough;
A pot a-cook but the food no nuff… Cost of living get so
high,
Rich and poor, they start a cry.
Now the weak must get strong.
They say, "Oh, what a tribulation.” —Bob Marley, “Them
Belly Full”

Mi waan sup’m fi eat, mon, caa mi ‘ungry an mi belly empty.


I want or need something to eat, because I am hungry and my belly is empty.

Jah know! mi wanna plate (plē-at) a rice an peas!


God knows. I want a plate of beans and rice!

 Beans are called ‘Peas’ in Jamaica.


Serve mi a half a pound a dat jerk pork (pohk).
Serve me a half of a pound of jerk pork.

Gimme couple festival an full up one Ting


.
I’ll have a few festival (deep fried bread) and fill up some Ting. (Jamaican soda).

Mek wi go get some patty fi eat (fee heet).


Let’s go eat some patties.

 A patty is a baked Jamaican crust stuffed with meat or


vegetables.

160
The Jamaican Language

Wa kinda patty uno hab today?


What kind of patties do you have today?

Wi hab sh-wimp, beef, an vegetable (Veg-gee-ta-bel), ow much yu


waan?
We have shrimp, beef, and vegetable, how many do you want?

Mi waan two beef an tree veggitable. Uno hab callaloo?


I would like to have two beef and three vegetable. Do you have spinach?

Di shopkeepa say di special today a ackee an saltfish an


dumpling an banana.
The shopkeeper says that today’s specials are ackee and saltfish or dumping and banana.

Fa breakfass mi like ackee an saltfish wit breadfruit.


For breakfast I enjoy ackee and saltfish with breadfruit.

Wa ya’a drink? Gimmie juice, mon.


What do you want to drink? Give me juice.

How yu a go pay, mon? Cha! Mi hab duns, mon.


How will you pay? I have money, man!

*Duns is slang for money. It always seems to finish, hence the word done.

Disa juice a fresh still.


This juice is not yet ready.

Note: The word fresh means bitter or sour. Essentially, it is


not ready and needs further preperation.

Anyway, na worry ‘bout it. Full up one glass fa mi.


Anyway, don’t worry about it. Fill up a glass for me.

Mi tersty fa wata. Full mi up a ting a wata.


I am thirsty for water. Fill me up a thing of water.

Wa dat foolishness dem a serve?


What are they serving that is to stupid?

161
The Jamaican Language

Mi a go nyam some dutty gyal an drink a sketell.


I am going to eat some tin mackerel and drink a boxed drink.

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.

Mi a go cook some ghetto steak an drink two bag juice.


I am going to cook chicken back and drink two bag juices.

Mi nuh lub fi nyam tings weh come outta tin.


I hate to eat things that come out of a tin can.

Yeh mon, mi did like it. Gimmie braata!


Yes, I liked it. Give me more!

No mon, wa mek you waan nyam so much?


No man, why do you want to eat so much.

Mi no know mon, mi jus like fi keep mi belly full.


I don’t know man, I just like to keep my belly full.

As you should have noticed, the word ‘Fill’ as a verb


is never used. In all cases, the word ‘Full’ is used in
its place.

Eeeh, eeeh! Dat man fava a dinna pig!


Oh my gosh! That man is fat!

Na lock di winda, mek mi fi feel di air.


Don’t close the window, let mi feel the breeze.

Use lock up to say something is closed or unopen.


All di shap dem lock up.
All of the stores are closed.

162
The Jamaican Language

Wi a go run a boat woba mi yod layta. So, wi haffi prepare nuff


food, zeen?
We are going to cook plenty of food later. So, we have to prepare plenty of food, okay?

Run a boat is an expression for a very large


meal, which everyone cooks and/or contributes.

Yeh mon, mi a help yu up cook wholeheap a food.


Yeah sure, I’ll help you make a lot of food.

Mi send fa steam fish an magnum.


I’ll order steamed fish and Magnum (Magnum is a drink).

Mi wanna pear (peer). Mi lub callaloo.


I want an avocado. I love spinach.

Mek wi go pon one ends fi eat and full wi belly.


Let’s go to someplace to eat and get filled.

“Ends” is common slang used to designate a place.

Mek wi go back a wi ends fi rest.


Let’s go back to our place to rest.

Yeh mon, mi belly full up now!


Yes, I am full now!

Wa leff?
What is left.

Afta mi nyam, mi hab niggeritis.


After I eat, I have niggeritis

* Niggeritis is a term used when one gets tired after a nice meal.

163
The Jamaican Language

Di forteent lesson

Pon di road.
On the road.

Disa place habbi wus roads. Di wus!


This place has the worst roads. The worst!

Dem like fi drive dem bling-bling van.


They like to drive their fancy trucks.

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.

Babylon a di police. Di police dem a caal Babylon.


Babylon is the police. The police are called Babylon.

Wheneva mi see policemon pon di road, mi holla, “Babylon!”


When I see cops on the road, I yell, “Babylon!”

Mi nuh like di Babylon dem, dem lub fi shot up di people dem.


I don’t like the police because they love to shoot up the people.

Yu ca drap mi off downa di roundabout.


You can let me off down at the roundabout.

Tun leff ova dehso. Tun yahso.


Turn left over there. Turn here.

Tap drive so fass. Tap drive so lika madmon.


Stop driving so fast. Stop driving like a madman.

Weh yu waan fi go? Mek wi go dungtown.


Where do you want to go? Lets go downtown.

164
The Jamaican Language

Nuff bwoy a dead a drive dem motabike.


Too many guys have died driving their motorcycles.

Mi depan haste, mon! Mek haste!


I am in a hurry, man! Hurry up!

Dis yah parkin’ space come like neegle yeye (yī).


This parking space is extremely small and tight.

Mi sey a di cyar fronta mi, “Gimme a bly and mek mi pass.”


I say to the car in front of me, “Give me a chance and let me pass.”

* 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.

Laang time mi a tell dem.


I’ve been telling them for a long time.

Mi a drive such a wutless cyar. Jah know.


I drive such a piece of junk. So true.

Tomorrow mi muss drive a go Kingston, kill me dead.


Tomorrow I must go to Kingston at all costs, nothing will stop me.

Mi gal vex. So she a fly go Florida.


My girlfriend is mad. So she flew to Florida.

Wa mek yu neba inna haste?


Why are you always so slow?

Wa mek yu fi galaang so?


Why do you go on so?

165
The Jamaican Language

A nightmare bus ride


in Jamaica or a
normal event?
Bus driver speaking on the intercom:
Welcome to Bus 40, running from
Papine to Downtown Kingston. Please
direct your attention to one “ducta”
who will instruct yu on wi safety and
model features.

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.

166
The Jamaican Language

Di fifteent lesson

Di aat tunes.
Dee aht toonz.
The hot music.

Mi tell yu say, disa Jamaica! Ebby night bashment a gwaan!


I am telling you, this is Jamaica! Every night a dance party is happening!

Mek wi move wi foot to some ragga dis Satnight.


Let’s go dancing to some Ragga (new dancehall reggae) music this Saturday night.

Di dancehall musik mek a seh one yu nuh!


Dancehall music is number one!

Mek a seh one is an expression to saying that something is


superior.
Mi try fi get di tunes weh jus come out yesiday.
I try to get the newest 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.

Mi sey! Disa reggae musik bad like yaz.


My gosh! This reggae music is awesome.

Bad like yaz is another expression of greatness.


Mi waan fi bruk out to some old rockas!
I want to go wild to some old reggae (rockers) music!

Yu know di five dance style dem and ‘ow dem move: di


Scratchy, Buttafly, Matrix, Zip Up, and di Log on?
Do you know the following Jamaican dances: the Scratchy, the Butterfly, the Matrix, the
Zip Up, and the Log On?

167
The Jamaican Language

Di ooman dem know ‘ow fi whine dem bottams.


The women know how to shake their bottoms.

* 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.

Ya go see nuff whinin’ fram di gyal dem pon di dance floor.


You’ll see plenty of dancing from the girls on the dancefloor.

When di DJ a come, dem a say, “All gyal SKIN UP!”


When the DJs come out during a concert, they say, “All girls SHOW SKIN!”

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!

Mi lub dissa tune gaan to bed.


I love this song so much.

Mi lub dis tune kyaan dun.


I’ll love this tune forever (can’t stop loving it).

Nuff stoosh people dem inna dis club.


There are plenty of rich people in this club.

Disa musik cudden betta.


The music couldn’t be better.

Yu did catch di pose? It wicked, don’t (douan)?


Did you see the pose? It’s great, isn’t it?

She a dance fram di start, don’t?


She’s been dancing since the start, right?

Mi a look dance, nuh!


I am looking to dance, now!

She a champion.
She is a superior dancer.

 Champion is someone that is a good lover or dancer.

168
The Jamaican Language

Di sixteent lesson

Di mogeling type.
Dee mog-ah-ling tīpe.
The modeling (show off) type.

Rules to remember: Jamaican Patois does not use words


that end with –dle, or –tle. Instead they use –gle or –kle.

Yu ca hangle di ride? Is no soff. Is haad.


Can you handle the ride? It is not soft. It is hard

Di man dem a love di mogling type gyal.


Men love the beautiful types of girls.

Cease an sekkle, mi sey sekkle dung nuh an tap mek nize!


Stop what you’re doing and relax, settle down now and stop making noise!

Nuh hackle mi oh gi choble, nuh!


Don’t hassle or give me trouble, now!

A ongle mi inna dis worl. Di neegle inna di bokkle.


It’s only me in this world. The needle is in the bottle.

See di lickle turkle deh inna di miggle a di riva? ‘Im kyaan


figga out‘ow fi get ova.
See the little turtle there in the middle of the river? He can’t figure out how to get over.

A so so war dung inna Miggle East.


There is only war in the Middle East.

Mi love di scent a di cyangle dem.


I love the smell of candles.

Gess mi riggle.
Guess my riddle.

169
The Jamaican Language

Di sebenteent lesson

Depon di street corna.


Deh-pon dee street ka-na.
On the street corner.

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.

When mi depan di corna mi get tief’d.


When I was on the corner, I got robbed.

Mek wi go pon di street corna layta disya eveling fi flex an chat.


Lets go on the corner later this evening to chill and talk.

Ebby day ‘im depan di corna a gamble.


Everyday he’s on the street corner gambling.

Wa kinda runnings a gwaan outa street layta?


What kind of happenings are going on later on the street?

Mek wi go shap fi sit’in outa street.


Lets’s go shopping for something on the street.

When di higgla a come, yu fi say, “Wa yu a deal wit?”


When the street vendors come (higglers) just ask them, “Wa yu a deal wit.” (What do you
want?)

“Wa ya’a deal wit” is a common expression. Not


very polite, however, it is said to find out what someone
wants. Translates into, “What do you want.”

Di two a dem a buck up inna street. Wi a buck up.


The two of them met up in the street. We met up (unplanned).

170
The Jamaican Language

Di eighteent lesson

Life inna di ouse.


Līfe in-na dee owse.
Life in the house.

Mek up yu bed ebby man’in when yu get up.


Make your bed every morning when you wake up.

Ebby Satday Miss Dee clean har floor.


Each Saturday Miss Dee cleans her floor.

‘Ow disa floor can dutty so offen?


How can this floor dirty so often?

Mi hab wholeheap a wok fi do inna mi yod.


I have a too much work to do at my house.

Rhaatid, disa room so chaka-chaka!


Man, this room is such a mess!

Mek di place (pleese) look deestant.


Make this place look decent.

Dat computa deh stoosh!


That computer is nice.

* Stoosh is a word that denotes the upper class.

When mi dun watch TV, mi a go sleep.


When I am done watching TV, I shall go to sleep.

Mi kyaan sleep dis eveling.


I can’t sleep this evening.

Mi haffi sey mi priors befo go a mi bed.


I have to say my prayers before going to bed.
When mi tyad, mi sleep dead.

171
The Jamaican Language

When I am tired, I sleep heavily.

Wi watch TV pon di seti, di seti a di sofa.


We watch TV on the couch, the couch is the sofa.

Disa seti comfatable, sidung.


This sofa is comfortable, sit down.

Memba when wi depan di veranda di odda day?


Remember when we were on the veranda the other day?

Yu fava duppy! Wha’ppun to yu?


You look like a ghost (scared)! What happened to you?

172
The Jamaican Language

Di nineteent lesson

Di bar.
Dee bah.
The bar.

A Wa ya drink?
What will you be drinking?

Gimmie tree bokkle a Red Stripe®.


I’ll have three bottles of Red Stripe.

Bredren, see mi a seh, Red Stripe a di bes mon!


My friends, see what I am saying, Red Stripe is the best!

Yeh mon, wi a drink dat hard yah, zeen!


Yes, we drink that to the fullest here in Jamaica!

Mosa di man dem a come fi play jewka box.


Most of the men come to play the gambling machines.

Yu no seh yu a go waste nuff a yu money pon dat.


You know that you’ll waste much of your money on that.

Mi like fi tek it easy, shoot pool, an drink rum an Ting®.


I like to take it easy, shoot pool, and drink rum and Ting.

Mek wi lick some dice and layta play poka.


Let’s roll (“Lick” means to “Hit” in. But, to “Lick dice” means to roll them) dice and later
play poker.

Mi lub (Appleton™) rum an stones.


I love (Appleton ™) rum on the rocks.

Mi waan look an ketch some gal inna di bar.


I want to go get some girls at the bar.

Mosa di man dem waan fi kyarri a gal home.


Most of the guys want to take a girl home to sleep over.

173
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 waan mi fi drunk? An drive outta kantrol?


Do you want me to get drunk? And drive out of control?

Ef yu drunk yu kyaan drive pon no road.


If you’re drunk you can’t drive on the road.

Full up a ting a rum.


Fill up a thing of rum.

Cyarry come gimmie nuh!


Come bring me the beer now!

Mi na’a joke, mon; mi inna watas (waat-as).


I am not joking, man; I am in the waters (drunk).

Cha, mon! Mi kyaan deal wit no drunk mon!


Damn! I can’t deal with a drunk!

Yu level?
Are you okay?

Yeh mon! Jus’ rest mi.


Yes man! Just leave me alone.

Mek him stay.


Leave him alone.

Mek it stay.
Leave it be.

• To have something Stay means to let it be alone.

174
The Jamaican Language

Di twentied lesson

Lang time mi a wait.


Laang time mee ah wee-at.
I’ve been waiting for this.
Weh yu fram? I-man come fram foreign.
Where are you from? I am from America.

Disa weh I-man born an grow.


This is where I was born and raised.

See di ooman deh? She grow mi.


Do you see the woman there? She raised me.

Mi decide dat mi naa be nuh igle mon.


I’ve decided that I won’t be a lazy (idle) man.

Lang time mi a watch yu and mi wanna chat to yu; but yu a


gwaan like yu nuh wanna raas chat to me, so tell me wa a
gwaan nuh!
I’ve been watching you out for a while now and I’ve been wanting to talk to you; but you
act as though you don’t want to talk to me (cursing), so tell me what’s going on now!

A Yu des? ‘Im sey ‘im a des fi wuk.


Are you desperate? He says he’s desperate for work.

Mi buy disya dege-dege dakers fram one dege-dege man.


I bought these cheap sunglasses from this skimpy man.

 Dege-dege. (Deh-geh deh-geh) Describing a single object that is measly


or skimpy.

Di letta musa poas. See di poasman deh?


The letter must be mailed. See the mailman?

Mi poas it tersday gone. Gwaan pick up di poas.


I mailed it last Thursday. Go an pick up the mail.

175
The Jamaican Language

Di twenty-fus lesson

See ‘ow dem a gwaan an ray ray—like


dem a mixed-up blenda?
See how they go on and blah blah—like they are
mixed-up blender?

She a chat an she a yeyewata an a ray ray.


She went on talking and crying and blah blah.

Note: Use the “Ray ray” combination when expressing feelings


of conversational hype and boredom or when unimportant talk has
taken place. It is similar to “Blah blah” (e.g. She went on and
on…ECT). “Mixed-up blender” is a slang term to mean someone
that talks to much.

‘Ol on, mi tell yu mi naa go wit har, caa she a liad.


Hold on, I tell you I won’t go with her because she’s a liar.

Mi nuh kya (key-ah) bout har. She a ginnal.


I don’t care about her. She is a phoney. (Ginnal also means to be a fake or liar.)

She a go flirt up one mon fi bring yah.


She’ll flirt up a guy to bring here.

She waan fi go ketch mon. A lie. A true.


She wants to get a guy. You’re lying. No, really.

• A true is a very popular saying when agreeing with someone.


It is like saying in America, “Really, is that so?” or “It is so”.

Mi nah waan har. A true she no hab di full hundred.


I don't want her. She doesn't have the full hundred.

176
The Jamaican Language

• The full hundred means to have 100 percent something. So,


if someone doesn’t have “The full hundred”, which is the full
story, entire truth, capacity, ect., they likely are holding
something back.

She waan fi mi money but she don’ waan be mi honey.


She wants my money but she doesn’t want to be my honey.

When di money dun, she pyur vex.


When the money is done, she’s very angry.

Wa fuckery dat. Mi a tell har fi leff.


That is wrong and unjust. I’ll tell her to leave.

Mi no jus kyaan deal wit dat, zeen?


I just can’t deal with that, see?

Ooo baby madda dat? A she di baby madda.


Who is the mother of that child? She is the mother.

Mi naa like when she a su-su bout mi, mi get heated.


I don’t like it when she gossips about me, I get furious.

A so she ‘tan. Tan teddy.


That’s how she is. Stand still or steady.

Note on ‘tan and stay: ‘Tan is very much an expression. It comes


from the word, “Stand”. A so yu ‘tan, “That’s how you are.” You
can also say, ‘Tan deh. This means, “Just you wait”. Also, the
word stay is often used for the same meaning. Stay deh means,
“Just you wait”.

Yu see how yu stay? Mi nuh like how ‘im stay.


Do you see how you are? I don’t like how he is.

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.

Leff mi. Leff dat. Di bus a leff mi.


Leave me alone. Leave that alone. The bus passed me.

177
The Jamaican Language

Di twenty-secon lesson

Gweh, mi cyar waan fix.


G’wey, mee key-ar wahn fix.
Go away, my car needs to be fixed.

When something “Waan” something, it “Needs” it.


Di ouse waan fi paint. Di door waan fi tight.
The house needs to be painted. The door needs tightening.

Gweh fram yahso, yu mussi mad eff yu tan so close.


Move away from here, you must be craze if you stand so close.

Yu nuh know weh it deh, so follow back a mi.


You don’t know where it is, so follow me.

Mi gi yu hundred dalla fa one bokkle a ingin aile (ī’ll).


I’ll give you a hundred dollars for a bottle of engine oil.

Kyarri come gimmie di ting deh.


Bring me the thing there.

Unno tink mi did dun? Don’ laas ‘i money.


Did you think that I was done? Don’t lose my money.

How mi a go pay? Yu got eight dollar gimmie?


How am I going to pay? Do you have eight dollars to give me?

178
The Jamaican Language

Di twenty-terd lesson

Inna di ghetto di don man a rule.


In the ghetto the ganster rules.
A don is is gang or posse leader. Can also mean a drug leader.

“Watch dis my yute. Ya see yahso? Disa di ghetto a


Kingston, zeen? Pyur sufferation. Yu undastan—
pure sufferation. Dis a di ghetto yu know, rude
bwoy, di slump! Zeen? Disa weh I-man baan an
grow. Yu haffi pick up di gun dung yahso jus fi
survive. Zeen? Yu fi be di fittest of di fittest, yu na
see it, fi survive. Yu can see I-man live lika king in
Amerika—dissa weh I-man come fram. Yu naa sey
mi a deal wit? I-man jus feel hurted fi dem yute
dung deh. I feel hurted fa dem, seen? And I-yah try
my best dat tings can change, Zeen? ” (Excerpt taken from the
movie Belly. 1998. Artisan Pictures.)

Inna di ghetto one must look ‘bout safety.


In the ghetto one must keep safe.

A ooo di don pon dis place?


Who is the don of this place?

Ebby town hab ‘im don, see mi a seh?


Every town has its don (drug leader / head criminal), see what I am saying?

See di mon deh? ‘Im di origional Jamaican Don Gorgon. ‘Im


run di rude bwoy bizniss. ‘Im run a crew fram Lincoln
Avenue.
Do you see the man there? He’s the origional Jamaican Gangster. He runs the rude boy
business. He runs a crew from Lincoln Avenue.

179
The Jamaican Language

If yu mek ‘im vex, yu a walkin’ dead mon.


If you make him mad, you’ll be a walking dead man.

Jus cool mon!


Just relax!

If ya see ‘im mek sure yu say, “Reespek, sa.”


If you see him make sure you say, “Respect, sir.”

Not only is it current slang to say the word “Respect”


when greeting people, but also it shows that you are
attempting to be cool and at one with Jamaicans.

When mi see sum’ady mi a tell dem say, “Reespek bredda” or


“Reespek sista”. Den, when mi a leff, mi a say di same ting.
When I first see somebody, I say, “Respect brother” or “Respect sister”. Then, when I am
leaving, I say the same thing.

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.

A don mon no ‘fraid fi shot up a guy—anyting weh move dem


a shot it.
A gangster is not afraid to shoot a man—anything that moves they shoot it.

Di don dem a dun nuff mon.


The don’s have killed many men. (To dun a man is to kill him; hence, he the word done.)

Yu waan dem fi bus’ gunshot and bruk out?


Do you want them to burst out gunshots and become unruly?

180
The Jamaican Language

Yu a tess rudebwoy an yu gwine get killed!


By testing a gangster, your going to get killed!

Ebbry one need visa fi reach a go foreign. If yu kyaan get


visa, den yu fi get one bandooloo.
Everyone needs a visa to go to America. If you can’t get a visa, then you should get a
fake passport.

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.

Sista Nancy a sing, “Mi baan an mi grow inna Kingston six.”


Sister Nancy sings, “I was born and raised in Kingston six” (Meaning Kingston’s sixth
district).

A time fi baan. A time fi dead.


A time to be born. A time to die.

Ebbybody waan go heaven, but no body waan dead.


Everybody wants to to to heaven, but nobody want to die.

‘Im a chat sey dat ‘im a Don Gorgon and ray ray.
He said that he was a true ganster and blah blah.

• A Don Gorgon is a very outstanding and respected person.


Usually of a criminal nature.

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!

Now, ‘im come back a look wife.


Now, he’s back looking for a wife.

181
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!

Please, also remember that in Jamaica homosexuality is definitely not accepted.


Jamaican “Gay bashing” is not viewed as it is in the U.S. Basically; the Jamaican
population is homophobic one. In 1996, a poll indicated that 96 percent of the Jamaican
population was against the legalization of homosexual relations. Perhaps the strong
homophobic attitude in Jamaica comes from the fact that 85 percent of children are born
out of wedlock, which leads to the truth that the vast majority of boys lack full-time male
role models while growing up. Perhaps the common Jamaican macho-male attitude
comes from deep-rooted uncertainties and insecurities. Or, perhaps reggae artist, Shabba
Ranks simply was right when he said (in approval of Buju Banton’s anti-gay song Boom
Bye Bye, which suggests to the killing of gays) “God made Adam and Eve, not Adam and
Steve.”

"Boom bye bye inna batty bwoy


head, rude bwoy no promote no
nasty man—dem haffi dead."
(Buju Banton, Boom Bye Bye, 1992)

182
The Jamaican Language

Eff ya naa hab no rubbas, yu no kyaan jook.


If you don’t have condoms, you can’t have sex.

• Jook means to pierce or poke, thus it is used for commonly


for describing sex.

She waan fi sex mi. She waan fi wuk mi.


She wants to have sex with me. She wants to “work” me.

Di people waan fi feel agony inna di bed.


The people waant to feel ecstasy (Sexual pleasure) in the bed.

Uno ooman hab deese tings: glamity, punaani, punash, an


pum-pum, alla deese a di same si’ting.
All women have these things: [naming the female sexual organ] these names mean the
same thing.

“Mi nuh know wa fi do wit a gyal so kinky.”


(Chant Down Babylon album, Kinky Reggae 1999)

Mi need fi buy some boots fa disa night.


I need to buy some condoms for this night.

Mi mek yu slam a fat Jamaican pum-pum tonight eff yu ca


hangle ih.
I’ll let you f*** a nice Jamaican tonight if you can handle it.

Di gal dem inna di go-go galang an shake dem glamity in front


a ya. Mek yu wood get haad like rottweila.
The girls in the strip clubs shake their [sexual organ] in front of you. Makes your dick get
hard like a rottweiler. (A go go is a strip club; go-go girls are strippers.)

Yu waan neegle yeye?


Do you want a tight needle’s eye? [Speaking of a tight female sexual organ.]

When mi see a ready gal, mi waan fi jam har.


When I see a sexy girl, I want to have sex.

183
The Jamaican Language

Di man lub fi see pussy printas.


Men love to see pussy printers. (Pussy printers are very tight elastic shorts that show the
imprint of the female’s sexual organ; known as “Camel toes” in the U.S.)

Some gyal dem mek man juice a waste.


Some girls make sperm go to waste.

Di man haffi spill ‘im seed pon di place.


The man has to spill his seed (sperm) all over the place.

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.

Mi always ready fi a slam. Mi slap har aready.


I am always ready to get it on. I “hit that” (had sex) already.

Pssssst! Mi waan fi slap ya ting.


Pssssst! (This sound is used in getting attention.) I want to have sex. [Hit your thing.]

Di wutless bwoy nuh kyaan be nuh grindsman.


The sexually non-stimulating men can’t be the best in bed.

Gal yu so haat mi kyaan lock mi hose off.


Girl you are so hot I can’t control my hose (penis).

Mi yeye dem tun ova when mi gal a clean.


My eyes turn over when my girl gives me a blowjob.

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.)

Jah know, mi nuh waan an old antique.


God I Know, I don’t want a used up girl.

Dat gal a skettle. Wa Cho! ‘ow yu know?


That girl is a whore. What! How do you know?

Becaa a one dege-dege man get ha’ ohhny.


Becase only one measly man gets her horny.

184
The Jamaican Language

Further note: Jamaica as a whole (so they say) is not accepting of


the performance of oral sex—especially the Rasta!

Di Rastaman dem neba eat unda sheet.


The Rastaman will never perform oral sex.

When a gyal bow she a call bowcat.


When a girl performs oral sex, she is called a bowcat.

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.”

Note: We will be introduced to the word “Bun” it means to literally burn


or cast judgment. When used in a context involving women and
relationships, it means that sexual cheating has taken place.

Mi get bun by mi baby mudda—she a tree bunna!


The mother of my child has cheated on me—she has three lovers!

She look mi inna yeye an a tell mi pyur lie.


She looks me in the eye and tells me pure lies.

She gi’ I-mon bun. Mek sure yu naa get bun.


She cheated on me. Make sure you’re not cheated on.

Wha’ppun yuutman? Yu like di chi-chi man dem?


What’s up youngster? Do you like gay men?

Cha! A wa ya chat say? Mi nuh like no battybwoy! Bun dem!


What! What are you saying? I don’t like gays! Burn them (let judgments be upon them).

Neva big up di battyman dem. Big up di ooman dem!


Never salute (or praise) gay men. Salute the women!

Afta mi drink magnum, mi a go look gyal fi ketch.


After I drink magnum (either an alcoholic drink or a peanut based drink that stimulates
the male hormones), I’ll go look for a girl to get.

Mi lub yu gaan to bed. But mi nuh saps.


I am deeply in love with you. But I am not bossed by women.

185
The Jamaican Language

Dat ooman waan mi fi bupps har out—fi be boopsie. She waan


pyur dallas. Mi know seh di strong money she afta.
That woman wants me to provide for her—to be a sugardaddy. She only wants monay. I
know it is only U.S. dollars she is after.

Dat ooman depon di blue movie.


That woman is in the porn move. (A “Blue Movie” is a porn movie.)

Mi lub fi see ooman inna batty ridas.


I love to see women in daisy duke shorts (very short).

Ebbry sket ya see ya’a waan screw.


Every skettle you see you want to screw.

Bredren, mi say, mi tan pon ih lang laas night.


Guys, I stayed at it (sexually) for a very long time last night.

One weh tyaad just waan fi dweet an dun.


One who is tired just wants to get it over and done with.

Mr. Mention get alla di gyal an alla di pum-pum.


Mr. Mention (a term for a very popular ladies man) gets all of the women..

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.

Di ooman wish tink sey dat, some bwoy a go bow dem.


Woman wish that some guy will bow (go down on) on them.

But di Rastman sey, “Wi neva bow!”


But the Rastaman says, “We never bow!”

Wickedest Slam
Beenie Man (1995)

Gimmie di gyal wit di wickedest slam


Di kinda gyal who know how to love up she man
And if you want to get di medal
You haffi get di slam from a real ghetto gyal.

186
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

187
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.

Wa di bumbo claat a gwaan?


What the F*** is going on?

Mi nuh gi’ a rass claat. Shut yu rass mout.


I don’t give a F***. Shut your F*ing mouth.

Wa di blood clot yu a chat bout?


What in the F*** are you talking about?

‘Im gwaan lika Mr. Bumboclot T.


He carries on like Mr. T.

Looka dat pussyhole!


Look at that P****hole!

Note: To say the word above, drop the ‘Y’ and say it again in a
slurred manner using two only syllables. (Pusswhool)

Pussyclaat weh di fus word mi dida hear inna JA.


Pussycloth was the first bad word I heard in Jamaica.

188
The Jamaican Language

Yu owe mi a big pussyclaat fava.


You owe me a very special favor.

Mi nuh wanna rass, mi nuh wanna fuk wit yu.


I don’t want to mess, I don’t want to F*** with you.

Rasta nuh flex wit no bloodclaat battybwoy.


Rastas don’t hang with a gays.

Run way battybwoooooooy


Run away gay boooooooy!

Uno wanna romp wit mi bumboclot?


Do you want to mess with me?

Suck ya mudda!
Suck your mother!

Suck out ya mudda pussyhole!


Suck out your mother’s P********!

Jump ‘im raas claat and shot up ‘im bumbo raas claat!
Jump him and shoot him!

Note: You can always say this to bloodclot, and that to


bumboclot, and this to raasclaat, ect.

Mi nuh kya (kay-ah) to bloodclot, tek yu backside to bloodfiah.


I don’t care. Go to hell. (Blood fire means hell.)

The following page are examples of non-bad


non words. They
are mild expressions of surprise and excitement.

189
The Jamaican Language

Rhaatid, look pon di time!


Damn, look at the time!

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.

Jesum piece! Look pon dis.


My gosh! Look at this.

JESUM PIECE: This is a very mild and socially acceptable


Jamaican expression.

Mi no like dis rass ting!


I don’t like this thing.

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.

Wa! Raas a nuh bad wud! Cha!


What! Rass is not a bad word! Gosh!

190
The Jamaican Language

Di twenty-sixd lesson

Time fi bun ganja.


Time fee buhn gan-jah.
Time to smoke marijuana.

It must be understood and realized


that Jamaica is a tropical country.
This allows the Cannabis plant to
be easily cultivated and enjoyed by
many of the people. It is also the
most profitable cash crop and
provides many people with a
source of income—just look at
some of the big houses in Jamaica!
Although ganja is illegal, it is as
easy to get as tobacco and can be
smoked freely—well, for the most
part! Burning (a.ka. smoking)
weed in Jamaica is as much a part
of the culture as is listening to reggae music.

Hey, lickle spliff still. Yu got Rizzla?


Hey, I am looking for a joint man. Do you have Rizzler?

Note: You need to know that ganja in Jamaica is predominantly smoked in


a joint like fashion referred to as a spliff—hopefully one with a big cone-
shaped end. Rizzler is the king-sized rolling paper that Jamaicans enjoy.
Rizzler remains one of the most popular imports from England. Always ask
Rizzla”.
Rizzla
for “Rizzla

Yu bun weed? Yeh mon, mi get red.


Do you smoke weed. Yes, I get high.

Mi no bun di low grade, zeen? Yu did get a pull?


I don’t smoke the cheap weed, see? Did you get a hit or draw?

191
The Jamaican Language

When ya’a bun weed ya irie becaa ya know yu‘self an ya’a


content wit dat, zeen?
When you smoke weed, your happy because you know yourself, and you are content with
that, see?

So, if yu happy ‘bout yu’sef, den yu naa care (kay-yah) bout


what di oddas dem a say.
So, if your happy with yourself, then you won’t care about what others say.

“When you smoke


herb, di herb reveal
yourself to you. All the
wickedness you do, di herb
reveal it all to yourself—your
conscience. Show up yourself
clear. Is only a natural ting,
and it grow like the tree.” —
Bob Marley

When ya smoke di herrb ebbyting cris—but dats weh Babylon


a come fi yu.
When you smoke the herb everything is great—but that’s when the police come for you.

Mi hab no chaage, di ongly chaage I-mon hab is di ting deh.


I have no charges, the only charge I have is the thing just said.

Di ongly chaage dat I an I Rasta ‘ave is de herrb, zeen?


I don’ (douan) ‘ave nuh mo’ chaage.
The only charge that I have is the herb, see? I don’t have any other charge.

192
The Jamaican Language

“HERB is a ting weh give a lickle time fi yuself,


if yu use it.”—Bob Marley

“HERB LIKE FRUIT, the healing of a


nation, keep your healthy mind clear”—Bob M.

“THE MORE PEOPLE SMOKE


HERB, the more Babylon fall.”—Bob M.

“TING IS…you shouldn’t smoke too much.


You shouldn’t smoke ‘erb like me.”—Bob M.

Dat bighead spliff yu roll mek a sey one, yu nuh!


That fatty joint you’ve rolled is amazingly awesome!

Trust mi, yu a get red pon one draw. Zeen.


Believe me, you’ll get high on the first hit (puff).

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?

Lick up di chalice an lick up di spliff.


Hit up the chalice (coconut Rasta bong) and hit up the spliff.

Look pon di fireman smoka ova dehso.


Look at the cool Rasta ganja-smoker over there.

See di Rastamon deh? See eff ‘im can support yu.


Do you see the Rastaman there? See if he can hook yu up.

Yo fireman (fiahman)! Mi aks eff yu hab sum hi-grade?


Hey, Rasta I ask if you have any high quality weed?

193
The Jamaican Language

Cha, mon! Haffi pay fi get sum a dat, ya know?


What! You have to pay to get some of that, you know?

Tek hold pon dis yah—control dis.


Take this here—keep this.

Wa di bumboclaat, disa bare bush weed—pyur low grade!


What the f***, this is only cheap weed (seeds, stems, and sticks).

Hush, mon. Mi kyaan steady di hi-grade now.


Sorry, man. I can’t maintain the expensive stuff now.

Eek-a-Mouse GANJA SMUGGLING. 1982.

CLASSIC GANJA DANCEHALL SONG


Biddy biddy bong bong...
Early, early Sunday morning it was a big big ganja smuggling.
Ina de mud me a pick kali bud an me a load
dem down in off di top.
One by one, load up de van, all of a ganja it
ram
Put it on a plane, the weed gaan a Spain
Money jus' a pour like rain
Mi jus' a mogel up the lane in a gold rolled
chain
Mi an mi girl name Jane
Bang bang biddy bong bong...

Dung dere in da ghetto I go, where sufferation


I once know, ey
Mummy an daddy, all a' wi so poor, wi all had to sleep on the floor
Storm it come and it blow dung mi door, mi haffi nail up mi window
Mi shoes tear up, mi toe just a show, mi nuh know a where fi really wan' go
Mummy jus' a bawl "Poor, poor, poor", mi cry, she say "Son cry no more"
Bang bang biddy bong bong...

Dung dere in da ghetto I go, where tribulation I once know, ey


Mummy an daddy, all a' wi so poor, we all had to sleep on the floor
Storm it come and it blow dung mi door, mi haffi nail up mi window
Mi shoes tear up, mi toe just a show, mi nuh know a where fi really wan' go
Mama tell mi "Nah rob drug store, police beat yuh, mek yu back sore ,ey "
Bang bang biddy bong bong...

194
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!!!!!!!

195
The Jamaican Language

Di laas lesson

Jah, Rastafari, Selassie-I.


Jah, Raas-tah-far-ī, See-laas-see- ī.
Lord, Rastafari.

“Wi dealin’ wit a higha divinity. Rastaman Vibration,


which is lightning an earthquake! Becaaz di earth a
dehya come back fi ground don’t fix it, yu know! Caz
mon is trying to be as powerful as God.” –The Wailers

I and I lub fi hear di Rasta dem strum pon di bass jum.


I love to hear the Rastas pay their bass drum.

Di Rasta dem ongly eat I-tal.


The Rasta only eats organic food; pure or vital (without salt).

Bare Rasta in disya place. Pyur Rasta dehya.


There’s only Rastas here. Only Rastas here.

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.

Rasta ‘gainst Babylon. Rasta mash Babylon.


Rasta is against Babylon. Rasta destroys Babylon.

Di Rasta dem a waan fi go a Zion.


The Rastas want to go to the Holyland; Ethiopia, Africa.

196
The Jamaican Language

Nyabingi mon rise up and conka di bald head.


The Nyabinghi man (Rasta) will rise up and conquer the people of Babylon.

Nuh natty up yu head and worship Babylon throne.


Don’t dreadlock you hair and worship Babylon’s throne.

Babylon gwaan fall. Truss mi, mon, it gwaan fall.


Babylon is gowing to fall. Trust me, it is going to fall.

Yeh mon, Jamaica is an islan’, but is no I lan.


Di I-Mon land naa inna Jamaica but inna Africa. Dat weh mi
roots is.
Jamaica is a island but it is not my land. My land is not in Jamaica but is in Africa. That
is where my roots are.

Busta Rhymes—
“JAmerican” Rap star (of
Jamaican decent). Excerpt from Rastaman
Chant. Chant Down Babylon album. (1999)

Fool fool bwoy yu mus fi waan die. Any’ow, yu


try disrespect King Selassie-I—bruk two a yu
foot an tab ina ya yeye wit propa infamation
bout Ras-ta-far-I. Mek sure yu read bible and salute di mos high. Di ones
ooo don't know dem a di ones fi aks why His Imperial Majesty really get
crucified. Allow'll real get di colour blue inna di sky. Why afta yu feed di
youth di baby still a cry? Yu need Jah insida yu life—mi no tell yu no lie.
Betta believe that I and I will really verify the spirit of Selassie-I will tek yu
very high. Dey want mi stop dis time sit dung di odda guy. Lang time wi a
wait to see wi people unified. Clean wi self an really start purify. Wi dun
uniform know wi straight multiply...know wi straight multiply an a staight
multiply.

197
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.

198
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 main purpose of dancehall reggae


music is to dance. Dancing to reggae
is made possible because of the deep
rhythmic vibrations. Such energy is
found in the music through the
deejay’s ability to ride di riddim.

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

199
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.

Today's dancehall continues to be one of Jamaica's most energized environments,


bubbling with a creativity expressed through outrageous fashions, innovative dance steps,
a distinct vernacular and, of course, its evolving music.

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!

Pictured to the left is


dancehall queen,
Carlene. Carlene has
been romantically
linked with Reggae big-
name Beenie Man in the
90’s. She has been one
of Jamaica’s biggest
female celebrities and
sex symbols.

200
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.

[Note: This section does not deal specifically with Rasta.]

Super Cat, a dancehall deejay also known as “Apache” (from his half-Indian
ancestry), perfectly describes dancehall music as it pertains to violence:

“It’s from people coming out of the


street—out of the ghetto. And these
are not people that live soft. They
live hard. Suffer hard. So, what they
got to sing about is nothing too soft.
They singing about everyday living.
Sufferation. What’s going on in the
ghetto? Guns, drugs…it’s not
glorifying it. The youths are saying,
“The guns are here”. Don’t think we
live in a bed of roses in this world.
Because the people who manufacture gun
is never going to stop. The gun was
never made in the ghetto. If you look
at a gun you see “Made in Japan” or
“Made in Germany or America”. None of
the gun ever say “Made in Jamaica”.
But they all come here.”

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The Ragga-Dancehall Vibration

Classic Dancehall Ragga


Tight Up Skirt, (1997) by Red Rat:

Look pon dat gal deh


Ah nuh need no iintro
ntro
Cause a so she a gwaan…

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

Red Rat—Born Wallace


"Just to know that you don't want to go
back to (being) poor and being in
Wilson on 17 January 1978 in St. Ann's poverty motivate me... Me just t'ink 'bout
Bay, Jamaica, Red Rat comes from a God cos without God you can't reach
musical background. He is called Red nowhere…We're not limiting ourselves
Rat because of a rat-like face and to dancehall music. I mean real ragga
reddish skin color. His maternal dancehalls cos me know all types of
grandfather is white and paternal music cos I listen to all types of music.
grandmother is Spanish. His father was a The only music I don't listen to is my
guitarist for Byron Lee and The music. I don't listen to Red Rat."
Dragonnaires, his eldest brother a bass
guitarist for Diana King whilst his other Among the artists currently on Red Rat's
brother plays drums and keyboards for private playlist are No Doubt,
the group KRU. With music in the Everything But The Girl, Alannis
Wilson family blood, it came as no Morrisette, and Boyz II Men.
surprise that Red Rat began performing
as early as the age of four. "I was born to "Y'see, they just use music inna different
be a musician or an artist.” His first big way and mek ya wonder, 'wow'. Like
performance came at a school barbecue Alanis Morrisette, me love she. Her style
as a twelve year-old. Then, dee-jaying unique from everybody else."
under the name Mice (so called by his
football coach), his debut performance Red Rat has truly captured the
would turn out to be a memorable one. imagination of the youth with his
charisma and music. His recent
"I draw some lyrics and the place bust, performances at Notting Hill Carnival
and the MC stop me and seh, 'if you was further proof of his popularity.
wanna hear more, throw some money on Taking center stage on Radio One and
the stage'. And them throw some money Kiss 100's stands, Red Rat's tiny frame
and burst me head. Good feeling, good had the crowds bumping to his sounds as
feeling." he has done all over the Caribbean and
United States. With his unprecedented
Despite his eagerness to perform, Red rise through the ragga ranks, there is no
Rat did not pursue the entertainment reason why he cannot go all the way to
business as a career until he had achieving his ultimate goal.
graduated from high school in 1996.
After graduation, Red Rat began to "I wanna take my music as far as I can,
chase his dreams of becoming an farther than Shaggy and Shabba and
international recording artist and everybody."
emulating the success of his childhood
idols Super Cat and Shabba Ranks. He This biography was courtesy of: www.RedRat.com
was also on a mission to escape from the
poverty of his childhood.

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The Ragga-Dancehall Vibration

Mi Cyaan Sleep
Red Rat (1998)

Whe dem seh ...hits fit the future ... you si mi


Yow from this little red youth yah ... you si mi
Yow si the truth ya ... hey

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!

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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)

1. Material rise Italian the whole world dem conquer


3. All dem a talk
Fi Jean Paul Gottiere yuh haffi have nuff paper
A 89.00 US fi a Mecca yuh know mi naw
Black man, full time wi all start support wi black bredda beg nuh fren
Maurice Malone, Ruff Jeans, Karl Kani last forever Yuh shoulda see
Gal yuh have the face an yuh shape like mi bimmer mi an di girl dey
Nuh mek nuh bwoy gi yuh no Hilfiger
Whey she name?
What a calamity
Di whole a wi a wear Versace Donna Karen
A wear Moschino, dem two guy dey funny A drive down
Although mi wear it too but be careful wid yuh money Broadway mi an
See Karl Kani dey guh buy it har two children
Den mi buck up
Cho
Gottiere him an im
funny fren’ dem
2. Some bwoy get up say dem a di best
When yuh check out dem brand dem only dress up inna Guess D & G like Guiness
Inna dem shirt an dem vest, Dem a guh mix up inna mess and beer
Over Fort Clarence Now yuh hear say
Mi see Frisco Kid ponal leave him pon di bench a big brand mi
Dem love di Franco, Di one dey name Moschino
wear
A AIDS lick him dung over Colorado
Di one name Versace, mi nuh know him full story Mi nuh care
All mi know di media print up, dem a tell mi sa him funny
Di one whey name Hilfiger, say him nuh like no nigger Cho
But who di hell him think him is, Black man nuh like him either

Cho

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The Ragga-Dancehall Vibration

Bookshelf
Beenie Man (1998)

Di way dem gal ya nice and pretty, an nuh witty


Dem nuh gritty mi haffi put dem pon mi bookshelf.....Yes
A nuh one a di whole committee inna di city dem ya kitty
Naah guh share wid nuhbody else.....Yes

Di way dem gal ya nice and pretty, an nuh witty


dem nuh gritty mi haffi put dem pon mi bookshelf.....Yes
A nuh one a di whole committee inna di city dem ya kitty
Naah guh share wid nuhbody else.....Yes

Any time mi aguh bore dem


same time mi adore dem
When mi rip off dem negligé
And once mi can afford dem
den me ago sport dem
Put dem all pon display
A suh dem nice mi cyaan ignore dem
suh mi haffi tour dem
Tek dem all over to L.A.
Den a suh wi aguh score dem, anytime wi lure dem
Fi tek a ride along di freeway

Di way dem gal ya nice and pretty, an nuh witty


Dem nuh gritty mi haffi put dem pon mi bookshelf.....Yes
A nuh one a di whole committee inna di city dem ya kitty
Naah guh share wid nuhbody else.....Cau

Di way dem gal ya nice and pretty, an nuh witty


dem nuh gritty mi haffi put dem pon mi bookshelf.....Yes
A nuh one a di whole committee inna di city dem ya kitty
Naah guh share wid nuhbody else.....Cau

Mi very picky when mi choose dem


who nuh good mi loose dem
When me a run mi survey
And before mi guh bruise dem
mi tek dem out and crusie dem
Inna mi yatch along the bay
'Cause mi know mi enthuse dem
and mi amuse dem
Wid mi lyrical display
Same time me naah confuse dem
Di Doctor naah abuse dem
A pure loving widout delay

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The Ragga-Dancehall Vibration

Bad Man Nuh Flee


Beenie Man & Mr. Vegas (1999)

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)

So me say badman nuh wait pon night fi come down


Anything fi happen mek it happen and done
Naw catch me ina no bar ah drink rum
Naw lef me yard careless fi get bun

Well if you nuh come


When me pop off den somebody life done
Dis ya DJ naw go smoke opium
Well ah run mi lyrics, dem ah flash off ah me tongue
Bwoy you fi done

I rather go on death row, than rough it out like John Crow


Badman naw play zero, naw lef mi family ina sorrow
Don't take man fi fool or we go find yuh in ya owna blood pool
Wicked man dey ya and a mi run di school
Contious lyrics and mi know dat ah mi tool
Cause yah we rule

Nuff ah dem ah walla wiss, nuff ah dem ah wussie


How you fi try dis di rude boy posse
Naw use no big gun, just ah small wozzie
Reach pon di ends man ah go shoot everybody
Plus man lock dung di city
Cool, stop yuh noise now, mi waan you listen to the hay
Look pon a man like me, wey sho people liek fly
I must lock him up and give him bun ina him eye

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

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The Ragga-Dancehall Vibration

at the age of five. His uncle Sydney Wolf


Art and Life ushered in Beenie was a musician playing drums for Jimmy
Man's worldwide recording pact with Cliff, and encouraged the young DJ. After
Virgin Records. The established Jamaican winning the Teeny Talent show at the age of
star -- known for such hits as "Who Am I," eight, radio DJ Barry G introduced him to
"Let Him Go," "Number One," "Bookshelf," King Jammy 's, Volcano and other sound
and "Nuff Gal" -- has earned enormous systems, where he soon established
acclaim and numerous awards for his notoriety. His popularity inspired Bunny Lee
previous work. Among the kudos, Beenie to invite him into the studio, resulting in the
Man and his compatriots, the Shocking release of The Ten Year Old DJ Wonder.
Vibes Crew, received a Grammy
Nomination for the album: Many Moods Of With his mother and many siblings, he lived
Moses. Beenie Man was also named #1 - in a government 'tenement' yard in Jamaica,
selling reggae artist by Billboard magazine where regular Rasta-Nyabinghi drum and
in 1998 and 1999; Many Moods Of Moses chant sessions attracted the neighborhood's
was named ASCAP's 1998 Reggae Album many musicians, including Black Uhuru,
of the Year; and in 1999 Beenie Man was and the Wailers' Peter Tosh, Bunny Wailer
again nominated for a Grammy as Best and Bob Marley. Improvising at a local
Reggae Artist. With his Virgin Records talent contest at age six, Beenie Man was
debut album, Art and Life (2000), Beenie spotted by the controller of the Shocking
Man won the Reggae Grammy for that year. Vibes label, Patrick Roberts. "He was talent
itself," Roberts recalls. Beenie Man
"Art & Life is about the way an artist remembers that night. "I won the concert out
of about fifty artists. I never lost a DJ
paints a picture - but a picture also
contest. I have to go to school and my
paints an artist," explains Beenie mother don't have no money. I would win
Man. "It's about the inner man and $25 JA and two boxes of beer for a contest;
the outer man." the beer was my shoes and school uniform
money, the $25 JA was my lunch money. I
Beenie Man is well positioned to take the had to win.” Football (soccer) and music are
next step in his career ascent. Since traditional escape routes from the ghetto.
recording his first single at age eight, he has Indeed, Beenie Man was selected to attend
gone on to release numerous indie albums many schools because of his strength at
and became the highest selling reggae artist football. However, a broken foot made him
in the world in 1998. A dynamic live realize, “Music is my only hope.”
performer, he has toured extensively in
Europe, Asia, the U.S., and Latin America in
recent years.

During this time he has enjoyed high profile


media exposure with performances and
profiles on Fox TV, NBC's "The Weekend
Today Show," Vibe TV, the "Keenan Ivory
Wayans Show,' CNN, BBC-TV, MTV, and
BET, among other major media outlets on Perhaps Beenie Man’s most well known
both sides of the Atlantic. song is “Girls Dem Sugar,” in which he
asserts that he is the girls’ sugar, “Beenie
Music surrounded the young Beenie Man. Man is di girls dem sugar…Dem girls dem
Born Anthony Moses Davis, 22 August need this nigga.”
1973, Waterhouse, Kingston, Jamaica, West
Indies. He started his musical career toasting

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The Ragga-Dancehall Vibration

dancehall performances, which


"King"
He is referred to as transformed him into a national sex
symbol. Yellowman eventually became
Yellowman because in the Jamaica's top-selling reggae star and
scored a recording contract with CBS
early 80s, Yellowman was the most
popular Records, leading to a worldwide tour
reggae artist and an international following. One
of all time. reviewer remarks, "Listening to
One hit Yellowman sing is like watching
followed Michael Jordan play basketball. He
another and knows he's got it, you know he's got it,
in the wake and it's a trip just experiencing him
of Bob perform." In recent years, Yellowman's
Marley's bouts with throat cancer and skin cancer
death, he have resulted in a mellower, more
was at the forefront of the transformation serious approach to his music, but like
of reggae. Born as Winston Foster in the struggles of his early days, he has not
1959, in Kingston, Jamaica, he was also let these difficulties stand in the way of
an alumnus of the Alpha Boy's school his aspirations.
where many reggae artists and musicians
got their early musical training. Still energetic and sharp, but his
Yellowman, nicknamed for his albino dancehall riddims became more melodic
appearance, got his start in the late and some of his songs have become
1970's as a young DJ toaster (rapper). more conscious. His "Freedom of
He built his early career around the fact Speech" album was nominated for a
that he was an albino, and his audiences Grammy Award in 1997.
accepted him for his self-effacing humor
and lyrical cleverness. In the course of
his quest for fame and validation,
Yellowman developed a bold and cocky
style and engaged in shameless self-
promotion, garnering the attention and
opportunities he needed to highlight his
abilities. He won the annual Tastee
Talent contest held in Jamaica in 1978,
and within a matter of months became a
headlining act on Jamaican stage shows.
His records were both witty and
relevant, and his slack lyrics (sexual)
were completely hardcore and explicit.

With a major talent show victory under


his belt by 1979, Yellowman went on to
make scores of recordings—numbering
close to 40 by 1982. He thrilled
audiences with his wild, and raunchy

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The Ragga-Dancehall Vibration

The author’s favorite: love of music. "They'd only approve of


going to school," he explains, "getting an
SHABBA RANKS education, being like a pilot or a
mechanical engineer.”
As a teenager, Shabba loved the
Kingston club scene and was transfixed
by the "Chatting" of DJs like Yellowman
and Josey Wales. At the same time,
Shabba was growing into his now-
trademark voice, a throaty-yet-powerful
rasp. He honed his rapping skills while
studying engineering (at his father's
insistence).
Through the brand of hip-hop-infused
dancehall music Ranks popularized in
the early '90s made some reggae purists
The word "Shabba" refers to an African cringe, it is undeniable that Shabba has
king. "Ranks" connotes mastery of been instrumental in gaining mass
microphone skills and styles and the exposure for reggae-influenced music.
name complements his stature in both In 1985, at the age of 20, Ranks recorded
physical proportions and his dominance his first song, "Heat Under Sufferers
in the dancehall scene. The name Shabba Feet." The song was released as a single
Ranks conjures up such images as: A on the Roots Melody label. Ranks earned
living legend, described as "Reggae's the notice of his idol, Josey Wales, who
Michael Jordan" –a Jamaican ghetto brought Ranks to some of Jamaica's top
youth turned musical monarch—a producers in the King Jammys
strong, intelligent black man with a big conglomerate.
booming voice. Shabba is a two-time Ranks recorded a host of singles with
Grammy winner for Best Reggae King Jammys, none of which established
Album, in 1992 and '94 and was the first him as a force in Jamaican popular
reggae DJ to win a Grammy. Shabba music. However, when King Jammys
was the force that broke dancehall style engineer Bobby Digital left to start his
reggae worldwide. Born in 1966 in the own label in 1989, Ranks accompanied
city streets, the young man (known to his him. One of Ranks' first releases on
parents as Rexton Rawlston Fernando Digital B Records was the hit "Wicked
Gordon) found himself surrounded by in Bed," which displayed his penchant
the vibes of reggae sound systems. for x-rated "Slack" lyrics. Shabba was
At an early age, he already felt that now a sexually charged stage persona.
music might be his calling. "I used to By the early 1990’s, Shabba was the
punch riddim tracks on a jukebox within dominant presence in the Jamaican
a bar and sing along," Shabba recalls. "I reggae scene. His concert appearances
used to take ten-cent coins, that is how I provoked hysteria and, at times, riots.
started practicing. I used to put coins in Much of the excitement was fueled by
that jukebox and punch songs by Dennis the marketing genius of Ranks' agent,
Brown, Gregory Isaacs, and Leroy Clifton "Specialist" Dillon. Specialist
Smart, to name a few." At first, Shabba's began grooming Ranks for international
parents did not look kindly on their son's

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The Ragga-Dancehall Vibration

stardom, investigating deals with begun calling himself Shabba Ranks.


American record labels and introducing "Josey Wales started telling me, 'You
Ranks to some very rock 'n' roll got talent, mon. Love your voice, mon.
promotional tactics (e.g. arriving onstage You must take it to the studios.' So I lace
via helicopters and machine-gunned up my shoes and buckle my belt, and
sport bikes as in the 1999 movie Klash). from that day until now, it's no turning
Specialist was also a canny businessman. back."
Realizing that Ranks' hip-hop/reggae By that time, Shabba had already made
blend had crossover potential, he turned history by bringing dancehall style to an
down Luther Campbell (of 2 Live international audience--before the gold
Crew), who reportedly made a six-figure albums (As Raw As Ever, 1991; X-Tra
offer for Ranks' contract, instead signing Naked, 1992), the Grammy Awards, the
with the major label Epic Records. To world tours, and the historic
conquer America, Ranks steered his collaborations with KRS-1 (the #1 rap
music toward the R&B market. It hit "The Jam"), Maxi Priest (Housecall,
worked -- his duet with Maxi Priest, which went to #4 R&B and breached the
"Housecall," was a hit, and his first Epic Pop Top 40), Johnny Gill ("Slow And
album (Raw as Every) won a Grammy in Sexy," another #4 R&B hit), and Queen
1991. Ranks repeated his Grammy Latifah ("What `Cha Gonna Do?"). A Mi
achievement with his next album, X-Tra Shabba represents a new peak in this
Naked. remarkable career. However, Shabba
In 1992, Ranks hit a speed bump when maintains his humble philosophy:
he was pulled into the controversy "Within the line of music," he says,
surrounding "Boom Bye Bye," a gay- "Some of us are prophets. Some of us
bashing single by fellow reggae artist are poets. Some of are teachers and some
Buju Banton. During a British press of us are preachers. Shabba just make all
interview, Ranks refused to condemn the music. A welder chooses his welding
song, saying, "If you forfeit the laws of torch and his welding rod in order to
God Almighty, you deserve to be make him a man. I chose the lyrics."
crucified." In the wake of his statement, Shabba’s classic songs include: Trailer
Ranks was dropped from a scheduled Load of Girls, Love Punany Bad, and Caan
performance on the "Tonight Show with Dunn.
Jay Leno," and many of Ranks' live
shows were accompanied by protests.
Ranks returned with A Mi Shabba in
1995, his last release for Epic. It did not
match the success of its predecessors,
and Ranks has been relatively quiet
since.
"I used to call myself 'Co-Pilot' because
there was a selector from a sound system
that I used to chat for and his name was
'The Navigator.' He spin it on the wheel
and I chat it on the mic.” Josey Wales,
then one of Jamaica's hottest deejays,
saw the potential in this youth who had

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The Ragga-Dancehall Vibration

SOME BWOY
BWOY
By Spragga Benz (1998)

Intro:

Watchie pum fi get bottle boom,


And satalite fi get dandimite,
Cause dem bwoy deh wi no like,
Dem a move too hype,
Fly by day pitch by night,
Some old thiefing bwoy.

Cho:

Some bwoy a gwaan like dem bad,


And some bwoy a look man fi rob,
Some bwoy a talk how dem des,
Some bwoy wi tekthe chain off yuh chest,
Some bwoy a jook down fi car,
Some bwoy a look man fi war,
Some bwoy a tell dem a who,
Some bwoy woulda rob yu fi yu shoe.
Spragga Benz
Verse1
Bwoy deh pon wi corner like a fowl him a perch,
Every woman weh pass him a beg har a search,
Say him des fi a food and how him welll want apurse,
Is a half a brick him get fi go a public go nurse,
Now him a come a rallly back bout a man fi pay him dues,
If a man try dis him corner a go bruise,
Wi haffi wonder if di bwoy a put coke to use, Carlton Grant, a.k.a Spragga Benz,
Inna him face wi haffi land all a shoes. has attained and maintained a level of
musical notoriety only dreamed of by
Cho: other aspiring Jamaican deejays
(deejays are the reggae equivalent of
Verse 2: a rapper). Spragga is one of the
After hours a road dem turn real critchowl,
An a move well cool a look fi man billfold,
“hardest” dancehall artists and enjoys
Woulda thief di silver woulda move di gold, his “Thug Nature” status as his
Dem deh bwoy thief anything dem eyes behold, current logo reads.
but if a bwoy feel bad and ready fi dweet,
And waan test man a road him better shot up the street,
Cause if a gun fi brandish an a corn fi beat,
Wi a bwoy weh nuh deal with defeat.

Cho:

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The Ragga-Dancehall Vibration

Yuh Nuh Ready


Ready Fi Dis Yet
By Tanya Stephens (1997)

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!

Mi hear a little fool a say a him rule the world


How hima bounce Kerry and a sleep over Merle
Get yuh act together ‘fore yuh find another girl
Caw yuh nuh ready fi this yet bwoy
Di yuh even realize say woman have mood
Yuh haffi know fi handle it when gal a gwaan rude
Dats why another man a eat whole heap a unno food
Caw unno nuh ready fi Tanya Stephens
Unno nuh ready fi this yet, bwoy!
Tanya is a symbol of
Most a unno full of, full of pure self praise feminine independence.
Hot fire dey yah but the wood naw blaze
God haffi work a miracle fi mek the dead raise
Round dem up and lock dem up di days

Man a kick back say him naah watch no face


While him woman a relax pon another man base
To how it look yah now is like him soon get replace
Him say badman nuh worry bout no petty case
So him write him name another man come erase
Dem call him Mr. Hurry cause him ever inna haste
Sometime gal haffi wonder if him did a get a chase
Him a sleep, watch she a gaze inna space!

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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

From a gal nuh up to date wi deport dem


Can’t keep up wit di trends wi report dem
If a nuh di modeling type wi nuh court dem
But if a di big beauty queen wi support dem
Again

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

From a gal nuh up to date wi deport dem


Can’t keep up wit di trends wi report dem
If a nuh di modeling type wi nuh court dem
But if a di big beauty queen wi support dem
Again

Yo, perform honorary


Wuk ina di gal dem mek dem feel well merry
Not imaginary nuff a dem a seh mi very sexy
Dem well wah Dutty come burry
But wi hafi tell dem one ting customary
Keep it tight just like di military
And mek sure yuh tight extra-ordinary
Sean Paul with his trademark
Three, four, five gal ina mi contrary performing goggles.
Now maintain hype yah Kerry
Sean Paul Henriques was born in 1973. Hailing
From a gal nuh up to date wi deport dem from a heritage rich in creativity—his mother is
Can’t keep up wit di trends wi report dem a renowned Jamaican painter. A legend has it
If a nuh di modeling type wi nuh court dem that his father’s ancestors were horse rustlers in
But if a di big beauty queen wi support dem Portugal. While fleeing Portuguese bounty
hunters, they shipwrecked on Jamaica during a
Unu listen to di words wah Sean Paul a him a chat daring escape. Sean Paul represents a Jamaican
And big-up unu self if unu deh pon di top with a very diverse lineage. He can claim
Unu chat, unu stop, yuh get because yuh fat ancestry from a myriad of cultures: Africa,
And dutty cup yute dem never a want dat Europe, and China.
Dem big, wi tell dem leave ya
Cause wi nuh wahn nuh grate up wit alligator
Wi talk straight, gal hafi shape, and when dem walk pon di road dem hafi cause man headache.

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The Ragga-Dancehall Vibration

HOT GYAL TODAY


By Mr. Vegas (in bold) and Sean Paul (1999)

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.”

217
The Ragga-Dancehall Vibration

Luciano: Rasta Dancehall Artist and Messenger

This disciple of Jah arrived on the


reggae scene at a crucial time—in
the period following the untimely
passing of Garnett Silk. While it's
a little presumptuous to say he
replaced Silk in the reggae
pantheon - an impossible task, to
be sure - Luciano's 1995 album
Where There Is Life picked up
where Silk left off, spreading the
word of Jah in a dancehall
context. Since then, he's released
four more full-lengths, including
1997's Messenger, 1999's Sweep
Over My Soul, and 2000's Luciano
Live, which captured the
transcendent vibe of his uplifting
concert performance.

Luciano's voice is a powerful yet soothing instrument, one capable of harnessing


great emotional resonance in a single phrase. He is one of those artists who could
sing the alphabet or "Mary Had a Little Lamb" and make it as equally effective as the
most passionate, opulent aria of his namesake, Mr. Luciano Pavarotti. Yet, unlike
Pavarotti, there is not a dint of pretentiousness in Luciano's plaintive phrasing; when
all is said and done, he remains a humble servant of Jah—Ras Tafari.

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

Capleton: Rasta (Bobo Dread) Dancehall Artist

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

SLEW DEM (2000)


Slew dem a pure feelings dem a carry You nuh dead man dem
dem dun bow aready duppy man dem
and dem cyan seh dem sorry yah mi nuh ina nuttin wid dem
slew dem a pure feelings dem a carry di fire fi bun dem
uno whan do dem someting fi me again dem dun con dem
well yo a yo it name a pure dead man dem
who dem a could a wha dat dem a try dem dun nuh like an mi dun nuh like
dem go dis king Selassie watch di whole dem
a dem die yaw tell dem seh mi nah keep nuh funny man
who dem mi go see dem wit dem spell friend
dem diss Emmanuel and dem soul gon a tell dem seh mi nah keep nuh Sodamite
hell yaw friend
who dem a could a who dem wha cuss nah guh stoop low mi trod di raggy road
dem diss Marcus a now dem a bite di dem
dust yaw thas why yaw yaw di bredda condem …
who dem an mi go tell dem fi splurt
tell dem dem cyan diss Mama Earth

219
The Ragga-Dancehall Vibration

Sizzla: Rasta (Bobo Dread) Dancehall Artist

Sizzla was born Miguel Collins in August


Town, Jamaica. Sizzla is an artist whose aggression
against Black oppression and human rights is high.
As a person from the ghetto, he is conscious of the
suffering of youths in the ghetto. Through his songs,
he teaches youths to uplift themselves and to respect
women. In 1997, Sizzla recorded the number one album of the year "Black Woman &
Child”. Before that, he had previously recorded an album "Praise Ye Jah". Sizzla
continues to record great songs, which many are instant hits. He has gained recognition
throughout the world and currently tours all over world. He received his fiery title from
producer Homer Harris who discovered him whilst still at school, and the name is
appropriate: Sizzla—his words burning down wickedness wherever it applies.

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.

Praise Ye Jah (1997)


I did behold Jah Jah that I always keep
Until the proud was casted down yah Praise ye Jah (Hail di emperor)
'Ave di ancient of days is Hail di emperor-or-or-or
King Haile Selassie-I Jah! King of kings
You know To a fullness
With his garments as white as snow 'Ave to express
His hair as pure as wool Jah that always been (uno sing)
Praise ye Jah (Hail di emperor) Jah Rastafari
Hail di emperor-or-or We a praise
Our king of kings Hail King Selassie always (Oh yes!)
To a fullness
'Ave to express

220
The Ragga-Dancehall Vibration

Vybz Kartel: The Fun and Controversey of A


Dancehall Artist

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.

That dream started among friends.

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

According to Alana Tutwiler, contributing editor for Suite101.com, a lot of Jamaican


artists have come under fire for explicit and violent lyrics. Such artists, including Vybz
Kartel, have faced tough criticism for lyrics that some deem homophobic.

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.

Tek Buddy Gal (2004)

Chorus Fi di fridge and di blender pan di fridge


Tek buddy gal, yuh think me easy? top
Who you ramp wid? yuh wha live easy Eh, gwaaan bad fi di louis vuitton bag
Tek me things and yuh tek me money Tek rod fi di goods from seprod
too Plus di ceramic tiles and di gold plate
So tek buddy too, tek buddy too door knob
Tek buddy gal, yuh think me easy? That a guh cause yuh a blow job
Who you ramp wid? yuh wha live easy
Yuh, tek me things and tek me money [verse two]
too F*** me like matrix inna 3d, fi mi cd, d
So tek buddy too, tek buddy too v d, t.v
Pay me back for all a those kiki
[verse one] Gi me three pree wid you, me, free free
Four back shot that a fi di what not If yuh man gun big like baby g
Three lizard lap, that a fi di door and di Mines sing and dj like lady g
grill and di padlock A who pay yuh visa fee?
Gi me five siddung pan it Grab me cocky and sing pan it like alicia
key

222
The Ragga-Dancehall Vibration

Mavado: The Gully God and The Ongoing Alliance


Feud

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).

But even passion comes with a price.

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.

I’m On The Rock (2008)


Chorus [verse one]
Jehovah guide me, be my guidance pray Look how much ting dem try (Look how
for salvation for me much ting dem try)
Jehovah guide me, be my guidance no And everyting fail (And everyting fail)
they could never stop me Tru mi born pon di gully nuff a try fi tek
I'm on the rock (I’m on the rock) mi life
Higher than I an I (Higher than I an I) And waan mi go a jail, dem waan mi go
Jehovah guide me! I am on the rock (I a jail
am on the rock) With helicopter inna di air (Helicopter
Go tell my enemies! I'm on the inna di air)
rock!!!!!!!! Bright light a shine a ground (Bright
Selassie guide me!!! And a me dem caan light a shine a ground)
stop! Dem seh nobody move, nobody run
I will never look back! From the river to the bank lock dung
Dem nuh know which part mi turn

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

website devoted to music. For more


information about Jah Cure’s successes,
visit http://musicremedy.com/j/jah-
Jah Cure: Fame and cure/album/the-universal-cure-
Fate 5786.html.
Jah Cure’s success was going strong, but
in 1998, his life took a very different
turn. Late that year, he was arrested in
Montego Bay for a number of charges,
most of which are still debated today.
He was suspected mainly of rape and
spent nine years in prison, because of it.
Though there is debate over whether or
not he is guilty, other rumors
surrounding the incident have emerged.
Jah Cure said he was innocent, and stuck
by that throughout the entire jury
process, Music Remedy said.
August 2007 brought an end to Jah
Cure’s prison sentence, the Jamaica
No one said rising to fame was easy. Gleaner said. He saw this as an
After months of rehearsals, long hours in opportunity to start fresh and advance in
recording studios, and making a name his musical career. Jah Cure was
for yourself, you would think everything convicted of rape in 1999, only to be
would fall into place. Sometimes this released eight years later. In spite of the
really does happen. In many cases, the fact that he was in prison, Jah Cure
artist fades away. But for Jah Cure, continued to make music, said Jamaican-
fame came 12 years ago, and is still slang.com. For more information about
going strong. Jah Cure’s musical success, visit
A natural born musician, Jah Cure was http://www.jamaican-
born in Hanover, Jamaica, according to slang.com/tag/patois/.
Wikipedia, the free encyclopedia. In Of course, he still managed to brew
1997, he emerged with his first single, controversy behind bars. Fans rallied
King in the Jungle—a duet he sang with around the prison, demanding that he be
Jamaican artist, Sizzla. released. Soon after regaining his
For more information about Jah Cure’s freedom, he released a new album titled
beginnings, visit Wikipedia at “True Reflections…A New Beginning,”
http://en.wikipedia.org/wiki/Jah_Cure. the Jamaica Gleaner said. More
Jah Cure got his name from Capleton, information about Jah Cure can be found
another Jamaican dancehall artist. by visiting http://www.jamaica-
Capleton began his musical career in gleaner.com/gleaner/20070812/ent/ent3.
1989, Wikipedia said. html.
Even today, many years later, Jah Cure
continues to be a huge influence in the
Jamaican dancehall scene. At the start
of his career, he went by the name, Little
Melody, according to Music Remedy, a

226
Mavado

Glossary of Jamaican Reggae-Rasta


words, expressions, and slang.
A
A (ah)- Means many things from: a, to, is, it, the, will, ECT. ‘A’ is said before action will
or has taken place. This is the main Jamaican preposition for nearly everything.
A door (ah do-ah)- Out doors; outside.
A go (ah go)- To go or will go. Mi a go a door. (I am going outside).
Ackee- African fruit tree introduced in Jamaica in 1778; is Jamaicas national fruit.
Agony (ah-gon-ee)- Sexual orgasm or sensation of sex.
Ah sey one (ah seh won)- Expression to say that something is really cool and great.
Aile (i’ll)- Oil.
Aks (ax)- Ask.
A lie- Your lying; that is a lie.
All fruits ripe- Everything is just great. All is good.
All di while- All the time; sometimes; the time during. All the while dem depon di
bashment. (They are partying all the time.)
An- (ahn) And.
A nuh mi- Means that that’s not me … It’s not me to...I am not one to…A nuh mi fi like
it. (I am not one to like that).
Aright (ah-rite)- All right, sure, yes, okay.
‘At- Hot; also hat.
‘At steppa- Hot stepper, a jail breaker and one in trouble with the law.
A true- It is true; I am not lying.

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

Bandu- A hair band worn by women.


Bandulu (ban-doo-loo)- criminal; crooked activity; also means a fake passport/visa.
Bare (beer)- Only. Is bare pickney yahso. (There’s only children here.)
Bash, Bashy- This is a popular slang term that means cool, awesome, nice stuff, ECT.
Bashment- A great event or happening; dancehall; party. Also the same as bashy above.
Dem bashment gyal. (They are girls who like to party.). Wi gwaan hab a bashment
time. (We are going to have a great time.)
Batty- Primarily means butt; also signals to homosexuals. ‘Im a battyman. (He is gay).
Beg- To ask; also means to beg. Di man dem beg fa jooks. (The men beg for sex.)
Big up- This is a popular term for saying what’s up and a gesture of tribute. Big up uno
dem. (Praise to all of them).
Bill- A basic Jamaican $100 bill. Worth just over two U.S. dollars.
Blessed- A Rasta word; blessing(s).
Bling- Flashy and expensive; necklace or chain. Look pon mi bling. (Look at my chain).
Bloodclot- Strong curse word.
Bloodfire (blud-fiah)- Hell.
Blouse an skirts- Politcally correct version of the curse word bumboclot.
Bly- Favor or chance. Mi mus get a bly. (I must get a chance.) Usually referring to
driving on the road.
Bobo dread- A certain sect of Rastas that wear turbans and carry brooms to signify
cleansiness. They are of the Bobo Shanti order and are true followers of Prince
Emmanuel.
Bodderation (bod-da-ray-shun)- A comical version of “Bother.”
Bokkle (bok-el)- Bottle.
Boots- Condoms; also shoes.
Bout- About. Naa worry bout it. (Don’t worry about it).
Bow- to perform oral sex; mostly on a woman.
Box- To fight and punch. She box ‘im face. (She punched his face.)
Bredda- Brother.
Bredren- Fellow friends and collegues; brothers in unity.
Browning- Complementing a black person of light skin, and good complexion.
Bruk- Broke, broken, break. Nuh bruk it. (Don’t break it).
Brukout- A climax of pure energy and excitement; to act unruly. Usually at a party.
Buck- To accidentally bump into; to meet by chance.
Bud- Bird.
Buddy- Male genital.
Bulla- Cake.
Bumboclot- King of curse words.
Bun- To get cheated on; also burn, kill, and to smoke. She gi ‘im bun ka im bun whole
heap a herb. (She cheated on him because he smokes a whole heap of herb.) Di Rasta
dem say, “Bun dung queer!” (The Rastas say, “Burn down (kill) the queers!”)
Bupps- Financially providing for a woman. She bupps im out. ‘Im her bupps. (She
played him for money. He is her sugar daddy).
Bush weed- A term for rendering poor quality herb.
Buss- To bust; like to bust a move; burst out; unruly.
Bwoy (b-why)- Boy. This is a common term for anybody—male or female.

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

Dege-dege (deh-geh deh-geh)- Measly or skimpy.


Deh- There—as in place. Also asks where something is. Weh ih deh? (Where is it?)
Deh ‘bout- Nearby, close to.
Dehya (deh-yah)- Here or there.
Dem- Them. Use dem after plural objects. Di gal dem. (The girls.)
Depan (deh-pon)- On; on top of; upon.
Des- Desperate. Im sey im des fi a food. (He said he’s desperate for food).
Dey (dayah)- They; there, as in to be or exist. Dey nuh odda way. (There is no other
way). Nuh milk nuh dey. (There is no milk there). Dey say. (They say.)
Di- The; did, was. ‘Im did dun di ting? (Did he complete the thing?)
Dideh (di-dayah)- Was there or right over there. ‘Im dideh. (He is/was there). Member
when wi dideh? (Do you remember when we were there?)
Dis- This.
Disya- This right here.
Don- A term and name for one who is well respected.
Doondoos (dune-deuce)- Referring to an albino.
Downpress- Rasta word for “Oppress”.
Dread- Person who has dreadlocks, greeting to friend, expression of a good idea.
Dreadnut- Rasta word for “Coconut.”
Drop legs- To dance.
Dub- Mixed music of electronicreggae.
Dun- Done, finished, over with; kill. Mi dun feel bad. (I am done feeling bad). Mi dun
dweet. (I have finished doing it).
Dun know- Don’t know.
Dung- Down. Come dung. Sidung (Come down. Sit down.)
Duppy (dup-pee)- Ghost.
Dutty- Dirty; also a popular slang expression, as in Dutty yo.
Dutty gal- Tin mackerel. This is common food for the poor.
Dween- Doing.
Dweet- Do it.

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

Greetings- An opening greeting used heavily by Rastas.


Grindsman- One who is great in bed.
Grow- To raise. She grow mi. (She raised me.)
Gwaan- Go on. Wa a gwaan? (What’s going on?)
Gwine (gween)- Going. Wi gwine adoor. (We are going outside.)
Gweh- Go away.

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

Lambsbread- A Rasta term for high-grade ganja.


Lang- Long. Lang time mi a wait. (I’ve waited for a long time.)
Large (laaj)- Very well respected. Dat large. (That’s popular). Also used as a slang
term, “Large up!” (Similar to “Big up”—a term of fond greeting and appreciation.)
Lef- Leave, left, passed.
Leggo- To let go; leave, let’s go. She leggo har numba. (She gave out her number.)
Legsus- A spoof on the luxury car, Lexus, but expresses the walking power of the legs.
Liad (lī-ad)- Liar. Yu a liad. (You are a liar).
Lickle- Little.
Lickle more- A saying of goodbye.
Light- Power; electricity.
Likky-Likky- One who is greedy about eating everything seen. Yu too likky-likky.
Lilly- Little, tiny.
Link up- Slang for “Hooking up”; getting or meeting together, ect. Mi link yu up layta.
(I’ll get with you later.)
Lock up- Closed. Di store dem a lock up. (The stores are closed).

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

Naa- A variation of the word No.


Nanny- A Jamaican $500 bill worth about 11 U.S. dollars.
Neba- Never
Negga (neh-gah)- Negro. See Nyega.
Neegle- needle.
Neegle yeye- literally means “Needle’s eye”. Has reference to something very small.
Also refers to the female sexual organ.
Nize (nīz)- Noise
Nuff- Plenty, too much, many, tons, a lot, ECT.
Nuh- No, now, or know.
Nuh true?- Expression of verifying the truth; Isn’t it so?
Nuh easy- A very popular expression saying one is acting a bit off the wall or uneasy, or
when ones manners are not in order. Yu nuh easy!
Nutten- Nothen.
Nyabinghi- The traditional and orthodox Rastafarian movement of black supremacy and
visions of the Ethiopian Zion; a Rasta spiritual gathering with drumming and chanting.
Nyam (nee-ahm)- To eat. Mek wi nyam. (Let’s eat.)
Nyami-Nyami- Expression of one who eats too much.
Nyega (nee-yeg-ah)- term for black person; nigger. Dutty Nyega. (Poor and trashy
person—same as white trash in the U.S.) White nyega. (Jamaican born white person.)

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

Shorty- This is a slang expression similar to saying ‘chick’ or girl.


Shot- To shoot, shot, to have been shot. Dem shot ‘im dead. (They shot him dead.)
Sidung- Sit down.
Sight- A Rasta term for, “Do you SEE or UNDERSTAND?”
Sistren- A reference or greeting to a group of women—usually formal; sistren are the
opposite of “bredren or bredrin”. Hi sistren! (Hi ladies!)
Si’ting (si-tin)- Something; a thing that you don’t feel like calling the proper name. Mi a
go get dat sinting. (I am going to get that thing).
Skettle- A ho girl or slut; also means anything really cheap. A skettle name brand dat.
(Those are cheap brand clothes.) Sket is a shortened version; also a cheap boxed drink.
Skin teet- Smile. Check yu’self befo yu skin ya teet. Check yourself befor you smile.
Slam/Slap- Slang words for sex.
Slump- The slums or ghetto. Dis a di slump. (This is the slum.)
So- Like that; such as that, like such, ECT. This is just a common expression used to
decribed anything. Almost always comes at the end of the sentence. Wa mek yu galaan
so?(Why are you behaving like such?) Wa mek yu sweet so? (Why are you so sweet?)
Soon come- Term used for general replies in saying that one will be back. However, it
does not mean necessarily that one will actually come promptly. Mi a soon come. (I’ll
come soon.)
Spliff- A very large cone-shaped marijuana cigarette.
Speaky-Spokey- This is when a Jamaican tries to speak like an American or Englishman.
Usually when a Jamaican returns from a vacation overseas he or she will carry over an
accent and a friend will say, Wa mek you so speaky spokey? (Why are you trying to
speak like an foreigner?
Stamina- Sexual endurance. Di ooman dem wanna stamina daddy, ya hear. (Women
want a man with pleanty of sexual endurance.)
Star- To sport something or an event in style; also slang for “Man”. Yu mus star dem
threads. (You have to sport and wear those clothes like you are the king). Wha’ppun,
star? (What’s up, man?)
Stay- To leave alone or let be; to wait; the way someone is. Mek it stay. (Let it be.) Jus
stay deh. (Just you wait.) See ‘ow yu stay? (Do you see how you are?)
Step- To leave. Mi step out yah. (I am leaving now.)
Stoosh- Any person that is rich; a rich object. Dis computa stoosh! (This computer is
“stoosh”!) Mi live inna stoosh place. (I live in a rich place.)
Strong money- Just a saying to denote the superiority of American money. Is a strong
money dat a come fram foreign. (It is strong money that comes from the U.S.)
Su-Su (sue-sue)- To gossip and spread rumors. The sound of whispering in one’s ear
denotes gossip and backbiting. Nuh su-su pon mi back. (Don’t gossip behind my back.)
Sufferation (suf-fa-ray-shun)- Major suffering, poverty, and trials. A pyur sufferation
inna gwaan inna di ghetto. (There is pure suffering going on in the ghetto.)
Sum’ady- Somebody.
Sup’m (sup-hm)- Another way of saying “Something”.
Swaaty- Fatty.

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

Jamaican Patwah Movie


Dialog

Countryman is an all-time rare Reggae-


Rasta movie! It is a very hard-to-find
movie and it remains a true cult-classic
film. Unfortunately, this movie is out of
print and no longer available. The genius
behind this movie was Chris Blackwell,
who was Bob Marley’s famous record
producer at Island Records.
240
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.

Forces of nature dialog.

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.

Countryman: Hear, Jah, wa’tch yu teachin di yuut dem today?

-Not my teaching, Jah, but of the higher force.

Walking along the beach dialog.

Friend: Irie mi bredrin! Dats all di catchin laas night?


Countryman: Yu know seh everyday day a fishnin’ day, skip. But no everyday a catching
day.

Bad vibrations dialog between police sgt. and a man hired to kill Countryman.

Hired man: I look a transfer yu know, sa?


Policeman: A wa di raas claat do dis, mon? How yu mean transfer? Fi wa?
H: Mi na like wa gwaan dung deh, yu know sa?
P: Wa’s gwine on, tell me
H: He say di man pon ert (earth) is a science.
P: Wa yu talking ‘bout, wa yu talking ‘bout science, boss man?
H: Obeah. Science, Mon!
P: I hear yu, mon.

Countryman’s dialog and lesson with Bobby (the crashed pilot) and his girlfriend.

Countryman: Guidance, sister, I live through guidance.


Yu see me? I’m a fisherman, dat’s my job. I’m a poor man. I live naked, jus’ as how yu
see mi. I have no shirt, no pants, no shoes. I give my body to di climate of dis I-land. I
just living I life. I love di cow, and di goat, and di fish, and all dem ting deh—just like
how I love mi life. I neva molest a man. I keep mi hand clean, and mi heart pure, and I
live in true guidance. Yu see? Nutten can harm me.

- Nothing can harm you?

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?

-I could make lightning?

Countryman: Sure!

-How?

Countryman: First yu have to have dat intention.

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]

Man: Tank yu, Country.

Country: Until such time.

Man: More time!

242
Bibliography

Selected Bibliography
1. Adams, L. Emile. Understanding Jamaican Patois—An Introduction to Afro-
Jamaican Grammar. 1991. LMH Publishing. Kingston, Jamaica.

2. Barrett, Leonard E., Sr. The Rastafarians—Sounds of Cultural Dissonance. 1997.


Beacon Press. Boston.

3. Brown, Samuel E., Treatise on the Rastafarian Movement. Unpublished


manuscript in the Journal of Caribbean Studies, vol 6, no. 1. Kingston:
University of the West Indies, 1966.

4. Chevannes, Barry. Rastafari—Roots and Ideology. 1994. Syracuse University


Press.

5. Conrad, Chris. Hemp, Lifeline of the Future. Creative Xpressions. Los


Angeles. 1994

6. Diop, Cheikh Anta. The African Origin of Civilization: Myth or Reality, ed.
and translated by Mercer Cook. New York: Lawrence Hills & Co., 1974.

7. Epps, Suzar. Blacked Out Through White Wash. 1999. A-kar


Productions.

8. Mansingh, Ajai, and Laxmi Mansingh. Hindu Influences on Rastafarinism.


1985. Caribbean Quarterly Monograph.

9. Napti, P. Jamaicans of Ethiopian Origin and the Rastafarian Faith.


Caribbean Lifestyles Magazine. Feb./March 1995.

10. Nichols, Tracy Rastafari—A Way of Life. 1979

11. Oats. Live Foods for the Living. Ras Vibe Magazine.
Vol 1. First Quarter 2/02-5/02. pg.15.

12. Rastafari Movement Association Rastafari: A Modern Antique. Kingston,


Jamaica. 1976.

13. Rastafari Voices. 1978 Video Tape.

14. Robinson, Rowan. The Great book of Hemp. Park Street Press, Vermont.
1996.

15. Swagga Http://www.swagga.com/ganja.htm. 2002.

243
Special Orders and Offers

Special Orders
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Direct orders and volume discounts for this book
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Also, at these websites:

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244
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