The New Vibe: Cherine Anderson gives Dancehall the Soul it's been Missing

Jamaican film aficionados will remember Cherine Anderson as Tanya, the mature and often outspoken daughter of the feisty street vendor turned dancehall queen, Marcia, (Audrey Reid) in the movie, Dancehall Queen (1997). Anderson also starred in the film One Love (2003) which earned her an MTV2/Urbanworld Film Festival award for Best Actress in a Feature Film. In 2007 she grabbed a role in MTV Tempo’s interactive drama, Choices, which kept her name in discussions concerning Jamaica’s rising film stars.

One might assume that an accomplished acting career would be enough for Anderson, but like Oliver Twist with the empty bowl, all she wants is more. This explains why the talented thespian from the Rockfort section of East Kingston is blazing new trails in the dancehall music biz. Her soulful vocals have been featured on official remixes for Madonna (“Give It 2 Me”), Britney Spears (“Pieces of Me”) and Paul McCartney (“Nod Your Head”).

If dedication and originality fuels career success for an artist, then Anderson is a young woman who is definitely going places. And don’t let her catalogue of official remixes fool you. She has some musical treats in store for her melanin-rich listeners as well. Anderson is currently working on her debut LP, Kingston State of Mind, and if her latest single “Talk If Yuh Talking” serves as any indication of what is to come, then reggae music fans will have something special to look forward to. Fast Food for Thought talked to the ever-touring Jamaican songbird about her upcoming album and decision to study abroad in Tokyo, Japan.


Your acting in the movie Dancehall Queen was superb. What do you like most about your character Tanya?

Tanya was a strong character. I loved that I could play a role that brought attention to the struggles faced by some young women in many countries. I enjoyed that Tanya won in the end. She became the model of hope for her family, She was the source and inspiration of strength.


You have a strong background in acting, but right now you’re focusing on your music career. What precipitated the switch in focus?

I’ve always loved entertainment, hence my reason for choosing to pursue acting and singing. I love communicating through song and film. They are both just a passion of mine.

How would you describe your music?

It’s the people’s music. It’s fun, sexy, rebellious, conscious, intellectual at times, energetic and very soulful, better yet soul-filled.


I’ve read articles where you’ve referred to your music as dancehall-soul. What’s the difference between dancehall-soul and traditional reggae music?

Good question. I call my music “Dancehall Soul.” Dancehall Soul is where street meets sweet. The music is a fusion of all of the different genres that have influenced my writing and sound in general. I’ve pulled from soul, gospel, r&b, country, a little rock and even jazz, but the sound is anchored in dancehall and reggae. Dancehall soul is a different energy, it isn't limited to a specific tempo or subject matter.

It’s vibrant, it’s energetic, it’s rebellious, it’s sexy, it’s conscious, it’s youthful and it’s music for the people. No two songs are going to sound exactly the same because it’s fusion. If you listen to “Kingston State of Mind” and then “Gurl’s Anthem”, or flip to “Good Love” you’ll quickly realize that it’s not traditional reggae.

What lead to your decision to study at Keio University in Japan?

I wanted to travel and the possibility of studying a foreign language in the native country of that language was appealing. I was fortunate enough to earn a scholarship so I decided to attended school in Tokyo, Japan for a year.


What was the most interesting thing you learned about Japanese culture?

That's hard. I love the technology and the food. I also loved the fashion scene in Japan. The fashion is very forward but at the same time retro. You’d see girls walking around in outfits that look like they were straight out of the 60’s and 70’s and mixed it with what was current and they would look hot. The traditional Kimono is still worn and the Harajuku scene was also fascinating. The kaiten sushi spots were really cool to me. I wish they had those in Jamaica.


What did you learn about yourself?

I learned that I am adventurous and that I am not scared of challenges.


How did you come up with the title for your new LP?

The title for the LP comes from the song “Kingston State of Mind” which is a single that I wrote and later directed the video for. The song was written and recorded in Kingston, Jamaica. I still live in Kingston and through my observation of some of the realities in the city I chose to address a few things with this song. The majority of my album is being developed in Kingston so the title “Kingston State of Mind” really represents what I have been experiencing around me for the better part of the last two years and seems like a perfect title for the project.

Michael Jackson: Forever Young

In his essay entitled “The Ben Ishmael Tribe: Fugitive Nation of the Old Northwest,” Virginia historian, Hugo Prosper Learning, discusses the history of African Americans in what eventually became the state of Indiana in the late 18th century. Learning wrote about how Black runaway slaves from Kentucky fled to what was then a sprawling wilderness in the Mid West before they interbred with the Pawnee Native Americans whom they encountered there. Upon settling, these so-called former slaves are said to have appointed their own king and queen, known respectively as Ben and Jennie Ishmael. With time, the Ishmael clan cultivated a reputation for being fine artisans, musicians and dancers.

How conceivable is it, how fitting would it be, if Michael Jackson—the seventh of nine children born to Katherine and Joseph Jackson in the town of Gary, Indiana—were a direct descendant of these Moorish prisoners of war? Like those pioneering Moors, who may very well be his forbearers, Michael knew what it felt like to be on the run from smooth criminals for much of his life. For the Ishmaels, the crooks took the form of shotgun-wielding rednecks accompanied by slave-sniffing bloodhounds. For Michael, however, they came in the guise of a hounding news media equipped with electric eyes and flashing cameras to scrutinize his every move.

Since Michael—the Arch Angel of Pop (“Will You Be There,” “Earth Song,”)—died in the City of Angels on June 25th 2009, (the same day as Farrah Fawcett of Charlie’s Angels fame) there have been numerous newspaper and magazine articles indicating that during a brutal bout with prescription drugs, painkillers dealt him a crushing blow. Meanwhile, the internet has been crawling with all sorts of creepy, yet elaborate conspiracy theories to explain the Gloved One’s sudden demise.

By no means am I a knee-jerk debunker of conspiracies. My dedicated study of world history has convinced me that history is, to a great extent, the study of conspiracies. Unfortunately, they are not formerly acknowledged as such until long after the fact. Nevertheless, I am also a firm believer in the idea that sometimes the best explanation for an unfortunate occurrence is also the simplest one.

Michael had long identified with the character Peter Pan from the J.M. Barrie play/novel Peter and Wendy. Like the mythical character in the story, Michael was a magical, yet mischievous individual (close friends and family members say he loved to play practical jokes on people) who never wanted to grow up. The extent to which you identify with something or someone is the extent to which you become that person or thing. Michael identified with a fictional character that never got old, so like his timeless music, he never did. He died at 50, a relatively young age, after living a life that was as fascinating and as riveting as any character’s from a fictional tale. Through his exceptional body of work, Michael has defied death, much like the ghoulish characters who danced alongside him in his music video for “Thriller.”

As a matter of fact, as I type these words Michael is probably dancing with zombies, nimbly moonwalking his way through astral portals of infinity. “For every album that I record, I write like, literally—I’m telling you the truth—I write at least 120 songs every album I do,” said Jackson during a June, 15 2002 speech at his “Killer Thriller Party” where he launched a scathing verbal attack against Tommy Mottola and his then parent company, Sony Music. Whether or not these songs were recorded remains to be seen, but don’t be surprised if MJ has enough posthumous album releases to rival the late Tupac Shakur.

Michael cloaked himself in mythology and in the process he fashioned a fascinating legacy, one that will go unmatched for many generations to come: Over 750 million albums sold worldwide, 8 Grammy Awards in a single year (1984), 13 number one hits on the Billboard Hot 100, the biggest recording contract of all time ($890 million). And the clincher? Well, Michael also owns the Guinness Book of World Records distinction of being the man who has given to more charitable organizations (39) than anyone else on the planet. Like his final studio album Invincible, Michael’s resume isn’t Bad. In fact, it’s kind of Off the Wall.

Although Michael may not have been pleased with The Man in the Mirror as evidenced by his numerous plastic surgeries, his critics—particularly those in the Black community—must remember that no Black person on the planet, no matter how enlightened they may be, has completely escaped the noose of Willie Lynch. In spite of it all, Michael did more to promote Black pride in nine minutes than many Blacks will do in a lifetime. When the music video for his single “Remember the Time,” aired on prime time television to millions of viewers across the nation in 1992, it was the first time anyone ever saw the ancient Egyptians as they actually looked on national television. Before that video aired, Micael could do no wrong in the white media’s eyes. After it aired, he couldn’t do anything good.

Michael may have had his share of personal issues, but we all do. Our pathologies are a byproduct of Western civilization So now that his birthday is here, it is important that we acknowledge his flaws while celebrating what defined the man, which is the fact that he is the single greatest entertainer that the modern world has ever known.

Here I Come: Reggaemuffin Shango Trex is Poised for Superstardom

Roots Reggae singer, songwriter and producer, Shango Trex, is a man with a mission. “My style of music is strictly roots reggaemuffin,” says Shango in an interview with WhereItzAt. The jolly dread was given his stage moniker by a Yoruba priest who was impressed with his energy and awesome stage presence. “However, it’s not angry and aggressive. For me it’s all about fun, but not in the same manner that Babylon uses the word to reflect a hedonist’s pursuit of spiritual death and destruction. My music aims to bring everyone closer to Jah. I don’t want people to fear Jah.”

In a time in which hopelessness and depression are at all-time highs, it’s important that entertainers remind us why we insist on persisting beyond all of the doubt and insecurity. Shango does just that on his self-titled LP issued on his very own Stashang Wan Muzik label in collaboration with Ed Robinson’s E2 Recordings. “This is a lover’s rock album,” says Shango. “We’re bringing back authentic, feel-good music that people can hold on to. Weather you love dancehall, roots, or lover’s rock, this is an album that everyone can appreciate.”

On this 12-track disc the righteous Rastaman blends poignant lyrics, live production (courtesy of Ed Robinson) and comely vocals that are sure to satisfy any reggae-starved soul. The LP’s lead single, “Tell Me,” is truly a melodic display of Shango’s amorous passion. Born Dennis Llewellyn to proud Jamaican parents in the parish of Kingston, Shango is a dedicated reggae music artist. When he was just a little boy his love for the music captured his young heart and held his soul hostage. Now he’s held prisoner to a rhythm that won’t let him go.

Shango learned music in what was then the National Cadet Orchestra. The curious singer-to-be took an immediate liking to the bugle and trumpet which he played quite frequently. Their friendship culminated in the formation of a singing group called the Matchmakers. Dexter saw that his comrade had a passion for music and encouraged him to sing. “Singing was something I always wanted to do, but at the time I never really took myself seriously.” However, Shango sharpened his chops singing at St. George’s Anglican Church and Wildman Street Pentecostal Church in central Kingston. Later, while working for the Jamaican Department of Labor, Shango linked up with White Squall, a local reggae band that practiced nearby. He worked closely with Freddie Brown who gave him some helpful voice coaching.

Before long, Shango traveled to West Moreland, Jamaica and joined the Ninja Force Band in 1985. The voice coaching the budding artist received evidently came in handy. In the flash of a lightening bolt Shango emerged as one of the Force’s lead singers. The group toured with some of reggae and dancehall’s great acts. The impressive list reads like a who-is-who of the Jamaican music universe with names like Gregory Isaacs, Professor Nuts and the crowned Prince of Reggae, the late Dennis Emanuel Brown. Shango and Ninja Force were so impressive they were asked to perform at Reggae Sunsplash two years in a row (1988 and 1989).

After touring the globe, Shango settled in Japan where he obtained a record deal as a solo artist with Avex Trax in 1991. Since then, Shango has shared the bill with some prominent Reggae artists, including one of his mentors, Garnett Silk. “Garnett had a away of making everyone around him feel special,” Shango remembers. “He was a good man who made people feel so royal. He wasn’t just a gifted artist, but a humanitarian.”

Through his production company Stashang Wan Muzik Inc—which he founded alongside his Empress Avril Aiken—Shango is intent on spreading love, light and Rastafari through the four corners of the globe. “No matter what obstacles we face in life we must stay strong, stay positive and strive for peace,” Shango explains. “We’re all in the belly of the beast, and the only way for us to attain victory is through a love for life….Rastafari blessing always.”

Shango’s new album can be purchased at Moody’s Records, VP Records, iTunes, CD Baby, Napster, Ruckus, Digi Station, Groupie Tunes.

Checkout Shango Trex on digistation.com and make yourself a new friend by logging to myspace.com/shagotrex

"Love Sex Magick" Ciara ft. Justin Timberlake

Despite Justin Timberlake's presence, this music video has some, uh, nice visuals. It would have been better if she featured me lip-syncing his parts instead. Why you laughing? Nothing is better than Black-on-Black love, especially when it involves Sex Magic.

I didn't realize Ciara was so skinny, though. At least she's flexible. I'm going away for Memorial Day Weekend with Luscious. I wonder if she can fit in my suitcase (just kidding Yummy Bunny, pretend you didn't read that)? Did Ciara really lick Justin Timberlake's ear? That's kinda dangerous. He doesn't know where her tongue has been. Ha ha, just kidding! I like Ciara, I'm just hating because she didn't cast me as her love interest in the video.

http://www.youtube.com/watch?v=zTYT-SiZeFo

Queen Ifrica Speaks on Censorship & Advocacy

Great music conveys our rawest emotions which are too primal to convert to words. It forcefully speaks to our quietest thoughts which are too loud to remain silent. For fans of Ventrice Latora Morgan, better known in reggae circles as Queen Ifrica, this observation is about as real as the lyrics that she writes.

Ifrica, the daughter of Jamaican rocksteady legend Derrick Morgan, has garnered respect and admiration in the reggae industry because she’s smart enough to educate her listening audience, yet still loves it enough to entertain it. Her penchant for rhythm and rhyme earned her Best Female Deejay honors at the 2008 International Reggae And World Music Awards (IRAWMA). Ifrica, who hails from the parish of Montego Bay, has consistently distinguished herself as the witty conscience of dancehall-reggae with scorching singles like “Keep It To Yourself,” “Below the Waist,” and “Daddy.”

The latter is a poignantly written song about child molestation. Despite a noticeable absence of record spins on Caribbean radio, “Daddy” reached a wide and appreciative audience. Its message resonated especially with those men and women who have themselves been touched by the cold, scabrous hands of incest and abuse.

After inking a new deal with VP Records—the world’s leading record label for reggae and dancehall artists—the Rastafarian rebel queen is looking forward to what she expects will be a prosperous year. In late March she released Road to Montego Bay, a digital EP that serves as an ital appetizer to her full-length album which is slated for a summer release. Fast Food for Thought spoke to the Fyah Muma about her new EP, dancehall’s “daggering” craze (dry sex on the dance floor) and her controversial single, “Daddy.”

Queen Ifrica, you’re recognized in the business as a gifted lyricist with a positive message for the fans, but you also make the musicentertainment. What do you think about Jamaica’s radio ban of songs promoting daggering and violence?

My opinion is that it shouldn’t have caused such a negative reaction. Jamaica has become so violent of the last few years—and while I am not one of those who would say that music is the only reason why the society has deteriorated—I know that it is very influential to some of these youth in the garrisons who really live this kind of lifestyle. You have some artists in Jamaica who talk about shooting out somebody’s face but they are not actually doing some of these things. However you have youth are out there who are living that lifestyle and look up to the artists. It gives them strength and encouragement to believe that the lives they are living is normal when it’s really not. So I believe that the music is not the reason why Jamaican society is the way that it is, but it does contribute.

If you’re not part of the solution you’re part of the problem.

Right! Exactly! Sex has become so widespread among the young people, dem. They’re having sex at live dances. The deejays are telling the girls “take off your clothes and show your vagina.” There is definitely something wrong with that whole mindset. If you watch it back on tape, it is not something that you would consider pleasing if you have any morals in you. I’m kind of disappointed in some people who say that the [radio] broadcasters are fighting against ghetto people because they have said that enough is enough with the slackness and violence. There must be other subjects that the artists can sing about—and a lot of these artists are very creative. But they see that sex sells, so to gain the fame and the spotlight they do whatever they think they have to do.

You released a single in 2008 about incest and abuse called “Daddy.” It was incredibly unique and well written, but it did not get the kind of attention on the radio that it could have. Did this surprise you?

No, it did not surprise me, because I know that incest is not necessarily a ghetto problem that everyone tries to make it out to be in the early stages of the song. This was me wanting to show that these are things that are seriously impacting our society where people are becoming sexually confused or they become oversexed gays or lesbians. Unfortunately, there is no one to ask these people exactly what is happening to them. We don’t make an effort to address the issue before it becomes a problem.

Another thing to understand is that incest is primarily a middle class problem. It really affects the middle class. So you find that the fight against the song “Daddy” really came for that aspect of society where the big bosses, who control these radio stations and lord over the disc jockeys, tell them not to play it on the radio. However at the dances, where the people know what the truth is and what morality is, I have to always sing it when I go on stage.

It’s very sad, because say you’re watching a documentary where female, or gay male prostitutes explain why how they got into that lifestyle, nine out of ten of them will say that they came out of troubled homes where their father was molesting them. Or maybe their mom gave them away to a member of the family who was molesting them.

Nobody takes interest to ask these people “hey, you don’t smile as much as you used to; what’s wrong?” I feel that if we’re going to look at the ill behavior of our young people we need to look at the causes and not just the effects. We need to become more involved in their lives.

Was the song inspired by the experiences of anyone you know personally?

Yes, more than one person. I can tell you hundreds, because even when I was not widely known in the business, I was doing community work with [reggae singer] Tony Rebel. There is a center in Jamaica that houses women under the age of 18 and you’d be surprised to learn how many of these young women are pregnant for their dads and uncles. These girls are 11, 12, 16-years-old and there is nothing that you can say to them that is going to make all of their problems go away. However, you can listen to them, hug them, and cry with them so that they know that someone understands what they’re going through.

I knew a lot of people would like to know if the song reflects my own personal experiences. I wanted them to ask that question so that I could point them to these young people being ignored who have actually experienced these things. I know a man who told me that he is a homosexual because of a Catholic priest who had sex with him. In Jamaica, where homophobia is so strong, it took a lot for this man to call me and say “that song really gave me a sense of self-worth as far as me not being at fault for who I am.” These messages can make a difference in people’s lives and it’s not just Jamaica, it’s everywhere.

So tell me about your latest project, Road to Montego Bay. Who are some of the producers you worked with? What should fans expect?

Well it’s a special occasion to be working with a VP Records. I have a song on the album that is talking about Montego Bay the place, not just the tourist destination. It’s about the lives of the people who live in the poorer parts of the city. I worked with Fabian Colbert, Penthouse, which is a giant in the business. We got the riddims that will really appeal to the youth on this EP. I think it will give the fans a good idea of where the Fyah Muma is going with the full length album.


For more on Queen Ifrica check her out at http://www.myspace.com/queenifrica

Roy "Gramps" Morgan of Reggae band Morgan Heritage steps out on his own

The only constant in life is change. Few people know this better than Roy “Gramps” Morgan, 33, of the seminal roots reggae group, Morgan Heritage. For the past 15 years he and his four siblings have carved out their own niche as one of the most innovative reggae groups of our time by blending the best of rock, pop, hip-hop and R&B.

Now, after eight MG albums, the brawny baritone troubadour is about to open a new chapter in his music career with the release of his debut solo LP entitled Two Sides of My Heart. The two-disc set—which will be released on his very own Dada Son Entertainment label—features the hit single “Wash the Tears,” which has been beating up the reggae charts since it hit the airwaves in January. Reggae icon, Buju Banton, and acoustic soul songbird, Inida.Irie, are among the highly-anticipated guests lending their vocals to the project.

WhereItzAt recently spoke to the Brooklyn-born Yardy about the new album and his entrepreneurial pursuits.

A lot of people are anticipating your new project Two Sides of My Heart. Can you explain the meaning behind the title?

Well, musically I express myself in many different ways. Most of the messages are about
the redemption of love and the redemption of God. Still, God is love. I also like to inject some social and cultural awareness into my music and give reverence to our traditions and our spiritually. At the same time, there is another side of me that just loves to have fun. Sometimes I can have fun, have a good time through the many different genres of music. So those are the two sides of my heart. It’s a double CD, so that’s basically the concept.

Tell me some of the producers you worked with on this project.

I worked with Don Corleone out of Kingston Jamaica. He has worked with artists like Sean Paul, Jah Cure, Rihanna, Elephant Man, Keyshia Cole. Also on the album is a friend of mine from No Doubt Records named DJ Flava. However most of the tracks were produced by me.

I know that a lot of your fans are wondering whether or not you’re distancing yourself from Morgan Heritage with this new project. Is the group breaking up?

Naaah!!! No, not at all, mon (laughs). My brothers and I talk everyday. To all of your readers I just want to reiterate that the band is not breaking up, so have no fear. There’s another Morgan Heritage album in the works. Right now we’re just working on some solo ventures and having fun working with all kinds of producers. We want to highlight the different elements that make up Morgan Heritage, but we’re not breaking up. As a matter of fact we have some shows that we’re still doing.

It sounds like you’re broadening your horizons, so I’m sure your fans will be glad to here that.

Definitely, because sometimes with a popular band the people may only know one or two members, so with solo projects the fans will have a better opportunity to know the different members of the group musically. Peter, his sound is going to be more of a dancehall, R&B, lover’s rock sound. Mojo is more going after the rock market as well as the reggae market. There are a lot of different ways to approach the music industry right now and we’re having fun with it.

Tell me about your company, Dada Son Entertainment. How did that come about?

I decided that I wanted to manage some artists and develop talent from across the world. I had in mind places like Africa, Europe, the eastern Caribbean, Hawaii and Canada. I started to manage an artist by the name of Irie Love. She was one of the first artists I was managing. I also have dreams and aspirations to put out short films, movies and documentaries on our culture. I think that we have a lot of things to say as a people, so I want to bring these things to life. Dada Son is a branch off of Gideon Music, which is the family label.

Is there anything else you want to share with your fans which may not been covered already?

They can reach me on Facebook. I told someone recently that I’m always on Facebook and they were like “You have time for that?” I was like “Yeah, but even if I didn’t I would have to make time.”

True indeed.

Amy Winehouse's Reggae effort gets a Less Than Warm Reception from Island Records

Caught the article below on the All Headline News web site. For those who weren't aware, it was reported last year that Winehouse was working on a reggae album. Given her stature as a Grammy-award winning artist, some speculated that her effort would have given reggae a needed boost had she turned out an impressive album.

Personally, I think that it's unfortunate that people would look to a white British pop star to give reggae music more credibility in the market place when there are so many talented artists coming out of Jamaica, and other parts of the so-called Third World, who are more than capable of doing the job. Maybe if some of these major record labels did a better job of marketing and promoting those artists then reggae would finally break through the Glass Ceiling. Then again, maybe those individuals at the head of the music industry meant for it to be this way.........

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London, England (CNS) - After being denied a work visa for Coachella festival, troubled singer Amy Winehouse’s latest music compositions have been rejected by her label.
The Rehab hitmaker recorded a number of demo tracks with a Caribbean flavor for her highly anticipated third album during a three-month hiatus on the Caribbean island of St. Lucia.

However, Winehouse has reportedly been ordered to re-record her new album after music bosses at the star's label Island Records were left unimpressed by her latest reggage offering, according to U.K. newspaper the Daily Mirror.

A source tells the publication, “Amy was very productive during her stay in St Lucia. She wrote a hell of a lot of songs, but the majority of them just are’t hitting the mark….She seems to have ditched her trademark vintage soul sound and is now heavily influenced by reggae. Her bosses don’t think it’s a wise move to change her style so sharply and [they] have told her that.”

Soul Survivor

How Yellowman turned personal adversity into a stellar music career

PHOTOGRAPHER: CHAMPION HAMILTON
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Although the origins of dancehall music can be traced as far back as the 1940s, the first man to make it an international music phenomenon was Winston Foster, better known to dancehall fans as King Yellowman. While Shabba Ranks, Shaggy and Sean Paul have all made promethean contributions towards boosting dancehall’s marketability worldwide, Foster bears the uncanny distinction of being the first to prove it was possible.

Yellow’s resume has made him a tough act to follow even two decades removed from the height of his recording career. Evidently, this is because his role in the popularization of Jamaican music and culture has been that of a trail-blazing pioneer. He’s the first deejay to be nominated for a Grammy and record with major hip-hop acts. He is also the first to ink a deal with a major U.S. record label (CBS Records).

This past August Yellow performed at Irie Jamboree before over 36,000 fans in Queens, New York. A natural entertainer, it was hard to tell whether it was 2008 or 1983 based on the reception he got once he hit the stage. The crowd erupted in nostalgic reverence as the Henry “Junjo” Lawes produced “I’m Getting Married in the Morning” wafted from the towering stage speakers. Guillaume Bougie, a 26-year-old banker from Montreal, Quebec Canada, drove all the way form the City of Saints with his buddies in tow to see King Yellow perform for the very first time. “I’ve been listening to Yellow Man since I was a kid. He’s the best,” says a starry-eyed Bougie, who had attended a wedding with friends the day before.

“My music is real,” says Yellow during an interview with Fast Food for Thought following his Irie Jam performance. “It’s dance music that brings a positive vibe to the people. My performances are real so whenever I go on stage I expect a positive response from the fans. That’s what I get wherever I go.”

Considering his spectacular accomplishments, it’s difficult to even imagine that Yellow’s rise to dancehall supremacy was an improbable one. While he is championship caliber deejay, and a winner in life, his tumultuous upbringing gave him every reason to loose. Yellow was shunned by his biological parents because of his albinism and spent much of his formative years in the Maxfield Home orphanage in Kingston, Jamaica. Nevertheless, he found a way to succeed despite the personal challenges that his melanin deficit presented him. “It was very difficult to deal with as a youth, but I never allowed it to make me bitter. Instead, I learned to appreciate my uniqueness. Eventually other people did too.”

Foster’s penchant for riddim and rhyme got the attention of local sound systems when he won a Tastee Patties-sponsored deejay contest in the late ’70s. By the early ’80s, the stellar trajectory of his career brought him to superstardom. Yellow occupied the world stage and became a musical ambassador of his beloved island.

Yellow says that he is living proof that if you work on developing your talent, and remain ambitious, it is more than possible for you to overcome any perceived limitations. “No matter what, you can’t give up, mon!,” the animated Albino wonder admonishes. “If you set out on a mission don’t give up. One day! One day! Your time will come, because nothing happens before its time.”

Pieces of A Man

Busy Signal may not be the most visible member of The Alliance. But he’s certainly the one with the most to say…..

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For the past two years the dancehall world has revolved around a band of deejays lead by the Warlord, Bounty Killer, formerly known as The Alliance. Consisting of Mavado, Bling Dawg, Wayne Marshall, Elephant Man and Busy Signal, the crew has injected a new sense of life and excitement into dancehall music.

Mavado’s career took off in the middle of 2006 with the release of the monster smash “Weh Dem Ah Do.” However, in late 2005 his partner in rhyme, Reanno Gordon—who is better known in dancehall circles as Busy Signal—helped get the ball rolling for The Alliance when he dropped the club scorcher, “Step Out.” The track featured the popular hook, “Wuk gyaaaal, bus’ guuuuun, smoke weeeeed, have fuuuuun—wuh me do?!”

By the spring of 2006 Busy’s single had gotten numerous spins on urban music radio stations across the United States. Fortunately, the clever wordsmith had the presence of mind to strike his hammer while the iron was hot. He subsequently released his freshman LP, Step Out, on the U.K.’s Greensleeves record label which was acquired by VP Records in January of this year. Busy’s success helped pave the way for Mavado’s meteoric rise to stardom. Yet despite the fact that both fans and industry shareholders put stock in Busy as a bankable dancehall superstar of the future, he suddenly disappeared from the scene like his name was Bear Stearns.

Last year, however, Busy reemerged from his cave like a bear out of hibernation displaying the artistic passion and hunger that fans of good music have been starving for. Loaded, his sophomore release on VP Records, is a ready-served musical meal packed with beefy production courtesy of DeMarco, Don Corleon, SSMG and Leftside. The LP features standout cuts like “People So Evil,” “Tic Toc,” “Unknown Number,” and the DeMarco-produced hot gyal tune, “Wine Pon Di Edge.” The thinking gangsta’s gangsta spoke to Adika about his new project and what he believes to be the Jamaican media’s bias towards his bad boy clique, The Alliance.

Over the last couple of years The Alliance has been the hottest crew in dancehall. What do you think has allowed you to distinguish yourselves from the rest of the competition? What’s the difference between you and them?

It’s just my creativity. I don’t really keep my music monotonous. I try to use different flows, different styles, different concepts each time. I think that’s one of the things that separate me and my type of style from other dancehall artists. It’s the creativity.


In Jamaica, The Alliance has been criticized for the nature of its music. Given the amount of violent crime that has occurred on the island over the last few years, do you think that any of that criticism is deserved?

It’s bad on the music because there are some people who actually believe all of that stuff. My personal belief is that music does have some influence on some people, but you can’t blame violence on music. When I say that I mean no music: not hip-hop, not dancehall, not rock—no music. You can’t blame music for the violence occurring in an entire country or continent. Music unites people. If you have a show where some singers or some deejays come to play a few songs, I guarantee you that people will be there. People are gonna unite under the banner of music. The fighting and the violence you’re referring to, that’s a political thing. That’s an election thing. One or two people may take the music too far and overreact to it, but at the end of the day, music is not the cause of the violence.

Being an artist involves exploring many aspects of the human experience, the good and the bad. Given the fact that artists do have an influence on people—especially young people—in terms of how they think and how they act, why in your opinion don’t more dancehall artists show the other side of the coin when talking about violence? Why do you think more of them don’t address the inevitable consequences that senseless violence will ultimately lead to?

Me, I could speak for myself, but I can also speak for The Alliance. We do that, but guess what? We don’t get any credit for it! None of the tabloids write about it. We give to charities; we go to the schools; we talk to the children. I’m actually one of the leading artists in Jamaica currently on a school tour—free of cost—riding around the island talking to the kids, singing a couple songs, signing autographs, telling them to stay focused, stay off the street, get an education. No one highlights these things. It doesn’t go on the Internet; none of the television networks video record it. You won’t read about it in The Star. But if I get up this morning and smack some n-gga in the head or shoot somebody then it will be in The Star. It will be in the papers for months.

Are you saying that the media thrives on violence and negativity?

Yes, because it sells papers. Everybody is just about making something for themselves and making their own money—no matter what kind of money it is. It could be corrupted money gained from negatively highlighting someone else. The media doesn’t highlight the good things we do. They give dancehall bad press, they give reggae bad press. No one wants to acknowledge the good that we do.

I’ve been listening to the music you’ve been putting out over the last few months and it’s clear to me that you’re a lyricist, a writer. What inspires you to write?

Everyday life. If you hear me deejaying something for the girls it might be about a girl I met last night, or maybe a friend told me a story and I decided to make a song out of it. If it’s a true portrait than people are more likely to relate to it. That’s just how I see it.


“Unknown Number” is an original for me. I don’t remember hearing a dancehall song like it.

(Laughs) Thanks

I usually don’t answer blocked calls on my cell either, but sometimes you never know. Is there a story behind how that song came about?

Yeah, it was a joke. I was in the studio with my manager and an engineer and kept getting all of these blocked calls. I’m like “who’s calling me from all of these unknown numbers?” It was kind of frustrating cause I was trying to get some work done. I decide to release my frustration by making a song about it. DeMarco made that riddim. He did one and I said “No DeMarco, start from scratch,” and he came with that one. I didn’t go home until I got that feeling off my chest.

That’s wassup. A lot of people know Busy Signal’s music, but they don’t know much about the man behind the microphone. How would you describe your personality?

I’m not really the flashy, flashy type, but I’m cool. Sometimes I like to be by myself and just do my music. Other times I’ll sign a million autographs. I’m just energetic. I like to chill and observe things. But if I have to get up and do a show then I’ll do a show. I’m a workaholic though. I’ll be in the studio from like Sunday to Sunday.

Well the album is in stores now, what would you like for people to know about this project?

Give it a try, because it’s going to be worth your while. It’s music, and I do music. I’m influenced by a lot of different types of music—hip-hop, reggae, dancehall, R&B, rock. People who know me know I deliver, and I do it way more than UPS or FedEx. If you like dancehall, if you like good music you’re going to like my album so go to the store and pick it up.