ADUH!!!

Babidi Babudu....
Mencret lagi ga punya uang pake acara hilang kartu atm lagi...
jadi males mu ngapa-ngapain ney...
tambah masalah lagi, mouse kesayangan gw pake acara rusak lagi...
truz tadi ga jadi nonton gara2 hujan...
cuma ada satu kata buat ini semua..

BABIDIBABUBU

Ada Apa niy!!!!

Waduh lagi malas mikir, jenuh ga ada ide, mau nulis males banget, suntuk, bt banget, Cape Dey (kata anak gaul)..
eh malah inget wanita yang ada disana...klo gw bilang sey dia ga terlalu cantik, manis yah lumayanlah, cuma ada yang bikin gw deg-degan senyumannya men gahar banget,, klo boleh disamain ma artis nagita slavina bisa tumbang..aduh namanya juga jatuh cinta kali ya (kaya sinetron indonesia aja)..

sebut aja dia mawar (bukan nama sebenarnya), hahaha kaya klo abis nonton Sergap tapi bagian yang korban pencabulan, sebut mawar (nama samaran) dia ini bukan korban pencabulan, abis klo disebutin nanti banyak yang nyari (artis kaleee!!)..yang pasti sey dia mahasiswi, pokoknya lucu dey anaknya..dah agh ga baik ngomongin orang...

sebenarnya gw bikin blog ini untuk gw berkhayal dan bemimpi (tidur aja kali ya zzZ)...
gw pengen punya pacar, punya mobil..pacar gw cantik kaya dia gitu dey..berhubung ini site gw buat berkhayal dan bermimpi jadi terserah gw ya mu gw tulis apa, isinya apa, tapi tetep pada koridornya,hahaha mank busway pake koridor...
gw pengen jadi artis tapi ga da film yang cocok, pengen jadi model kalah jelek dari mas tukul (ta sobek-sobek kamu!!!!),pengen jadi presiden ga punya jas (miskin aja)...
untung ini blog gw bikin sendiri bukan numpang punya ke blog orang, klo punya orang waduh bisa disobek-sobek gw...PUAS!!!

dari pada kolom articlenya tentang reggae terus pasti lw semua pada bosen kan..makanya gw tambahin nie cerita tapi selain reggae,, tapi masalahnya gw lagi males nulis ney man..
tapi gw ga boleh dwnk kehabisan akal, buat lw semua gw akan peres semua ide gw biar kalian terpuaskan dalam menikmati blog ini, karna gw ga pengen kalian kecewa..
tapi dari tadi gw ngomong mulu ya ga berhenti (kereta kaleee!!) kapan nulisnya ya?!?!?

Wah sekalian dey gw mu ngucapin niy buat yang lagi ulang tahun....
panjang umur yagh..moga2 disehatkan selalu,,and tetep semangat walau apa yang terjadi..

DESTY...yang ke 19

One Love Rasellijah

One Love adalah sebuah kata yang memiliki artian yang luas yang berarti semua menyukai cinta, semua orang disatukan oleh cinta, semua membutuhkan sinta dan tanpa adanya cinta takkan ada perdamaian dan kesatuan di muka bumi ini. Seperti yang selalu dielukkan Bob Marley tentang perdamaian dan keindahan dalam menjalani kehidupan ini. Sebuah legenda dari negeri budak yang selalu tertindas namun berusaha untuk bangkit dan berkembang tanpa pernah merasa menyerah.
Seperti tidak akan berhenti jika kita mendengarkan lagu-lagu Bob Marley yang selalu berisi tentang kedamain dan cinta, kita petik saja judul Is This love, One Love, Turn Your Light’s Down Low, No Women No Cry, dan sebagainya. Dari kesemua judul yang ada Bob Marley selalu menyisipkan kata-kata cinta dan perdamaian agar semua manusia tidak mengenal perang serta permusuhan.
Perkembangan musik tanah air pun tidak mau ketinggalan, musik reggae sendiri masuk kurang lebih sekitar tahun 80-an, sebut saja Imanez atau Mas Sanis yang mengawali perkembangan musik reggae di tanah air, dengan dibantu Tonny Q terciptalah beberapa hits yang cukup diminati anak-anak muda sampai sekarang, kita ambil contoh saja Anak Pantai, Ikan Bakar, Harus Mau.
Namun seiring perjalannya musik reggae, ada yang menyebut ska seperti musisi Igor Tamelan dengan hitsnya Pemalas, dan Gito Rollies pun sempat mengarang lagu ska dengan hitsnya Astuti. Jika melihat musik reggae sekarang yang telah teradopsi dari para seniornya lebih membuat musik reggae sendiri lebih indah dan lebih mudah untuk dimengerti serta dapat diterima masyarakat luas.
Tidak hanya Bob Marley yang mengembangkan musik reggae, tapi kita juga patut berterima kasih pada musisi yang yang lain sebut saja Peter Tosh, gitaris The Wailers bentukan Bob Marley, Alpha Blondy musisi yang selalu bernyanyi tentang agama dan persatuan serta etnis, Desmond Dekker yang menjadi kiblatnya para musisi ska tanah air, dan masih banyak yang lain.
Jika kita menengok musik dalam negeri kita dapat melihat begitu banyak warna musik yang berbeda-beda sehingga membuat kaya musik tanah air, dari sisi fanatisme pun mereka tidak kalah dengan musisi top luar negeri, kita sebut saja Slank dan Iwan Fals yang memiliki masa ribuan orang yang tersebar diseluruh penjuru tanah air, itulah mengapa musik di Indonesia dapat berkembang pesat.
Kita beralih lagi kepada musik Reggae, Indonesia kebanjiran musisi pencinta musik reggae mulai dari Steven Coconutrez, Tonny Q, Rastafara, Mbah Surip, Mas Sanis, Alm Imanez, Souljah, dll. Dari semua itu mempunyai komunitas yang cukup solidaritas dan akrab.
Tonny Q Rastafara yang teah menelurkan 6 album yang cukup popular dikalangan komunitasnya. Menurut Tonny Q yang sering disapa mas tonny menyebutkan bahwa untuk mendengarkan musik reggae tidak perlu dan tidak harus memiliki rambut gimbal atau yang bahasa kerennya Dreadlock Rasta, menurut mas tonny sendiri dalam menikmati suatu musik yang harus berubah adalah jiwa atau soul kita bukan penampilan karna dalam mendengarkan musik reggae misalnya kita hanya memerlukan penjiwaan agar dapat memahami maksud dari isi lagu tersebut.
Seperti pada lyric lagu Don’t Worry milik Tonny Q pada album ke-5 (Salam Damai) mengajak kita agar dapat menjalani hidup ini dengan semudah mungkin dan jangan jadi beban, sehingga kita dapat melapangkan dada dengan tujuan kita menjadi orang yang sabar, karna dengan kesabaran tidak akan ada perpecahan dan perselisihan. Inilah maksud dari musik reggae tersebut yaitu hidup tanpa ada peperangan yang ada hanya selalu cinta yang damai.
Tidak hanya dijakarta musik reggae tersebut maju pesat di kota lain justru lebih banyak komunitasnya kita ambil contoh Yogyakarta, dengan jumlah penduduk yang lebih didominasi oleh mahasiswa membuat yogyakarta dijuluki Indonesia kecil, di kota pelajar ini banyak sekali musisi pencinta musik reggae ada Marapu, Brown Sugar, Burger Time, Revolution, Shaggy Dog, Tropical Sunrise, Bob Chu WaWa dan masih banyak lainnya.
Di Yogyakarta sendiri musik reggae sangat digemari para mahasiswa. Mereka membuat komunitas yang sering berkumpul di pinggir kali code karna disana selain nyaman juga tidak teralu ramai dengan kebisingan kota yogyakarta. Jika kita menuju pusat kota kita akan mememukan komunitas rambut gimbal di depan benteng vredeburg atau orang awam biasa mengenal dengan jalan malioboro. Tapi jika anda telah memahami jalan-jalan di Yogyakarta jangan lupa mampir dipertokoan Babarsari karna disana ada juga komunitas rambut gimbal tepatnya depan swalayan citrauli, jika ingin bersantai jalan sedikit kearah timur maka anda akan menemui ruko-ruko, disana terdapat Bar coffea yang cukup nyaman untuk bersantai dan tedapat juga Jamaican distro yang tersedia berbagai item dan pernak-pernik reggae. Maka dari itulah kota jogja sendiri telah menghasilkan berbagai musisi dan para seniman yang cukup kondang di tanah air sampai manca negara, karna kenyamanan dan keramahtamahan kota jogja..

kisah seorang tujuan

perjalanan kehidupan yang sangat ingin menikmati kehidupan,ketika sebuah amarah menjadi tertawa,ketika sebuah gundah menjadi gembira,

dimanakah aku sekarang?

manusia hanya ingin hidup,tapi mengertikah manusia tentang hidup?
aku yang sekarang ini tumbuh dari kata-kata hidup tak pernah merasakan hidup, aku yang ingin menghidupi kehidupan apakah aku mengerti apa itu hidup...
dimanakah aku sekarang?

aku menangis, aku bersedih, aku berteriak.
kita yang terlahir dari selembar kertas putih akankah kita mengisinya dengan sebuah tinta kasih sayang.
dimanakah aku sekarang?

kita yang belajar cinta apakah telah menyatukannya dengan kejujuran.
bohong, dusta, menipu, hanya itu yang kita tahu dan kita bisa..
puisi, pujangga, penyair semua itu penipu, pembohong, pendusta.
dimanakah aku sekarang?

ini ditulis pukul 1.30 malam
ketika mengingat dirimu dan aku percaya akan berujung indah...
aku percaya kita bisa melakukannya
berilah aku kesempatan itu.......

Gaper The Side

Hari Aids...apa yang harus kita lakukan????

1 desember dicanangkan sebagai hari aids sedunia...dimana semua orang menghargai sebuah nilai luhur kehidupan,,dimana qta sebagai manusia baru berusaha untuk hidup dan belum mencapai sebuah kehidupan apalagi untuk hidup dalam kehidupan..
1 Desember diperingati untuk menumbuhkan kesadaran terhadap wabah AIDS di seluruh dunia yang disebabkan oleh penyebaran virus HIV...
1 desember apa yang harus kita lakukan untuk memperingati hari aids????
jawaban yang tepat adalah:
1. Jangan berganti-ganti pasangan (setialah pada pasangan anda)
2. Gunakanlah kondom sebagai alat pengaman
3. Jangan menggunakan alat suntik yang telah terkontaminasi virus HIV

jika anda tidak ingin terkena AIDS...apa yang harus anda lakukan?
jawaban yang tepat adalah:
1. Rajinlah berdoa (ingat pada tuhan karna berzinah itu di haramkan)
2. Jangan memakai narkoba
3. Sayangilah diri anda dan jauhi SEX apalagi FREE SEX (karna SEX ga ada yang FREE)

lalu apa yang harus kita lakukan ketika melihat teman, saudara, apalagi keluarga kita yang terkena AIDS......
Yang terpenting jangan jauhi mereka karna mereka adalah manusia yang harus kita sayangi...
Berilah mereka dorongan semangat agar mereka mampu untuk mengahadapi kehidupan....
Cintailah mereka karna dengan cinta kita mereka akan sembuh walaupun untuk sementara...

Pentasku Pentas Balada Marlina

Hari itu tanggal 25 November,,Saya diberikan sebuah kesempatan yang sangat indah,,untuk menjadi ilustrasi musik dalam pentas pertunjukkan untuk teater 'MANGGAR' Stimik Amikom yogyakarta....
sebuah karya wisnu de rifhara "BALADA MARLINA" merupakan sebuah cerita realis yang sangat nyata dalam kehidupan sehari-hari kita...
dimana pentas itu diperankan oleh anak2 teater'MANGGAR' dengan para pemain:
Kakek diperankan oleh ARGO A.K.A Demit
Maman diperankan oleh Nanang
Pincang diperankan oleh Danang A.K.A Corro
Totok diperankan oleh Agung A.K.A Congor
Marlina diperankan oleh Olly A.K.A Jumbleng
Tuti diperankan oleh Libi
Asih diperankan oleh Tari A.K.A Cebong
Nancy diperankan oleh Andri A.K.A Imung
Hansip diperankan oleh Haryadi A.K.A Temp-X
Residivis diperankan oleh Chim's
Polisi diperankan oleh Abi A.K.A Phat Kai

Sutrada :Dedy Winarko A.K.A Jiteng
Ilustrasi :Fero A.k.A Gaper
Ricco A.K.A Penyo
Betet dan Arga pamannya Aero
Stage Manager :Haryadi A.K.A Temp-X
Lighting :Dedy Winarko
Artistik :All teater 'MANGGAR'
Make Up :All teater 'MANGGAR'

dan hal ini merupakan sebuah kesempatan bagi saya untuk mengabdikan diri dalam pentas ini,,,sekaligus sebagai pengalaman pribadi saya berperan sebagi ilustrasi musik dalam pentas BALADA MARLINA ini...
Sedangkan dalam cerita Balada Marlina sendiri bercerita tentang seorang anak yang bernama POMO mencintai ibu kandung yang telah membuangnya..layaknya seperti kisah si malin kundang hanya saja dalam cerita karya WISNU DE RIFHARA ini terjadi dalam kehidupan yang sangat berbeda dari cerita malin kundang...dimana cerita ynag diangkat oleh sang sutradara JITENG ini dibuat secara realis dan nyata,,yaitu tentang sekelompok komunitas gembel(kaum kusam)yang hidup diantara kita...sebuah tempat lokalisasi yang dijadikan tempat bertahan hidup mereka ditambah kumpulan sampah2 yang selalu mengiasi kehidupan mereka....
LALU MUNCUL PERTANYAAN BESAR???? APA MAKNA CERITA INI?????
mudah-mudahan anda yang telah menonton pertunjukkan BALADA MARLINA dapat menemukan jawabannya....

kutujukan rasa terima kasihku untuk DESTY SETIYANI yang telah muncul dalam kehidupanku
kaulah gadis berjilbab itu....
Dan terima kasih juga untuk yang telah melihat pertunjukkan kami,,
kami berharap anda2 tidak bosan untuk melihat kami....
SALAM teater 'MANGGGAR'

"ANAK MUDA INDONESIA: JANGAN BUGIL DI DEPAN KAMERA!"

Disinyalir terdapat 500 lebih cuplikan film porno yang menggambarkan hubungan sex orang-orang Indonesia yang dibuat dengan menggunakan Handphone dan Video Kamera. 90% adegan cuplikan film porno dilakukan oleh anak muda SMA dan Mahasiswa. 8%nya berasal dari rekaman prostitusi, para pejabat negara dan pemerintah (DPR dan Pegawai Negeri). 2%nya adalah cuplikan kamera pengintai yang mengambil gambar para wanita-wanita muda yang sedang bugil tanpa sadar di toilet ataupun di kamar hotel.

Perkembangan teknologi kamera ponsel ternyata berefek buruk. 500 lebih cuplikan film porno dibuat para pelakunya atas dasar senang-senang, tidak sengaja dan sebagian dijadikan alat kejahatan (rekaman perkosaan, penistaan, pelecehan).

Hal ini menjadi fenomena gunung es. Jangan-jangan, jumlah cuplikan film porno yang dibuat anak muda Indonesia telah mencapai ribuan klip? Jangan-jangan, anak muda kita tidak sadar bahaya yang mengancam, yang semula hanya iseng dan main-main, berubah menjadi mimpi buruk yang kelak akan menghancurkan masa depan mereka?

Tentunya tidak dengan menggunakan kotbah dan himbauan yang tidak mempan masuk ke telinga anak muda. Jalan alternatif dan ampuh untuk menghentikan atau mengurangi peredaran dan pembuatan film porno amatir buatan anak muda Indonesia, sebagai permulaan adalah dengan cara melakukan janji bersama, sumpah bersama untuk TIDAK BUGIL DI DEPAN KAMERA!

Maka , bila Anda mempunyai anak, teman atau Anda sendiri yang senang bereksperimen dengan kamera (ponsel kamera, webcam maupun kamera genggan/handycam) mari bersama mengucapkan janji:



DEMI MASA DEPAN KITA DAN INDONESIA YANG LEBIH BAIK
KAMI BERJANJI
TIDAK AKAN BUGIL DI DEPAN KAMERA!



RAS ELLIJAH SANGAT MENDUKUNG ARTIKEL INI...
maka dari itu ras akan selalu menyebar kampanye ini...

apa sey musik itu??

Musik adalah bunyi yang diterima oleh individu dan berbeda-beda berdasarkan sejarah, lokasi, budaya dan selera seseorang. Definisi sejati tentang musik juga bermacam-macam:
Bunyi yang dianggap enak oleh pendengarnya Segala bunyi yang dihasilkan secara sengaja oleh seseorang atau kumpulan dan disajikan sebagai musik Beberapa orang menganggap musik tidak berwujud sama sekali.
Musik menurut Aristoteles mempunyai kemampuan mendamaikan hati yang gundah, mempunyai terapi rekreatif dan menumbuhkan jiwa patriotisme.


Musik adalah bunyi yang diterima oleh individu dan berbeda-beda berdasarkan sejarah, lokasi, budaya dan selera seseorang. Definisi sejati tentang musik juga bermacam-macam:
Bunyi yang dianggap enak oleh pendengarnya Segala bunyi yang dihasilkan secara sengaja oleh seseorang atau kumpulan dan disajikan sebagai musik Beberapa orang menganggap musik tidak berwujud sama sekali.
Musik menurut Aristoteles mempunyai kemampuan mendamaikan hati yang gundah, mempunyai terapi rekreatif dan menumbuhkan jiwa patriotisme.
Berikut adalah daftar aliran/genre utama dalam musik. Masing-masing genre terbagi lagi menjadi beberapa sub-genre. Pengkategorian musik seperti ini, meskipun terkadang merupakan hal yang subjektif, namun merupakan salah satu ilmu yang dipelajari dan ditetapkan oleh para ahli musik dunia.
Dalam beberapa dasawarsa terakhir, dunia musik mengalami banyak perkembangan. Banyak jenis musik baru yang lahir dan berkembang. Contohnya musik triphop yang merupakan perpaduan antara beat-beat elektronik dengan musik pop yang ringan dan enak didengar. Contoh musisi yang mengusung jenis musik ini adalah Frou Frou, Sneaker Pimps dan Lamb. Ada juga hip-hop rock yang diusung oleh Linkin Park. Belum lagi dance rock dan neo wave rock yang kini sedang in. banyak kelompok musik baru yang berkibar dengan jenis musik ini, antara lain Franz Ferdinand, Bloc Party, The Killers, The Bravery dan masih banyak lagi.
Bahkan sekarang banyak pula grup musik yang mengusung lagu berbahasa daerah dengan irama musik rock, jazz dan blues. Grup musik yang membawa aliran baru ini di Indonesia sudah cukup banyak salah satunya adalah Funk de Java yang mengusung lagu berbahasa Jawa dalam musik rock.

REGGAE INDONESIA Dilirik, Semakin Variatif

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Entah kenapa, belakangan ini pamor musik reggae seperti sedang mengkilap di Indonesia. Banyak musisi reggae bermunculan. Bahkan musisi kaliber Iwan Fals menyelipkan nomor reggae Mabuk Cinta dalam album terbarunya, 50:50. Seperti Iwan, Slank pun memainkan corak itu dalam barisan lagu terbarunya.

Uniknya lagi, pasukan reggae yang menggempur industri musik kita datang dari berbagai genre. Ada Shaggy Dog, band ska fenomenal asal Kota Gudeg yang sekarang mulai beralih ke reggae. Juga ada juga Steven & The Coconutreez, pengusung reggae asal Jakarta yang superaktif tiga tahun belakangan. Bahkan Souljah, band seangkatan Maliq & D’essentials ternyata juga mengusung aneka musik Jamaika. Nama tiga jagoan ini belakangan sering terpampang di poster pentas seni berbagai sekolah. Terutama Steven & The Coconutreez.

Lewat reggae, popularitas band yang merilis album di bawah bendera 267 Records ini tak kalah dibanding The Upstairs dan Nidji. Sudah puluhan kali, tiga band ini dipercaya jadi headliner berbagai pentas musik di Jakarta dan Bandung.

Selain Steven cs, belakangan muncul lagi generasi pengusung reggae yang lebih baru. Salah satu yang mengkilap adalah Ras Muhammad. Ras adalah seorang Rastafarian yang lama tinggal di Brooklyn, New York. Sejak kembali ke Indonesia 2005 lalu, Ras langsung merilis album terbarunya, Reggae Ambassador, di awal 2007. Sebuah album yang didistribusikan di bawah label Aksara.

Serunya, musik yang diusung Ras berbeda dengan warna reggae kebanyakan (tradisional). Ia bermain di genre dancehall. Genre ini merupakan sebuah akulturasi reggae dengan musik hiphop.

“Kalau mau diurut-urut, reggae itu memang dekat dengan hiphop. Keduanya sama-sama berasal dari jalanan. Dan, bisa berakulturasi jadi satu subgenre baru,” jelas Ras.

Musik reggae memang sudah melewati banyak perjalanan dan akulturasi. Band-band yang bermunculan sekarang juga membawa gaya masing-masing. Ada yang memilih main tradisional hingga ke modern. Hal ini diakui oleh Steven. Menurut vokalis gimbal ini, reggae yang sekarang beredar memang sudah tak lagi Marley-sentris alias memainkan musik yang menyerempet Bob Marley.

“Masyarakat reggae sekarang sudah mulai membuka mata. Banyak yang makin sadar kalau reggae adalah genre musik yang luas. Banyak sekali jenis musik yang bisa didengarkan untuk dijadikan referensi,” tambah Ras.

Meski perbedaannya sudah nyata terdengar, toh musik ini masih saja dianggap musik kelas dua. Perusahaan rekaman besar seakan enggan untuk menarik band reggae untuk menjadi anggota keluarganya.

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TAK MENYERAH

Untungnya, musisi di aliran ini tak lantas menyerah. Mereka tetap berusaha. Menggedor perhatian massa lewat barisan album yang dirilis secara indie. ”Sekarang ini sudah eranya indie label. Kami bisa bebas berkarya dan merilis karya sendiri dan enggak tergantung lagi dengan label-label besar,” papar Tonny Q, salah satu dedengkot reggae sekaligus frontman Rastafara Band.

Yap! Semua artis yang disebut tadi memang merilis album mereka melalui indie label. Terbukti, mereka tetap survive bahkan, nge-hype.

“Kami santai, enggak perlu neko-neko. Yang penting itu berkarya, enggak usah pusing mikirin aspek-aspek industrinya. Dengan etos ikhlas ini, saya bisa tetap bertahan main reggae selama 18 tahun,” tambah Tonny..

Kesabaran Tonny barangkali kini sudah mulai menunjukkan hasil. Kalau barometernya adalah selera pasar, musik ini ternyata makin laus diterima. “Saya senang dengan kondisi sekarang. Ketika musik reggae mulai dipandang dan eksistensinya semakin diakui,” kata Steven.

“Kondisi saat ini sudah bagus, meskipun masih tergolong minoritas, tapi musik ini sudah mulai dikenal,” tambah Ras dalam kesempatan berbeda.

Rata-rata musisi berharap reggae bisa tumbuh secara alamiah dan tak berharap corak musik ini berkembang menjadi tren sesaat. “Musik ini mengalami progres yang positif! Luar biasa. Tapi tetep saja, saya dan teman-teman enggak mau musik ini jadi tren,” tegas Steven.

Hal ini juga dibenarkan oleh Bayu, gitaris Souljah. “Kami sebenarnya rada waswas juga dengan perkembangan seperti ini. Bukan masalah tren atau tidaknya, yang kami inginkan musik ini tetap stabil,” jelasnya.

Lalu, apa kira-kira yang membuat musik ini menjadi sedemikian melesatnya di Indonesia, sekarang ini? “Mungkin karena orang-orang kangen sama musiknya. Setelah bosan dengan musik-musik suguhan industri kita, reggae bisa jadi salah satu alternatif yang menarik,” terang Steven.

“Memang sudah waktunya. Tren musik kanseperti perputaran roda. Selama ini di bawah, sekarang mungkin sudah waktunya di atas. Ini juga berkat akumulasi kerja keras bertahun-tahun para teman-teman di scene ini,” tambah Bayu. “Kita itu beruntung punya band seperti Rastafara dan Imanez, yang terus eksis memainkan reggae,” tambah cowok yang dulunya sempet melaju bareng band hip metal, Scope, itu.

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KOMUNITAS

Selain peran band-band lawas yang konsisten memainkan reggae, ternyata ada satu lagi yang berperan besar menjaga kelestarian reggae di Indonesia. Apa lagi kalo bukan komunitas.

Sejak saat reggae mulai mewabah di tahun ’80-an, dan pengusung reggae lokal masih sebatas Asian Roots, Black Company dan band seangkatan, komunitas reggae sudah terbentuk. Dan itu makin berkembang saat bekas penikmat ska ikut hijrah memperkuat komunitas reggae. “Komunitas reggae saat ini sudah lebih menyatu. Semakin solid dan asik,” kata Bayu, antusias.

Sementara, Ras punya pendapat yang berbeda. Menurutnya, saat ini scene reggae di Indonesia masih terbagi dua: Rude Boy dan para Dreadlock. Meski beda jalan, keduanya sepakat untuk sama-sama membangun eksistensi reggae.

Berbekal komunitas yang asik, program pemeliharaan reggae jadi lebih mudah dijalankan. Caranya, lewat penyelenggaraan acara reggae yang lebih rutin.

“Sekarang anak-anak sering bikin acara di Stardust. Selain itu ada juga acara rutin reggae di BB’s Menteng dan acara ska di Colours. Pokoknya, acara jadi semakin banyak,” papar Bayu.

Memang. Tonny Q dan Rastafara rutin bermain di BB’s setiap Rabu dan Jumat. Sementara itu, selain menggelar event musik live, komunitas juga membangun acara radio yang khusus memutar musik Jamaican. “Pokoknya kami berusaha keras untuk memajukan genre musik ini. Minimal eksistensinya stabil,” begitu tambah Bayu, berharap.

---

TONY Q RASTAFARA tetap eksis dan konsisten di jalur reggae. Sebagai bukti, Juli nanti dia merilis album baru. Album itu di-mixing di Sound Warp, Australia. Album Anak Kampung itu berisi 11 track lagu. Dalam salah satu lagu, dia berkolaborasi dengan mantan pembetot bas Bob Marley, Fully Fullwood.
"Itu kebetulan dan seperti mimpi yang terpendam. Gue nggak nyangka dia mau membantu. Luar biasa," ujar seniman yang mengangkat Tukul Arwana itu. Fullwood adalah musikus reggae legendaris dari Jamaika era 1970-an. Mereka bertemu di sebuah acara pada Pekan Raya Jakarta dan Bali.
Tony boleh bangga karena sampai saat ini dialah satu-satunya musikus reggae Indonesia yang tergabung dalam album kompilasi Reggae Palyground. Dia lewat lagu "Pat Gulipat" bersanding dengan istri Bob Marley, Rita Marley. "Aku bangga, reggae Indonesia dihargai."
Kadang dia menghilang dari Jakarta beberapa bulan untuk melakukan konser di beberapa kota di Jawa dan Bali. Biasanya digelar di kampus-kampus, atau bar dan cafe. Kadang langkahnya panjang hingga mancanegara, “Aku mau berangkat ke Aus, nih!” katanya lewat telepon seluler, suatu kali. Maksudnya pergi ke Australia untuk melakukan mixing di Sound Warp untuk album barunya, Anak Kampung, yang akan dirilis dalam waktu dekat ini.

Album Anak Kampung, melibatkan Fully Fullwood, pionir reggae, seorang bassist yang cukup penting perannya dalam perkembangan musik reggae di Jamaika pada dekade 70an.

Selama tigapuluh tahun karir musiknya, Fullwood pernah bekerjasama dengan Bob Marley, Peter Tosh, Black Uhuru, Gregory Isaacs hingga The Mighty Diamondas. Setahun yang lalu, Fully Fullwood dan kawan-kawannya di band Tosh Meets Marley sempat melakukan tur konser di Pekan Raya Jakarta (PRJ) dan Bali. Di belakang panggung konser, Tony Q diperkenalkan kepada Fully Fullwood dan kawan-kawan, serta manajer Mark Miller.
Tiba-tiba saja scene reggae di tanah-air heboh melihat kedekatan Tony Q dengan Fully Fullwood yang kemudian berujung bekerjasama membuat sebuah album.

tony Q adalah legenda hidup rastaman tanah air..salaut buat Om panky yang satu ini..

salam damai....

Real on verge of title after late drama

MADRID, June 9 (Reuters) - Real Madrid were left on the verge of winning the Spanish title on Saturday after staging yet another dramatic comeback to grab a 2-2 draw at Real Zaragoza while Barcelona surrendered a lead to draw 2-2 with Espanyol.

Sergio Ramos and Pablo Aimar
DenisDoyle/GettyImages
Sergio Ramos of Real Madrid lands on Pablo Aimar of Zaragoza.

Real's title hopes looked to have gone up in smoke as they trailed Zaragoza 2-1 with just over a minute to go, while Barca led 2-1 at home against city rivals Espanyol.

But a late scrambled goal from Ruud van Nistelrooy earned Real their 2-2 draw and at almost exactly the same moment, Raul Tamudo scored his second to equalise against Barcelona.

The results mean that Real will win their first league title in four years if they beat mid-table Real Mallorca at home in the final game of the season next weekend.

With one game left to play Real and Barcelona are both on 73 points, but the nine-times European champions lead because of their better head-to-head record. Sevilla are two points behind on 71.

Juande Ramos's side were held 0-0 at Real Mallorca, but still have an outside chance of taking the title if they win their final match at home to Villarreal and both Barca and Real slip up.

If all three sides finish level on points Real will take the title, if Real and Sevilla have the same total then the Andalucians will be champions and if Barca and Sevilla are tied at the top then the Catalans will win through.

'It was a mad night, it was unbelievable with all those goals coming at the same time,' said Van Nistelrooy. 'But this side has shown it has got great spirit.'

In an evening of high drama, Real drew first blood when Barcelona fell behind after Tamudo stroked the ball into the top corner following a deft through pass from Ivan de la Pena on the half hour.

But at almost exactly the same moment, Real went 1-0 down to Zaragoza, Argentine striker Diego Milito smashing home from the penalty spot after Ivan Helguera had handled the ball.

Barca equalised when Lionel Messi emulated Diego Maradona's famous 'hand of god' goal just before halftime, launching himself at a cross and using his hand to steer the ball past Espanyol keeper Carlos Kameni.

Messi struck again early in the second half, this time with a legitimate goal, sweeping the ball home after a neat turn and pass from Deco.

Van Nistelrooy equalised for Real at almost the same time, but their title hopes appeared to have unravelled when Milito fired under Iker Casillas after a virtuoso run from Pablo Aimar.

Real were still behind in the title race when Van Nistelrooy scored his 25th goal of the season, poking home from a metre with a minute to go, but there was still one last twist to come.

A shaky-looking Barca back four left Tamudo free down the right after misjudging the offside trap and the Espanyol striker drilled a low angled shot past Victor Valdes to earn his side the 2-2 draw that put Real back on top.

On hearing of the goal in Barcelona, an ecstatic Real Madrid president Ramon Calderon ran down on to the pitch at La Romareda and gave a lap of honour to salute the travelling Real fans.

'It is going to be very difficult to digest this result,' said Barcelona coach Frank Rijkaard. 'We missed a great chance, but we have to keep fighting while it is still mathematically possible. Tonight could have been so different.'

Exodus' book focuses on Bob's 1977 exile

Exodus' book focuses on Bob's 1977 exile

superted by:http://www.bobmarley.com

It is impossible to talk about Bob Marley's monumental album Exodus without an account of his own flight from Jamaica after the assassination attempt made on his life at 56 Hope Road on the night of December 3, 1976. Exodus: Bob Marley and The Wailers, Exile 1977 is a collection of rare photos and probing essays that contextualize Bob's time in exile, the two classic albums he produced in London, Exodus and Kaya and the politically charged times that left Bob in need of recuperation.

Contributor Lloyd Bradley, whose running essay "The Story of Exodus," serves as the book's thread, provides the story of the post-colonial, post-Independence period in Jamaica's history. Britain made its official exit in 1962, but not before essentially locking down the tourism, banana and bauxite industries. Within a decade, poverty enveloped the island; the murder rate per capita was triple that of New York and Kingston became so lawless that drivers were instructed to disobey traffic lights lest they get caught in the crossfire of midday gunplay. Bradley argues that Bob and the Rasta community essentially won Manley the 1972 election, believing his campaign promises to legalize marijuana and to assist in repatriation to Ethiopia. But by the 1976 election, those promises remained unfulfilled and so "Bob and other Rastas stayed away from the politricks of Babylon."

Still, Bob hoped to offer a reprieve to Kingston's masses, held hostage by the often politically motivated violence, with his "Smile Jamaica" concert. He ignored warnings via anonymous phone calls to his home to cancel his performance and even after he was shot, performed two nights later with a bullet lodged in his left arm. After the show Bob, the Wailers and his entourage chartered a late night flight to the Bahamas. Two weeks later they were in London.

Poet Kwesi Linton, whose essay "The Poetry of Exile" takes on Exodus' lyrical import and finds the assassination attempt essential to reading even the more spiritual songs on the album. "'Natural Mystic,' 'Three Little Birds' and 'One Love' only become significant in the light of the assassination attempt," she writes. "It is in Marley's Rastafarian faith, and his implacable belief in a 'natural mystic' that we locate the thematic thread, as we are taken through songs about faith, betrayal, persecution, defiance, resistance, recuperation, love and hope."

In the introduction to the book, Chris Blackwell argues that while Bob directly addressed the shooting on "Guiltiness" and "So Much Things to Say," Exodus as a whole contained "fewer political songs and a greater proportion of love songs [because] things were good." Though the accolades for Exodus would come much later (music critic Robert Christgau points out that Kaya charted better in the U.S.) the album that Time magazine named "Album of the Century" at millennium's end was recorded at what Blackwell calls a time of "confidence." Far from being derailed from his musical mission after the attempt on his life, the recording of Exodus was more than productive, it was a regenerative time, one where he was able to re-commit, relax and revitalize.

Longtime collaborator Vivien Goldman, who also authored a definitive book about the making of Exodus, remembers Bob's unique working style, one that saw him drifting between the collaborative jam sessions that his creativity required and the deep solitude in which he was able to retreat despite a crowded studio, where, she says, one could find him "locked in his own concentration."

Football (or soccer), Bob's other great passion, is duly documented by inside photographer Dennis Morris. Editor Richard Williams penned "The Football Match" about the many games Bob played as seriously as he would an arena concert. It was in London during one such match that Bob injured his toe and as girlfriend Cindy Breakspeare remembered, failed to "give it a chance to heal." It was also in London, after four concerts that marked the end of the European tour in support of Exodus that Bob was diagnosed with melanoma, a cancer that would eventually claim his life. Exodus, Exile 1977 captures a year that would not only forever alter Bob's life but the entire global musical landscape for decades to come.

Peter Tosh

Born Hubert Winston McIntosh on October 9, 1944, Peter Tosh was born in Grange Hill (Church Lincoln District),

then moved to Belmont as a young child. His mother recalls his taste for music developing at a young age, playing music for the villagers to earn a few shillings. Peter left the peaceful country of Westmoreland parish for the deadly slums of Trenchtown, Kingston at the age of 15. Along with teenage friends Bob Marley and Neville "Bunny" Livingstone, he formed the Wailing Wailers.

After several years of practice, the Wailers began releasing records through Coxsone Dodd's Studio One. These included such hits as "Simmer Down", "One Love", and Peter's first lead vocal, "Hoot Nanny Hoot". As Peter recalled, "First tune hit, second tune hit, 3rd tune hit. We never sung no tune that miss." The Wailers soon found out that in the Jamaican record business, a hit record didn't necessarily mean fortune.


Frustrated by the lack of what they felt to be proper compensation, the Wailers left Coxsone Dodd and over the next several years worked with producers including Leslie Kong and the legendary Lee "Scratch" Perry. The Wailers also founded their own record label, Tuff Gong Records for Wailers output and Peter formed his own Intel-Diplo HIM record label for his solo output.

The Wailers were soon courted and signed by Chris Blackwell's Island Records. Giving them a chance to work on their own, Blackwell gave the Wailers 4,000 pounds and in return was given Catch a Fire, what many consider to be one of reggae's defining moments. Although Blackwell did overdub some rock guitar and organ to appeal to an international audience, Catch a Fire was a major achievement in that it was the first complete album by a reggae act and it established the music as much more than a novelty. Indeed, Catch a Fire was no novelty record; the anger and pain of the lyrics and the reality that they painted were burned into the grooves of the vinyl.

Even though the album was a critical success and the Wailers seemed on the verge of breaking through internationally, tensions within the band were high. Peter did not trust Blackwell (who he referred to as "Whiteworst") and was resentful that Bob was being pushed to the front of the band and he and Bunny were relegated to background singer status for much of the album. This tension continued to build through the recording of their next album, Burnin', and after an aborted tour, Peter and Bunny quite the Wailers.

Marley would continue on as Bob Marley and the Wailers and recruit the female trio I-Three to replace Peter and Bunny on background vocals. As Peter reflected later,



After splitting from The Wailers, Peter secured a recording contract with Capitol Records and released his debut album, Legalize It, a controversial call to legalize ganja. Cut with most of the Wailers band, it featured re-cuts of older tunes("Burial", "No Sympathy", "Brand New Second Hand") and new songs("Igziabeher", "Why Must I", title cut). Establishing a trend that would continue throughout his career, Peter used his musical platform to fight against injustice. While the album was not the international smash hit that Peter had hoped for, Legalize It remains a strong seller to this day.

Peter's second solo album, Equal Rights, is considered by many to be his best work. Replacing the Wailers band is Tosh's own Word, Sound, and Power band, anchored by the famous duo of Sly Dunbar and Robbie Shakespeare on drum and bass. Equal Rights features new versions of classics like "Get Up Stand Up" and "Downpressor Man" and his signature version of the Joe Higgs penned "Stepping Razor" along with instant classics like the tite track, "Apartheid", "African", and "Jah Guide".

Soon after the release of Equal Rights, Tosh performed at the One Love Peace Concert alongside the likes of Bob Marley, Ras Michael, Inner Circle, Culture, and others. Peter lashed out strongly at Prime Minister Michael Manley and Opposition Leader Edward Seaga, both in attendance, about government inaction and the legalization of ganja. He attacked the "shitstem" which he felt was designed to oppress the black race. The retribution by the embarrassed politicians was swift and brutal. Pulled into a police station for smoking ganja, Tosh was beaten by at six to seven police officers for over ninety minutes. According to Peter, it was only because he knew how to roll his eyes in the back of his head that he survived the beating.

Some good did come from the One Love concert, as Mick Jagger was in the audience to witness the powerful performance Peter had given. Impressed with Tosh's magnetism, Jagger signed him as the first act on the new Rolling Stones record label. Tosh released a total of three albums on the label, the first of which, Bush Doctor, was released in 1978. Jagger contributed vocals on the hit "Don't Look Back" which led to international television exposure, including an appearance on Saturday Night Live. Tosh was also chosen as the opening act on the Stones' US Tour. While the rock and roll audiences weren't always receptive of the militant reggae which Tosh performed, the tour was generally well received and provided unprecedented exposure.

Peter released two more albums on the Rolling Stones label, Mystic Man (1979)and Wanted Dread and Alive (1981). Both were solid efforts but, due to lack of proper marketing or promotion, failed to capitalize on the momentum of "Don't Look Back." After a falling out with the Stones, Peter left the label to sign with EMI.

Mama Africa was released in 1983 and featured a remake of Chuck Berry's classic "Johnny B. Goode" which had some minor success and was made into a music video. A show at the Greek Theater in Los Angeles from the following world tour was captured on film and released as Captured Live in both audio and video formats. It has also been recently re-released as a DVD, testament to Peter's continued popularity. Much of the rest of Peter's life was spent quietly at his home with common-law wife, Marlene Brown. He released No Nuclear War in July 1987, a strong comeback album which he was planning to tour behind.

The tour was not to be. On the evening of September 11, 1987, Peter was spending an evening with friends at his house in Kingston. Their evening was interrupted by a knock on the door. Dennis "Leppo" Lobban, a street vendor who begged money from Peter frequently, and two unidentified men stormed the house demanding money. Another knock at the door brought popular DJ Jeff "Free-I" Dixon and his wife Joy. The gunmen brought everyone into the living room and demanded money, pistol whipping Tosh and several others. When told that no money was in the house, the gunmen opened fire. "Doc" Brown was killed instantly and Free-I and Peter Tosh died later at University Hospital in Kingston.

Peter Tosh was 43 years old.

Born Hubert Winston McIntosh on October 9, 1944, Peter Tosh was born in Grange Hill (Church Lincoln District),

then moved to Belmont as a young child. His mother recalls his taste for music developing at a young age, playing music for the villagers to earn a few shillings. Peter left the peaceful country of Westmoreland parish for the deadly slums of Trenchtown, Kingston at the age of 15. Along with teenage friends Bob Marley and Neville "Bunny" Livingstone, he formed the Wailing Wailers.

After several years of practice, the Wailers began releasing records through Coxsone Dodd's Studio One. These included such hits as "Simmer Down", "One Love", and Peter's first lead vocal, "Hoot Nanny Hoot". As Peter recalled, "First tune hit, second tune hit, 3rd tune hit. We never sung no tune that miss." The Wailers soon found out that in the Jamaican record business, a hit record didn't necessarily mean fortune.


Frustrated by the lack of what they felt to be proper compensation, the Wailers left Coxsone Dodd and over the next several years worked with producers including Leslie Kong and the legendary Lee "Scratch" Perry. The Wailers also founded their own record label, Tuff Gong Records for Wailers output and Peter formed his own Intel-Diplo HIM record label for his solo output.

The Wailers were soon courted and signed by Chris Blackwell's Island Records. Giving them a chance to work on their own, Blackwell gave the Wailers 4,000 pounds and in return was given Catch a Fire, what many consider to be one of reggae's defining moments. Although Blackwell did overdub some rock guitar and organ to appeal to an international audience, Catch a Fire was a major achievement in that it was the first complete album by a reggae act and it established the music as much more than a novelty. Indeed, Catch a Fire was no novelty record; the anger and pain of the lyrics and the reality that they painted were burned into the grooves of the vinyl.

Even though the album was a critical success and the Wailers seemed on the verge of breaking through internationally, tensions within the band were high. Peter did not trust Blackwell (who he referred to as "Whiteworst") and was resentful that Bob was being pushed to the front of the band and he and Bunny were relegated to background singer status for much of the album. This tension continued to build through the recording of their next album, Burnin', and after an aborted tour, Peter and Bunny quite the Wailers.

Marley would continue on as Bob Marley and the Wailers and recruit the female trio I-Three to replace Peter and Bunny on background vocals. As Peter reflected later,



After splitting from The Wailers, Peter secured a recording contract with Capitol Records and released his debut album, Legalize It, a controversial call to legalize ganja. Cut with most of the Wailers band, it featured re-cuts of older tunes("Burial", "No Sympathy", "Brand New Second Hand") and new songs("Igziabeher", "Why Must I", title cut). Establishing a trend that would continue throughout his career, Peter used his musical platform to fight against injustice. While the album was not the international smash hit that Peter had hoped for, Legalize It remains a strong seller to this day.

Peter's second solo album, Equal Rights, is considered by many to be his best work. Replacing the Wailers band is Tosh's own Word, Sound, and Power band, anchored by the famous duo of Sly Dunbar and Robbie Shakespeare on drum and bass. Equal Rights features new versions of classics like "Get Up Stand Up" and "Downpressor Man" and his signature version of the Joe Higgs penned "Stepping Razor" along with instant classics like the tite track, "Apartheid", "African", and "Jah Guide".

Soon after the release of Equal Rights, Tosh performed at the One Love Peace Concert alongside the likes of Bob Marley, Ras Michael, Inner Circle, Culture, and others. Peter lashed out strongly at Prime Minister Michael Manley and Opposition Leader Edward Seaga, both in attendance, about government inaction and the legalization of ganja. He attacked the "shitstem" which he felt was designed to oppress the black race. The retribution by the embarrassed politicians was swift and brutal. Pulled into a police station for smoking ganja, Tosh was beaten by at six to seven police officers for over ninety minutes. According to Peter, it was only because he knew how to roll his eyes in the back of his head that he survived the beating.

Some good did come from the One Love concert, as Mick Jagger was in the audience to witness the powerful performance Peter had given. Impressed with Tosh's magnetism, Jagger signed him as the first act on the new Rolling Stones record label. Tosh released a total of three albums on the label, the first of which, Bush Doctor, was released in 1978. Jagger contributed vocals on the hit "Don't Look Back" which led to international television exposure, including an appearance on Saturday Night Live. Tosh was also chosen as the opening act on the Stones' US Tour. While the rock and roll audiences weren't always receptive of the militant reggae which Tosh performed, the tour was generally well received and provided unprecedented exposure.

Peter released two more albums on the Rolling Stones label, Mystic Man (1979)and Wanted Dread and Alive (1981). Both were solid efforts but, due to lack of proper marketing or promotion, failed to capitalize on the momentum of "Don't Look Back." After a falling out with the Stones, Peter left the label to sign with EMI.

Mama Africa was released in 1983 and featured a remake of Chuck Berry's classic "Johnny B. Goode" which had some minor success and was made into a music video. A show at the Greek Theater in Los Angeles from the following world tour was captured on film and released as Captured Live in both audio and video formats. It has also been recently re-released as a DVD, testament to Peter's continued popularity. Much of the rest of Peter's life was spent quietly at his home with common-law wife, Marlene Brown. He released No Nuclear War in July 1987, a strong comeback album which he was planning to tour behind.

The tour was not to be. On the evening of September 11, 1987, Peter was spending an evening with friends at his house in Kingston. Their evening was interrupted by a knock on the door. Dennis "Leppo" Lobban, a street vendor who begged money from Peter frequently, and two unidentified men stormed the house demanding money. Another knock at the door brought popular DJ Jeff "Free-I" Dixon and his wife Joy. The gunmen brought everyone into the living room and demanded money, pistol whipping Tosh and several others. When told that no money was in the house, the gunmen opened fire. "Doc" Brown was killed instantly and Free-I and Peter Tosh died later at University Hospital in Kingston.

Peter Tosh was 43 years old.

Bob Marley gave the world brilliant and evocative music; his work stretched across nearly two decades and yet still remains timeless and universal. Bob Marley & the Wailers worked their way into the very fabric of our lives.

"He's taken his place alongside James Brown and Sly Stone as a pervasive influence on r&b", says the American critic Timothy White, author of the acclaimed Bob Marley biography CATCH A FIRE: THE LIFE OF BOB MARLEY. "His music was pure rock, in the sense that it was a public expression of a private truth."

It is important to consider the roots of this legend: the first superstar from the Third World, Bob Marley was one of the most charismatic and challenging performers of our time and his music could have been created from only one source: the street culture of Jamaica.

The days of slavery are a recent folk memory on the island. They have permeated the very essence of Jamaica's culture, from the plantation of the mid-nineteenth century to the popular music of our own times. Although slavery was abolished in 1834, the Africans and their descendants developed their own culture with half-remembered African traditions mingled with the customs of the British.

This hybrid culture, of course, had parallels with the emerging black society in America. Jamaica, however, remained a rural community which, without the industrialisation of its northern neighbour, was more closely rooted to its African legacy.

By the start of the twentieth century that African heritage was given political expression by Marcus Garvey, a shrewd Jamaican preacher and entrepreneur who founded the Universal Negro Improvement Association (UNIA). The organisation advocated the creation of a new black state in Africa, free from white domination. As the first step in this dream, Garvey founded the Black Star Line, a steamship company which, in popular imagination at least, was to take the black population from America and the Caribbean back to their homeland of Africa.

A few years later, in 1930, Ras Tafari Makonnen was crowned Emperor of Ethiopia and took a new name, Haile Selassie, The Emperor claimed to be the 225th ruler in a line that stretched back to Menelik, the son of Solomon and Sheba.

The Marcus Garvey followers in Jamaica, consulting their New Testaments for a sign, believed Haile Selassie was the black king whom Garvey had prophesied would deliver the Negro race. It was the start of a new religion called Rastafari.

Fifteen years later, in Rhoden Hall to the north of Jamaica, Bob Marley was born. His mother was an eighteen-year-old black girl called Cedella Booker while his father was Captain Norval Marley, a 50-year-old white quartermaster attached to the British West Indian Regiment.

The couple married in 1944 and Robert Nesta Marley was born on February 6, 1945. Norval Marley's family, however, applied constant pressure and, although he provided financial support, the Captain seldom saw his son who grew up in the rural surroundings of St. Ann to the north of the island.

bob's story

Bob Marley was a hero figure, in the classic mythological sense. His departure from this planet came at a point when his vision of One World, One Love -- inspired by his belief in Rastafari -- was beginning to be heard and felt. The last Bob Marley and the Wailers tour in 1980 attracted the largest audiences at that time for any musical act in Europe. Bob's story is that of an archetype, which is why it continues to have such a powerful and ever-growing resonance: it embodies political repression, metaphysical and artistic insights, gangland warfare and various periods of mystical wilderness. And his audience continues to widen: to westerners Bob's apocalyptic truths prove inspirational and life-changing; in the Third World his impact goes much further. Not just among Jamaicans, but also the Hopi Indians of New Mexico and the Maoris of New Zealand, in Indonesia and India, and especially in those parts of West Africa from wihch slaves were plucked and taken to the New World, Bob is seen as a redeemer figure returning to lead this.
In the clear Jamaican sunlight you can pick out the component parts of which the myth of Bob Marley is comprised: the sadness, the love, the understanding, the Godgiven talent. Those are facts. And although it is sometimes said that there are no facts in Jamaica, there is one more thing of which we can be certain: Bob Marley never wrote a bad song. He left behind the most remarkable body of recorded work. "The reservoir of music he has left behind is like an encyclopedia," says Judy Mowatt of the I-Threes. "When you need to refer to a certain situation or crisis, there will always be a Bob Marley song that will relate to it. Bob was a musical prophet." The tiny Third World country of Jamaica has produced an artist who has transcended all categories, classes, and creeds through a combination of innate modesty and profound wisdom. Bob Marley, the Natural Mystic, may yet prove to be the most significant musical artist of the twentieth century.

Repatriation and race

The Rastas say that Haile Selassie will call the Day of Judgement, when the righteous shall return home to Mount Zion, identified with Africa, to live forever in peace, love, and harmony. In the meantime the Rastas call to be repatriated to Africa. Repatriation, the desire to return to Africa after 400 years of slavery, is central to Rastafari doctrine. The first Rastas, living on a Caribbean island, dreamed of the possibilities of Africa. Many early Rastas for a time believed inblack supremacy. Widespread advocacy of this doctrine was shortlived, however; at least partly because of Selassie's explicit condemnation of racism in a speech before the United Nations. Most Rastas now espouse a belief that racial animosities must be set aside, with world peace and harmony being common themes. One of the three major modern sects, the Twelve Tribes of Israel, has specifically condemned all types of racism, and declared that the teachings of the Bible are the route to spiritual liberation for people of any racial or ethnic background. Some early elements of Rastafari were closely related to indigenous religions of the Caribbean and Africa, and to the Maroons, though these syncretic elements were largely purged by the Nyahbinghi warriors - dreadlocked Rastas who fought the corrupting power of some leaders who sought to add them to the Rastafari doctrines. People of all races are to be found within the movement.

Church and The Holy Trinity

Rastas believe that their own body is the true churchtemple of God, and so see no need to make temples or churches out of physical buildings. One type of religious gathering or grounation is reminiscent of Jewish services, and may have influence from rituals of African-American slaves who had converted to Judaism — as some Jews in the southern United States owned slaves — and escaped to Jamaica. Rasta doctrine concerning the Holy Trinity relates to the name Haile Selassie meaning Power of the Trinity in Ge'ez. Rastas believe that Haile Selassie is both God the Father and God the Son of the holy Trinity, while it is themselves, and potentially all human beings, who embody the Holy Spirit. Some see Melchizedek in addition to Jesus as having been former incarnations of Haile Selassie.

Reggae Music Expressing Rasta Doctrine

The first reggae single that sang about Rastafari and reached Number 1 in the Jamaican charts was Bongo Man by Little Roy in 1969. Early Rasta reggae musicians (besides Marley) whose music expresses Rastafari doctrine well are Peter Tosh, Bunny Wailer (in Blackheart Man), Prince Far I, Linval Thompson, Ijahman Levi (especially the first 4 albums), Misty-in-Roots (Live), The Congos (Heart of the Congos), The Rastafarians, The Abyssinians, Culture, and Ras Michael And The Sons Of Negus. The Jamaican jazz percussionist Count Ossie, who had played on a number of ska and reggae recordings, recorded albums with themes relating to Rasta history, doctrine, and culture. Rastafari doctrine as developed in the '80s was further expressed musically by a number of other prominent artists, such as Burning Spear, Steel Pulse, Third World, The Gladiators, Black Uhuru, Aswad, and Israel Vibration. Rastafari ideas have spread beyond the Jamaican community; for example, Rocker T has claimed Rastafari in his music and daily life; these ideas have also spread to other countries including Russia, where artists such as Jah Division write songs about Jah. The punk band Bad Brains openly support the Rastafari movement and have written songs (I against I, etc.) that promote the doctrine. Rastafari continues to be sung about and praised into the 21st century. Religious sentiments are spread through roots reggae and dancehall, subgroups of reggae music featuring artists such as Capleton, Sizzla, Barrington Levy, Turbulence, Jah Mason, Pressure, Midnite, Natural Black, Daweh Congo, Luciano, Cocoa Tea, Richie Spice, Gentleman and others. Several of these acts have gained mainstream success and frequently appear on the popular music charts. Most recently artists such as Damian Marley have blended hip-hop with reggae to re-energize classic Rastafari issues such as social injustice, revolution and the honour and responsibility of parenthood using contemporary musical style and Bob Marley the person who did the most to spread Rastafari across the world. Berlin-based dub techno label "Basic Channel" has subsidiary labels called "Rhythm & Sound" and "Burial Mix" whose lyrics strongly focus on many aspects of Rastafari culture and religion. including the acceptance of Haile Selassie I. Notable tracks include "Jah Rule", "Mash Down Babylon", "We Be Troddin'", and "See Mi Yah".

AND THE LAST....GET UP STAND UP
STAND UP FOR YOUR RIGHT!!!