|
Post by mank on May 30, 2011 11:46:58 GMT 3
|
|
|
Post by mank on Jun 4, 2011 8:29:09 GMT 3
|
|
|
Post by mank on Jun 13, 2011 8:11:10 GMT 3
Here Comes the Judge Hear ye him God save the African king Anyone have anything to say before this just judge Come say it now and say it like you glad not like you mad For this judge have no mercy Christopher Columbus Francis Drake Bartholomew De Los Casos Vasco De Gama Alexander so called the Great John Hannon James Grant David Livingston John Constantine Henry Morgan Marco Polo Come say after me I solemly swear That the evidence I shall give shall be the whole truth And nothing but the truth So help me god You're all brought here on count 1 - robbing and raping Africa 2 Stealing black people out of Africa 3 Brainwashing black people 4 Holding black people in captivity for more than 300 yrs 5 Killing over 50 million black people without a cause 6 Teaching black people to hate themselves If any of you have anything to say before this execution Say it quick, say it glad This judge is getting impatient Contempt! - no mercy The penalty for all this Each of you must be hanged by the tongue No appeal will be accepted Court adjourned
|
|
|
Post by mank on Jun 13, 2011 8:25:17 GMT 3
I is Who I man Is, here, there, anywhere, nowhere. Nuh chiange my identity!
|
|
|
Post by mank on Jun 20, 2011 0:19:36 GMT 3
Lets go ... set them free!
|
|
|
Post by mank on Jun 20, 2011 6:42:35 GMT 3
|
|
|
Post by mank on Jul 4, 2011 9:08:33 GMT 3
You know babylon got you square when you vote to outlaw harambee ... then you stand for "divide and rule".
Jah bless I and I man doing, my thinking, and a me meditation.
|
|
|
Post by mank on Jul 10, 2011 8:28:43 GMT 3
Jah Is Real ---- Story at www.rockpaperscissors.biz/index.cfm/fuseaction/current.press_release/project_id/379.cfmFrom a Field in the Country with Bob Marley to a Day of Peace in Kenya: Reggae Legend Burning Spear Lives Marcus Garvey’s Message of Self-Reliance and African Unity on Independent Release Jah is Real Reggae legend Burning Spear has been through more than his share of trials, but the biggest test of Spear’s positive message of unity, peace, and love came on his first trip to Kenya last year. The country had been rocked with violence when a bitter election campaign sparked intergroup conflict that raged for months. The United Nations called on Spear, who had adopted at the start of his career the nom de guerre of Kenyan freedom fighter and first president Jomo Kenyatta, to perform in Nairobi. Spear was welcomed like a long-lost king and stayed on the spot where Kenyatta fought for the country’s independence from the U.K. Nonetheless, the concert organizer was so nervous about the potential for bloodshed among listeners that she was sick to her stomach. “Kenya was really rough at that time; people bang against people,” Spear recalls, in his Jamaican accent. “All the guys were fighting each other, hurting each other in some viscous and terrible ways.” But the 65,000 Kenyans gathered at the outdoor venue came together peacefully, waved their flags, and walked home without incident. “I bring them together for about three hours. They were hugging and jumping up together. One can see the force of the music.” This force is evident on Spear’s new album, Jah is Real (Burning Music; release date: August 17, 2008, Marcus Garvey’s birthday), the latest in a long, productive career that began with a chance meeting with Bob Marley and has finally reached a place of peace and self-sufficiency that shows the relevance of Marcus Garvey in the age of the Internet. Burning Spear’s musical journey began in a field in his home parish of St. Ann, Jamaica, where he ran into Bob Marley and struck up a conversation about breaking into the music world. “Bob was traveling with a donkey and all these various plants. We were there talking,” Spear explains. “Bob was young, dreadlocks just start to spring. I was asking Bob how I could get started and where could I go to get that start. He asked me if I know Studio One.” Studio One was the Kingston-based center of the Jamaican music storm brewing in the 1960s and 1970s, often compared to Motown. Its main producer, Clement “Coxsone” Dodd, was one of the first people to hear Burning Spear’s songs, and he asked him to come back and record. Spear was so excited, he returned to Studio One early the next morning. “When I get there so early, the place didn’t seem open. I was so anxious. I stood there until the place open and musicians show up. I go in, do my thing. It came out sounding good,” so good that Spear eventually cut four singles and two albums for the label. But despite Spear’s strong songs and growing popularity, getting paid for his work became a nightmare. After repeatedly wrangling with Dodd, Spear sighs, “I just get fed up and decided to stop going. Then I start to think, ‘Because I am a Rastaman, that is why Mr. Dodd is not doing what he should do for me.’ So I decided to cut my dreadlock and back to Studio One, thinking I am doing the right thing. It became worse. It became worse.” Discouraged, Spear headed back home and chilled on the beach until his singing attracted the attention of young producer Jack Ruby. With Ruby, Spear cut one of reggae’s most important records, Marcus Garvey, which set the musical tone and message for Spear’s long career. Garvey, philosopher, activist, orator, and prophet to Rastafarians, became one of Spear’s greatest inspirations, and he still reads Garvey’s writings on a daily basis. Garvey’s message of self-reliance, economic independence, and self-respect gradually took on new meaning for Spear as his career blossomed, yet he reaped none of the benefits. After years on the road, multiple successful albums, and endless hard work, Spear found himself back in Jamaica in the 1980s, struggling to provide the basics for his family. Labels, distributors, and booking agents along the way bilked Spear of payment for his music. He began to realize that he had to go into business for himself to gain the respect he deserved: “I insist that I need to own something. I would do anything which is good to own something. But it take time and patience and discipline.” Much as Marley did when he founded Tuff Gong, Spear knew he had to apply Garvey’s teachings to the business end of his music and he has succeeded. While much has been said about new models for independent musicians in the age of the Internet, Spear is one of the few who has come to it from the teaching of a Black nationalist. Last year on his blog (yes, the 63-year old has an eight-year old blog), Burning Spear wrote, “You cannot remain silent while people trample on your rights. For year reggae artist have been going through hell. None ’as any respect for us. Records label continue to collect our publishing, and royalty without paying us, even when agreements are up. Then when I man manufacture my own CDs and watch as this illegal Distribution label start to control all what mines. I decided I would no longer be silent’s.” Now thriving in Queens, New York as an independent artist and a vital Rasta elder, Spear is done with compromise: No shady industry shenanigans, no bikini-clad babes on the cover, no nonsense, just good solid music, thanks in part to America’s founding funk fathers Bootsy Collins and Bernie Worrell, who appear on Jah is Real, and a remix of “Step It” by Brian Hardgroove of Public Enemy fame. Spear has made it his mission to remind both staunch fans and new listeners of their historical and musical roots, drawing on his own experience. “Grandfather” reminds listeners of slavery’s mark on places like the Carolinas, a mark that Spear feels too many have forgotten, as proven by media reports of enslaved workers on Long Island and nooses hung on doorknobs. “Stick with the Plan,” harkening back to the days of Studio One when Spear cut his hair, reminds listeners that “We can’t turn our back on our trail, the original trail.” “One Africa” reflects the lessons Spear learned while in Kenya, and asks African leaders to band together and look forward, setting aside old grievances for the good of all. His social involvement in Kenya is reminiscent of the time he wrote “First Lady,” which called for Jamaica to elect its first female prime minister and which appeared on the album Our Music. When Portia Simpson-Miller became the country’s first female head of state, she insisted on meeting Spear personally, with tears in her eyes. Spear’s wife and manager Sonia Rodney recalls Simpson-Miller saying, “Burning Spear, people don’t know you, they don’t know what you do for Jamaica.” It’s striking that in a year when an African-American of Kenyan descent secured the Democratic nomination and the most successful woman’s bid for the U.S. presidency occurred, Burning Spear releases an album that continues his multi-decade career calling for justice and unity. It turns out the man in the hills was ahead of his time and America is finally catching up with him on Jah is Real. =======================================================================================================
|
|
|
Post by Titchaz on Jul 10, 2011 11:41:58 GMT 3
Jah Is Real ---- Story at www.rockpaperscissors.biz/index.cfm/fuseaction/current.press_release/project_id/379.cfmFrom a Field in the Country with Bob Marley to a Day of Peace in Kenya: Reggae Legend Burning Spear Lives Marcus Garvey’s Message of Self-Reliance and African Unity on Independent Release Jah is Real Reggae legend Burning Spear has been through more than his share of trials, but the biggest test of Spear’s positive message of unity, peace, and love came on his first trip to Kenya last year. The country had been rocked with violence when a bitter election campaign sparked intergroup conflict that raged for months. The United Nations called on Spear, who had adopted at the start of his career the nom de guerre of Kenyan freedom fighter and first president Jomo Kenyatta, to perform in Nairobi. Spear was welcomed like a long-lost king and stayed on the spot where Kenyatta fought for the country’s independence from the U.K. Nonetheless, the concert organizer was so nervous about the potential for bloodshed among listeners that she was sick to her stomach. “Kenya was really rough at that time; people bang against people,” Spear recalls, in his Jamaican accent. “All the guys were fighting each other, hurting each other in some viscous and terrible ways.” But the 65,000 Kenyans gathered at the outdoor venue came together peacefully, waved their flags, and walked home without incident. “I bring them together for about three hours. They were hugging and jumping up together. One can see the force of the music.” This force is evident on Spear’s new album, Jah is Real (Burning Music; release date: August 17, 2008, Marcus Garvey’s birthday), the latest in a long, productive career that began with a chance meeting with Bob Marley and has finally reached a place of peace and self-sufficiency that shows the relevance of Marcus Garvey in the age of the Internet. Burning Spear’s musical journey began in a field in his home parish of St. Ann, Jamaica, where he ran into Bob Marley and struck up a conversation about breaking into the music world. “Bob was traveling with a donkey and all these various plants. We were there talking,” Spear explains. “Bob was young, dreadlocks just start to spring. I was asking Bob how I could get started and where could I go to get that start. He asked me if I know Studio One.” Studio One was the Kingston-based center of the Jamaican music storm brewing in the 1960s and 1970s, often compared to Motown. Its main producer, Clement “Coxsone” Dodd, was one of the first people to hear Burning Spear’s songs, and he asked him to come back and record. Spear was so excited, he returned to Studio One early the next morning. “When I get there so early, the place didn’t seem open. I was so anxious. I stood there until the place open and musicians show up. I go in, do my thing. It came out sounding good,” so good that Spear eventually cut four singles and two albums for the label. But despite Spear’s strong songs and growing popularity, getting paid for his work became a nightmare. After repeatedly wrangling with Dodd, Spear sighs, “I just get fed up and decided to stop going. Then I start to think, ‘Because I am a Rastaman, that is why Mr. Dodd is not doing what he should do for me.’ So I decided to cut my dreadlock and back to Studio One, thinking I am doing the right thing. It became worse. It became worse.” Discouraged, Spear headed back home and chilled on the beach until his singing attracted the attention of young producer Jack Ruby. With Ruby, Spear cut one of reggae’s most important records, Marcus Garvey, which set the musical tone and message for Spear’s long career. Garvey, philosopher, activist, orator, and prophet to Rastafarians, became one of Spear’s greatest inspirations, and he still reads Garvey’s writings on a daily basis. Garvey’s message of self-reliance, economic independence, and self-respect gradually took on new meaning for Spear as his career blossomed, yet he reaped none of the benefits. After years on the road, multiple successful albums, and endless hard work, Spear found himself back in Jamaica in the 1980s, struggling to provide the basics for his family. Labels, distributors, and booking agents along the way bilked Spear of payment for his music. He began to realize that he had to go into business for himself to gain the respect he deserved: “I insist that I need to own something. I would do anything which is good to own something. But it take time and patience and discipline.” Much as Marley did when he founded Tuff Gong, Spear knew he had to apply Garvey’s teachings to the business end of his music and he has succeeded. While much has been said about new models for independent musicians in the age of the Internet, Spear is one of the few who has come to it from the teaching of a Black nationalist. Last year on his blog (yes, the 63-year old has an eight-year old blog), Burning Spear wrote, “You cannot remain silent while people trample on your rights. For year reggae artist have been going through hell. None ’as any respect for us. Records label continue to collect our publishing, and royalty without paying us, even when agreements are up. Then when I man manufacture my own CDs and watch as this illegal Distribution label start to control all what mines. I decided I would no longer be silent’s.” Now thriving in Queens, New York as an independent artist and a vital Rasta elder, Spear is done with compromise: No shady industry shenanigans, no bikini-clad babes on the cover, no nonsense, just good solid music, thanks in part to America’s founding funk fathers Bootsy Collins and Bernie Worrell, who appear on Jah is Real, and a remix of “Step It” by Brian Hardgroove of Public Enemy fame. Spear has made it his mission to remind both staunch fans and new listeners of their historical and musical roots, drawing on his own experience. “Grandfather” reminds listeners of slavery’s mark on places like the Carolinas, a mark that Spear feels too many have forgotten, as proven by media reports of enslaved workers on Long Island and nooses hung on doorknobs. “Stick with the Plan,” harkening back to the days of Studio One when Spear cut his hair, reminds listeners that “We can’t turn our back on our trail, the original trail.” “One Africa” reflects the lessons Spear learned while in Kenya, and asks African leaders to band together and look forward, setting aside old grievances for the good of all. His social involvement in Kenya is reminiscent of the time he wrote “First Lady,” which called for Jamaica to elect its first female prime minister and which appeared on the album Our Music. When Portia Simpson-Miller became the country’s first female head of state, she insisted on meeting Spear personally, with tears in her eyes. Spear’s wife and manager Sonia Rodney recalls Simpson-Miller saying, “Burning Spear, people don’t know you, they don’t know what you do for Jamaica.” It’s striking that in a year when an African-American of Kenyan descent secured the Democratic nomination and the most successful woman’s bid for the U.S. presidency occurred, Burning Spear releases an album that continues his multi-decade career calling for justice and unity. It turns out the man in the hills was ahead of his time and America is finally catching up with him on Jah is Real. ======================================================================================================= Nice!!!!
|
|
|
Post by mank on Jul 16, 2011 8:58:20 GMT 3
Praised He be Most High Jah
|
|
|
Post by mank on Jul 23, 2011 9:07:28 GMT 3
Indeed. Jah is Real. I man is witness of this.
I and I is so blessed to have ear for Jah Teacher, because time and time again it has come to be His Word.
Because I and I was warned I man saw them "friend" dirty mission. Teacher say, "nuh watch your enemies. It is them friends you gwina watch."
And Teacher also say, "he shall be like a tree planted by the rivers of water, that bringeth forth his fruit in his season; his leaf also shall not wither; and whatsoever he doeth shall prosper." " I want that. Yes Jah, all that word upon I man. And blessed be Teacher even to the last of His discendants.
Rastafari Live.
I man. Ever Faithful. Listening Most. Jah Rast...A...Far...RAI
|
|
|
Post by mank on Jul 27, 2011 3:05:10 GMT 3
Jah set the captives free ... even them captives of themselves mighty Jah, set them free of themselves. Trample down the walls of Babylon. Yes Jah Raas Tafari I Mighty I!
|
|
|
Post by mank on Sept 11, 2011 23:45:48 GMT 3
|
|
|
Post by mank on Sept 12, 2011 0:06:05 GMT 3
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Sept 12, 2011 7:10:06 GMT 3
here's one for you Mank.
& this one
|
|
|
Post by mank on Sept 13, 2011 8:37:50 GMT 3
here's one for you Mank.
& this one
Splendid
|
|
|
Post by mank on Sept 17, 2011 9:43:50 GMT 3
A KKK nuh be same colour no more. Black on black now be klan, coward a chameleon turn. Only cowardise and distruction nuh change. shittem cowardly klan, in a Zion as in Babylon. Laugh now because days them a short now for you. A child of Zion cannot rest while your ugly face be a smile for the ugly things you do. Coward. Jah nwuh!
|
|
|
Post by mank on Sept 17, 2011 11:08:10 GMT 3
|
|
|
Post by mank on Sept 18, 2011 6:06:39 GMT 3
... and into overstanding of I man Psalms, He Jah is guide.
|
|
|
Post by Titchaz on Sept 19, 2011 5:05:47 GMT 3
... and into overstanding of I man Psalms, He Jah is guide. Isis!!!
|
|
|
Post by mank on Sept 22, 2011 9:30:42 GMT 3
Hear this, Babylon: Thou shalt not kill ... Exodus 20:13
In total contempt of this, they summarily executed Troy by 11.08 Pm this night, Sept 21 2011.
|
|
|
Post by mank on Sept 25, 2011 7:39:43 GMT 3
|
|
|
Post by mank on Sept 29, 2011 8:02:55 GMT 3
Humbleness.
|
|
|
Post by mank on Oct 1, 2011 23:20:58 GMT 3
Just wanna chant now
|
|
|
Post by mank on Oct 2, 2011 9:37:32 GMT 3
Zaburi Ishirini na Saba: “…. [5] For in the time of trouble he shall hide me in his pavilion: in the secret of his tabernacle shall he hide me; he shall set me up upon a rock. [6] And now shall mine head be lifted up above mine enemies round about me: therefore will I offer in his tabernacle sacrifices of joy; I will sing, yea, I will sing praises unto the LORD.”
|
|