The article discusses the latest singles from various Jamaican dancehall artists, highlighting the strong start to the year for Jamaican music. Chronic Law and Valiant collaborate on 'Darkness', a track that gives a textured sound to dark realities. Devin Di Dakta remixes Libianca's 'People', adding a new perspective on mental health. Morgan Heritage releases 'Just A Number', a single from XTM Nation's project. Dyani and Dj Verge's 'Reminiscing' is a contemplative song about secret regret. Aidonia dedicates 'Faith' to his late son, urging listeners to keep faith. Jahvillani's 'Make It Rain' celebrates wealth, while Jahshii's 'Dawgs Dem' showcases his upgraded lifestyle. Teejay's 'Visa' is about ambition and future success. Bounty Killer's 'Watch Yuh Mouth' is a confrontational track. Yaksta's 'Alchemist' encourages hard work and small circles for success. HoodCelebrityy's 'I'm Back' revives an old-school riddim with bold lyrics.

The article discusses a conflict over land rights in Jamaica's Cockpit Country, where the government has revised a mining lease to allow Noranda Jamaica Bauxite Partners to extract bauxite, encroaching on lands claimed by the Maroons of Accompong. The Maroons, whose history in the area dates back to a 1738 treaty with the British, view this as a violation of their ancestral lands. The article highlights the environmental significance of Cockpit Country, noting its biodiversity and importance to the country's freshwater supply. The Maroons' chief, Richard Currie, asserts that the government does not own the ancestral lands they have signed over for mining.

Gladstone Taylor reviews the latest dancehall tracks that have made an impact as the year ends. Bugle's 'Fully Bright' is praised for its positive message to the youth. Starr Dawkins and Jahshii's '4Life' is highlighted as a romantic duet. Shane O's 'Wicked People' is noted for its melodic and lyrical strength, marking it as one of his top hits. Silk Boss's 'Paranoid' resonates with the Jamaican experience of rising crime rates. Malie Don's 'Michigan' showcases his potential and lyrical skill. Rvssian and Skeng's 'Switch' is an upbeat party track, and Stalk Ashley's collaboration with Valiant on 'Narcissistic' is seen as a promising move for both artists. The article focuses on the positive aspects of these releases amidst the tensions and conflicts in the dancehall scene.

Skillibeng, a 24-year-old dancehall artist from Jamaica, is currently making waves in the music scene. He has garnered a hardcore dancehall audience and has caught the attention of international artists like Drake and Bobby Shmurda. His songs 'Crocodile Teeth' and 'Coke' have amassed a total of 39 million views on YouTube, indicating his rising popularity. Recently, Skillibeng collaborated with Sean Paul on the single 'Everest', marking his entry into the major league of Jamaican music. The article describes a meeting with Skillibeng at his studio in Bull Bay on a hot day, where he and his team were engaged in business and music activities.

The article discusses the Kingston Harbour Cleanup Project (KHCP) in Jamaica, which aims to tackle the pollution problem in Kingston's natural harbour. The project, launched in 2021, has collected over 1.3 million kg of waste using sustainable technology and barrier solutions. It is a collaborative effort involving the local community, private companies, and nonprofit foundations. The project has received support from the GraceKennedy Foundation and has involved partnerships with various Jamaican agencies. The barriers are designed to intercept new waste from entering the ocean, and the collected trash is sorted for recycling or reuse. The initiative also includes community education and training programs. The project's success has sparked interest in other Jamaican locations and has the potential to be applied to other coastal cities in the Caribbean. The article also touches on the broader implications of such environmental projects in the context of the climate crisis.

The article discusses the environmental and economic challenges faced by Jamaica, particularly the decline in fish stock and the impact of climate change on coastal communities. It highlights the role of wetlands and mangrove forests in providing protection and economic security to these areas. The Portland Bight Protected Area (PBPA) and the Caribbean Coastal Area Management Foundation (CCAMF) are featured for their efforts in conservation and sustainable development, including fish sanctuaries and alternative livelihood projects like apiculture. The article also covers the success of a mangrove replanting project and the importance of community involvement and education in protecting the environment. The story emphasizes the resilience of Jamaican communities in the face of climate change and the need for continued collaboration between community members, government, and the private sector.

The article discusses the plight of the long-spined sea urchin (Diadema antillarum) in the Caribbean, which has been severely affected by a disease outbreak that decimated its population in the 1980s and recurred in 2022. Scientists have identified the pathogen responsible for the disease as a scuticociliate. The Oracabessa Bay Fish Sanctuary in Jamaica has initiated an urchin nursery to aid in the species' recovery by raising healthy urchins and planning for their eventual release into the wild. The sanctuary's efforts are part of a broader initiative to restore the marine ecosystem, as the decline of the urchin population has led to an overgrowth of algae that competes with coral reefs. The article also mentions similar conservation efforts in Puerto Rico and the potential for future strategies, including genetic modification, to combat the disease. The story includes a correction regarding the sanctuary's history and the impact of the disease on its waters.

The article discusses the critical underfunding of Historically Black Colleges and Universities (HBCUs) by philanthropic foundations, despite their significant role in educating a large proportion of Black professionals in the United States. A report by Candid and the Association of Black Foundation Executives highlights that HBCUs receive significantly less foundation funding compared to Ivy League schools, with disparities rooted in historical racism and exclusion from philanthropic networks. The underfunding has real consequences, including the closure of some HBCUs. The report calls for strategic investment to address the complex financial needs of HBCUs and suggests that Black communities engage with regional philanthropy to advocate for better funding. Susan Taylor Batten, CEO of ABFE, emphasizes the need for foundations to proactively reach out to Black colleges.

DJ Lava's show 'Chat and Laugh' has become a significant success story post-pandemic, distinguishing itself from the trend of DJs playing music on Instagram. The show began during a personal tragedy for Lava, with the passing of his mother in 2020, which motivated him to push through his grief. Lava's background in music and his connections in the industry, including with Vybz Kartel, have helped him build his career. He has also managed viral sensation Mackerel and has a strong relationship with hip-hop artist Nicki Minaj, who has appeared on his show. Lava's business ventures extend beyond his talk show to event promotion, merchandise, and artist management. He remains committed to 'Chat and Laugh', recognizing its impact on his audience.

Vanessa Bling, a prominent figure in Dancehall music, is known for her romantic songs that offer a counterbalance to the genre's violent themes. Her music, which often includes themes of self-love and empowerment, has been influential since the 2000s. Bling's hits like 'One Man' and 'Everything Fi Hold Him' have set a standard in the industry. Despite her success, she has maintained a conservative and introverted public persona, often avoiding media interviews. Her latest single 'Beautiful' aims to boost women's self-esteem, and she continues to collaborate with talented artists, such as Dyani on 'Soul Tied'. Bling is currently working on an album and has a tour planned, with stops in Dubai, Israel, and New York, among other locations.

The article discusses the proliferation of sargassum, a type of seaweed, in the waters of Florida and the Caribbean. While it has become a nuisance, covering beaches and affecting marine life, there is interest in finding commercial uses for it. In Jamaica, companies like Awganic Inputs have shifted from using sargassum as fertilizer to producing biofuel due to concerns about arsenic levels. Another company, Kee Farms, is cultivating seaweed for agar production. The article also touches on the environmental impact of sargassum removal and the potential for seaweed farming to act as a carbon sink, although the effectiveness of this is uncertain. The research and monitoring of sargassum are being conducted by the University of South Florida, and the article raises concerns about the long-term effects of sargassum on the environment and health.

The article discusses the proliferation of sargassum, a type of seaweed, in the waters of Florida and the Caribbean. Researchers at the University of South Florida have reported record levels of sargassum, which is causing problems for marine life and local economies. The article highlights the efforts of companies like Awganic Inputs and Kee Farms in Jamaica to find uses for sargassum, such as converting it into biofuel and farming it for agar production. However, concerns about the seaweed's arsenic content have limited its use in food and animal feed. The article also touches on the challenges of cleaning up sargassum from beaches, the potential for seaweed farming to act as a carbon sink, and the uncertainties surrounding its impact on climate change. The journalist, Taylor Gladstone, supported by the Pulitzer Center and in partnership with the Florida Climate Reporting Network, provides an in-depth look at the issue and its implications for the region.

The article discusses the proliferation of sargassum, a type of seaweed, in the subtropical waters of Florida and the Caribbean. Researchers at the University of South Florida have reported record levels of sargassum, which is causing problems for coastal regions. While sargassum is technically edible and has been used in Asian cuisine, recent studies have found high levels of arsenic and heavy metals in it, making it unsuitable for consumption or use as animal feed or fertilizer. Jamaican companies like Awganic Inputs and Kee Farms are exploring alternative uses for sargassum, such as converting it into biofuel and farming other seaweed species for agar production. The article also touches on the challenges of cleaning up sargassum from beaches and the potential for seaweed farming to act as a carbon sink to offset greenhouse gas emissions, although the effectiveness of this is uncertain.

The article profiles Dancehall artist Laa Lee, born Romario Ricketts, who is known for creating upbeat and joyful music despite coming from one of Kingston's most dangerous communities, Jungle. Laa Lee's music, which includes hits like 'Watz On Sale', 'Tip Inna It', and 'Floating', has earned him a loyal following and corporate sponsorships from Magnum, Pepsi, and Digicel. His positive approach to music and life is contrasted with the violence of his upbringing. The article also discusses his recent signing with UK-based Sony affiliate Black Butter Records, making him the first dancehall artist on the label. Laa Lee's focus on mental health, emotional expression, and brand consistency are highlighted as key factors in his success. Additionally, he has contributed to dancehall culture by promoting dance and has ventured into acting, with aspirations to become an international household name.

The Island Music Conference (IMC) kicked off its first day at the Courtleigh Auditorium in Jamaica. The event, which was the brainchild of Shaggy, Sharon Burke, and Judith Bodley, is designed to disseminate information about music and content creation that could bolster the local entertainment industry. The conference featured a Content Creator panel with personalities such as Tami Chin, Wayne Marshal, and others, discussing their experiences and insights. A Songwriting panel included Valiant and Nordia Mothersille among the speakers, while the final panel focused on the influence and impact of music with guests like Teejay, Lloyd Laing, and Lila Ike, with Shaggy also participating.

Jamaican dancehall artist Jahshii, real name Mluleki Tafari Clarke, has made a significant impact on the music scene with his powerful performances and meaningful lyrics. Starting his recording career in 2004, Jahshii gained prominence after winning the Unruly Clash and has since amassed over 60 million views. Despite his success, Jahshii took time to reflect on his career and restructure his team to ensure his future in music aligns with his vision. He emphasizes setting goals and working towards them, a theme present in his songs. Jahshii's authenticity and dedication to his craft have earned him respect from audiences and industry veterans alike, as seen in his performances at events like Rebel Salute. His music often reflects on personal experiences, including the loss of his friend and producer Tadmar, and addresses social issues. Jahshii's approach to music is deeply rooted in his culture and personal beliefs, making him a standout artist in the dancehall genre.

The article discusses the complexity of climate change in the Caribbean, highlighting the varying impacts on different islands. Puerto Rico and Haiti have experienced significant loss and damages due to more frequent and powerful storms, which aligns with the climate finance commitments of the Paris Agreement and Cop26. Conversely, Jamaica, despite being vulnerable, has been relatively lucky in avoiding major hurricanes, with only 6-10 significant hits in its 61 years of independence. The article also touches on the discrepancies in hurricane reporting, where some sources, like Jamaica's National Library Service, include tropical storms and hurricanes that did not make direct landfall, emphasizing the importance of documenting real-time impacts in the region.

The article discusses the rise of 'Dunce culture' in Reggae Dancehall music, highlighting the contributions of younger artists in November. Valiant's 'Dunce Cheque' is noted for its clever wordplay and sound understanding. Masicka's 'Fiesty' is praised for its quality, despite the artist's established status. 'Next To Me' by Popcaan featuring Tonia Ann Singh is recognized for its potential and its role in unveiling the artists' relationship. Topmann's 'Dutty Foot Fren' is commended for its humorous take on societal outcasts. Jahvillani's 'Money Pan Mi Mind' marks a welcome return for the artist. 'Bullet Proof Skin' by Busta Rhymes featuring Skillibeng is seen as a nod to the golden era of dancehall music. Lastly, Jamal's 'Sidis (Fully Dunce Freestyle)' is mentioned as a critique of the education system, using the 'fully dunce' slang to describe those marginalized by it.

The article reviews seven reggae/dancehall songs released in October 2022. 'North Carolina' by Valiant is highlighted for its musical richness despite not reinventing the genre. 'Controversy' by Yaksta is praised for its critical yet catchy nature. 'Hello' by Malie & Brysco is noted for its heavy bass and danceable vibe. 'Better Place' by Jhoe Speng is described as a diamond in the rough, reflecting on personal grief. 'Repent' by Silk Boss is recognized for its operatic intro and the artist's talent. 'Tunda' by Deno Crazy & 450 is mentioned for its fun and collaboration between rising artists. Lastly, 'Dinero' by Lila Ike is appreciated for its narrative continuity and focus on the artist's goals. The article provides insight into the current state of dancehall music and its artists.

The article discusses the resurgence of the dancehall scene in Jamaica, highlighting several new releases that are making waves in the industry. Masicka's 'Umbrella' is noted for its mix of melodies and potential as a hit in the event of a Sting stage show. Kabaka Pyramid's 'The Kalling' is praised for its collaboration with Protoje, Jesse Royal, and Stephen Marley. Protoje's 'Late At Night' featuring Lila Ike is recognized for addressing the social atmosphere and Jamaica's rising homicide rate. Silk Boss's 'Sorry' is mentioned as a hit born from personal tragedy. Kraff's 'Og Bobby Johnson' is acknowledged for gaining popularity quickly. Intence's 'Correction' is seen as a bold statement in the dancehall feud landscape. Lastly, Teejay's 'People' from his upcoming album 'Rags To Riches' is highlighted for its inspirational message and crossover potential.

The article discusses the efforts of the Oracabessa Fish Sanctuary and the White River Fish Sanctuary in Jamaica to conserve fish populations and promote sustainable fishing practices. Local fishers have been involved in the conservation projects to ensure their success, with measures such as allowing them to set the boundaries of the sanctuaries and employing them as wardens. The sanctuaries have implemented various programs, including coral gardening and sea turtle release, and have seen a significant increase in fish populations. The article also highlights the potential for increased tourism with the opening of the Ian Fleming Airport and the importance of community engagement in conservation efforts. Corrections were made to the article regarding the size of the sanctuary and job titles.

The article presents a curated playlist of dancehall and reggae music suited for the summer season, highlighting seven songs that embody the spirit of summer fun, romance, and relaxation. 'Gyal Time Again' by Konshens & Charly Black is noted for addressing the inclusion of women in dancehall music. 'Mannaz' by Govana & Shaneil Muir tells a relatable story of infidelity with a catchy beat. 'Likkle Miss' by Skeng is praised for its old-school dancehall beat and strong delivery. 'Thousand' by Squash caters to the ladies with a hardcore romance tune. 'Red Gold And Green' by Kabaka Pyramid featuring Damian Marley is a spiritual conversation about Rastafari symbolism. 'Signs' by HoodCelebrityy discusses moving on from a stale relationship, and 'Pack A Matches' by Masicka is recognized for its high-energy and motivational lyrics. The article emphasizes the seasonal nature of dancehall music and its focus on themes of love and enjoyment during the summer.

The article provides an overview of the latest releases in Jamaican reggae dancehall music for the month of June. It highlights new singles from artists such as Masicka, Ce'Cile, Earth and the Fullness, Beenie Man, Buju Banton, Lila Ike, and Alkaline. The piece discusses the evolution of the sound and identity of reggae dancehall, noting its popularity in Jamaica and abroad. Each song is briefly reviewed, mentioning aspects like lyrics, flow, instrumental quality, and thematic content. The article also touches on the collaborations and labels involved, such as Ghetto Youths International, Gargamel Music, In.Digg.Nation, and RCA.

The article is a review of seven Jamaican music tracks that span the spectrum of dancehall and reggae. The author begins with 'Work Day' by Black Am I, produced by Damian Marley, which is recommended for its energizing take on work life. 'Bounce' by Ding Dong is praised for its danceability and lyrical quality. 'Different Species' by Teejay is highlighted for its dancehall beat and vocal talent. 'When The Smoke Clears' by Kumar and 'Gratitude' by Jazz Elise are both noted for their introspective and spiritual qualities. 'Time Won't Wait' by Ras I is commended for its relaxing vibe and vocal arrangement. Lastly, 'Code' by Brysco is mentioned for its controversy and party vibe. The article suggests that music preference is subjective and depends on the listener's mood.

The article is a curated list of seven Reggae and Dancehall songs that the author, a seasoned music journalist, recommends for streaming. The selection is not based on popularity or release dates but on the quality of the music. The playlist, which can be found on DancehallMag's Spotify, includes tracks from established and emerging artists, highlighting their talents and the depth of their music. The author emphasizes the importance of conscious consumption of music and the role it plays in shaping the culture. By promoting songs with substance and storytelling, the author aims to counteract the prevalence of violent imagery in the genre and support artists who are intentional about the truth in their music.

Sean Paul, a renowned Dancehall artist, discusses his career, the evolution of the genre, and his latest Grammy-nominated album 'Live N Livin'. He reflects on sustaining interest in music through balance and the need for creativity in addressing violence in lyrics. Sean Paul emphasizes the importance of making music palatable for wider audiences and the role of artists in influencing society. He also talks about the impact of technology on music production and distribution, the commercial viability of dancehall while maintaining authenticity, and his efforts to support upcoming artists. The interview highlights Sean Paul's perspective on streaming services, his collaborative approach in 'Live N Livin', and his future projects, including his upcoming album 'Scorcha' and work with other artists under his Dutty Rock label.

Jamaican Dancehall artist Denyque discusses her musical journey, influences, and her return to the music scene in an interview with DancehallMag. She reflects on her early exposure to a variety of music genres, including soul, funk, reggae, and 90s R&B, with artists like Aaliyah being a significant influence. Denyque took a break from her career for self-development and to reassess her direction, during which she became a mother. She has since re-emerged with a mature and confident approach, releasing new singles and collaborating with brands. She is now managed by Good Good Productions and has worked with several brands, including Lifespan water. Denyque is planning to release an album in 2022, which she promises will showcase her musical growth.

Reggae/Dancehall artist Devin Di Dakta, previously nominated for a Grammy, discusses his new EP 'Freshman' and his approach to music with DancehallMag. He emphasizes his desire to avoid being pigeonholed into one genre or style, reflecting on his past projects 'Bare Thoughts' and 'Bare Meds' which dealt with personal and societal issues respectively. Devin highlights the importance of addressing difficult topics in his music, such as the impact of the internet on mental health and the crime affecting Jamaican youth. He also talks about the sound and storytelling aspects of his songwriting, noting his preference for a diverse range of sounds that include hardcore dancehall, UK and US hip hop, and afrobeat influences. The article provides insight into Devin's creative process and his plans for future music releases, including a debut album.

Blvk H3ro, a rising talent in the Reggae-dancehall scene from Jamaica, has been making waves with hits like 'It Nuh Easy' and 'Young Boss'. He recently took a break from music, which led to a period of reflection and a newfound resolve, further strengthened by his participation in the UNESCO Womex tour in Europe. In an interview with DancehallMag, H3ro discusses his early interest in music, which began in church with a fascination for drums. He credits his mother's influence and a compilation CD featuring artists like Michael Jackson for developing his passion for music. H3ro also reflects on the transformative process of creating music and the importance of separating oneself from the work to fully understand its impact. His recent tour in Europe, representing Jamaica, was a significant experience where he realized the global anticipation for Jamaican music and delivered performances that exceeded expectations.

The article discusses the challenges faced by artisanal fishers in Jamaica, particularly in the fishing village of Manchioneal, due to competition with heavily-subsidized foreign fleets. These subsidies, estimated at $35.4 billion globally, disproportionately benefit large-scale fleets, leaving small-scale and independent fishers at a disadvantage. The World Trade Organization (WTO) is considering new rules to prohibit subsidies that contribute to illegal, unreported, and unregulated fishing, as well as those for overfished stocks. The decisions made by the WTO could lead to more sustainable and equitable fisheries worldwide. The article also touches on the importance of fishing to the local economy and culture, the impact of climate change on fishing practices, and the potential for local fishers to benefit from subsidies if they organize into cooperatives.

Jamaican artist Qyor, formerly known as Chevaughn, is making waves in the music scene with his innovative melodies and vocal creativity. In an interview with DancehallMag, Qyor discusses his musical journey, the influence of his family, and the inspiration behind his music, which often comes from less mainstream sources. He recounts his formative years singing in church and the support from his musically inclined family. Qyor also shares the backstory of his new single 'Be High,' which features fellow artists Kranium and Dexta Daps. The collaboration was born from a spontaneous session and has been well-received, with over six hundred thousand views shortly after its release. Qyor emphasizes the importance of change and evolution in life and music, reflecting on his experiences performing with various iconic artists and the lessons learned along the way.

The article features an interview with Racquel Jones, a Jamaican musician and visual artist who is part of the electronic music group Thievery Corporation. Jones discusses her experiences growing up in Jamaica, her family's emphasis on education, and her early exposure to various musical genres. She talks about her debut album, which blends multiple genres and reflects her Jamaican heritage and experiences abroad. Jones also touches on the cultural contrasts in Jamaica, such as the prevalence of Christianity alongside high levels of violence. She expresses concern about the violence and misogyny in Jamaican culture, especially towards women, and the need to address these issues openly. The article explores how Jones's music incorporates themes of spirituality and ancestry, and how her work provides a platform to discuss both the positive and negative aspects of Jamaican culture.

The article features an interview with Jamaican dancehall artist Dalaz, who has gained attention with his single 'White Tees and Polo' and his mixtape 'Real Tape'. Dalaz, a Computer Science graduate, discusses his unique position of understanding both the analog and digital eras, which influences his approach to music and performance. He prefers live performances and values the rapid dissemination of music through technology. Dalaz also touches on the importance of social media metrics and engagement for artists, and how his technical background aids in navigating the digital landscape without resorting to shortcuts that could harm his online presence. The pandemic's effect on online music consumption in Jamaica is also discussed, as well as Dalaz's future plans, including music videos and a new single titled 'Dreams'.

The article discusses the establishment of a fishing sanctuary in Oracabessa Bay, Jamaica, by local fishermen and tourism stakeholders in response to declining coastal life. The sanctuary has led to an increase in reef health and herbivorous fish populations, as evidenced by surveys and reports. The initiative, supported by the GoldenEye Foundation and other partners, involves coral gardening and a no-fishing zone to protect and restore marine life. The sanctuary's success is prompting replication at other sites in Jamaica with support from the Global Environment Facility and UNDP. The article highlights the importance of the coastal ecosystem to Jamaica's tourism and the challenges posed by overfishing, pollution, and climate change. It also emphasizes the symbiotic relationship between the coral reef and fish populations, and the collaborative approach to marine conservation involving both the tourism and fisheries sectors.

The article is an interview with the Jamaican artist Yeza, who hails from Bull Bay and is considered one of the area's best-kept musical secrets. Yeza discusses her musical journey, which officially began in 2017 with her single 'Irie'. She talks about her influences, which include the sound system culture in her community and the music her parents listened to. Yeza also reflects on her identity as a black woman and why she embraces the rebel moniker. Despite the challenges posed by the pandemic, she has found a deeper understanding of gratitude and has been using the time to write and record new music, although she is not ready to announce any release dates. The interview touches on her performance experiences, including an appearance on the Verzuz after party, and her anticipation for the return of live events.

The article discusses the ongoing debate in Jamaica where the Prime Minister has blamed Dancehall music for the country's increase in violent crimes. The author mentions that this is not a new debate and studies have not found a causative relationship between violent media and violent behavior. Despite the Prime Minister's negative view of Dancehall, the article highlights artists like Yaksta, Nation Boss, Shaniel Muir, and 10Tik who are making positive and inspirational music within the genre. Nation Boss, in particular, speaks about the role of artists as messengers and the importance of love in healing emotional wounds, especially in difficult times.

The article discusses the shift in Jamaican music from traditional studio culture to a more audience-powered discovery of artists, facilitated by technology. It highlights the story of Nation Boss, a young artist from Spanish Town, Jamaica, who gained fame after his freestyle 'Humans' went viral on social media platforms like TikTok, Instagram, and Facebook. The song's popularity led to a collaboration with producer Troublemekka, propelling Nation Boss from obscurity to fame. The interview with Nation Boss reveals his background, his journey in music, and his plans for future releases. Despite the hardships of growing up in poverty and being introverted, Nation Boss is motivated by his experiences and is grateful for the support of his mother and his fans. He envisions no limit to the reach of his music and is working on new singles with the same energy as 'Humans'.

The article discusses the evolution of Jamaican music, tracing its journey from Mento to the latest subgenre, trap dancehall. It highlights the music's inherent drive to evolve and dominate, influenced by a lineage of adept practitioners. The progression is outlined from Mento to Ska, Rocksteady, Reggae, and Dancehall, leading to the fusion with hip hop's trap music, particularly influenced by Chicago's drill scene. Artists like Squash and Rygin King are noted for experimenting with this fusion. While trap dancehall has become a recognized subgenre, the article acknowledges concerns from dancehall elders about losing traditional sounds. However, it also recognizes the younger generation's view of this as a natural progression. The article suggests that the emergence of trap dancehall signifies a cultural and musical exchange worth exploring, with its full impact yet to be understood.

The Jamaica Climate Change Youth Council (JCCYC), led by executive director Eleanor Terrelonge, is making strides in climate change advocacy by leveraging digital media to engage the youth demographic. The organization has planned a series of events leading up to Earth Day to promote awareness and engagement. The COVID-19 pandemic has highlighted issues related to climate change and has provided an opportunity for the JCCYC to adapt its advocacy approach. The council has continued its activities despite the pandemic, including a virtual conversation series called Covid Chat, a virtual thrift expo, and a tree-planting goal for Earth Day. The JCCYC targets a younger demographic, 15-35-year-olds, to educate them on climate change and its effects. The council's Reimagine Plan incorporates solutions from the Covid Chat event and addresses the impacts of climate change and the pandemic.

The article is an interview with Jamaican artist Runkus, discussing his latest album IN:SIDE and his musical journey. Runkus reflects on the impact of the pandemic on his plans, noting that it changed the release schedule for his music but also inspired the creation of his album. He emphasizes the importance of growth and involvement in his music production, contrasting his earlier work with his current projects where he is more hands-on. Runkus also touches on the topic of mental health, the role of society in shaping individuals, and the concept of isolation, which he finds beneficial for creativity. The interview reveals his collaborations with other artists like Munga, Tarrus Riley, and Kabaka Pyramid, and his views on the pandemic, urging people to seek their own answers. Runkus hints at his next steps, indicating a focus on spreading his new music.

The article discusses the impact of Dancehall music on Jamaican society, particularly focusing on the rise of gun violence-themed songs. Amidst this trend, the artist Yaksta has emerged with a positive message through his single 'Ambition', which is gaining popularity for its uplifting content. The interview with Yaksta, conducted by DancehallMag at Vigilanti Entertainment Studios, explores his journey in music, the inspiration behind 'Ambition', and his views on the responsibility of artists in society. Yaksta emphasizes the importance of truth and authenticity in his music and hints at the release of new music and an EP in the coming months.

The article discusses the shift in the Jamaican music scene and focuses on the artist Protoje, a member of the In.Digg.Nation collective. Protoje is recognized for his business acumen and strategic approach to music, which sets him apart in the industry. His latest album, 'In Search Of Lost Time' (ISOLT), is highlighted as a representation of his unique musical philosophy. The album was produced in his home studio, The Habitat, and features a range of talented artists and producers. It also marks a joint deal with RCA Records. The article includes an interview with Protoje, where he reflects on the creative process behind ISOLT, his approach to music, and the themes of nostalgia and childhood present in his work. He also discusses the collaborative nature of finalizing the album and his desire to constantly improve and learn with each project.

The article is an interview with Jamaican Dancehall artist Kranium, whose real name is Kemar Donaldson. Kranium discusses his musical journey, including his breakout hit 'Nobody Has To Know' and subsequent releases such as 'Can't Believe' featuring Ty Dolla Sign and Wizkid, and 'Gal Policy'. He talks about his new EP 'Toxic' and the impact of the COVID-19 pandemic on its release. Kranium also shares his views on therapy, which he started before the lockdown, and the importance of property investment. He describes his approach to music as storytelling and distinguishes between hit songs and known songs. The artist reflects on his career, the challenges of not being able to perform due to the pandemic, and his thoughts on polygamy in relationships, a theme present in his music.

Jamaican artist Chino McGregor discusses his career, musical approach, and upcoming EP 'Riddim Ryda Style' in an interview with DancehallMag. McGregor explains that his absence from the local Jamaican scene was not planned but a result of his ambition to expand internationally. He emphasizes his versatility as an artist beyond the typical dancehall scene and his desire to avoid being boxed into a single genre. McGregor also reflects on the influence of his and his brother Stephen's work on the current music scene, merging dancehall and reggae with hip hop. He shares insights gained from spending time abroad, stressing the importance of relatable songwriting that can appeal to international audiences. McGregor is excited about his new EP, which focuses on reggae and aims to shift the focus back to substance in music.

The article features an interview with Jamaican artist Brady O'Connor, discussing her music, family, and experiences. Brady's music, with singles like 'Chasing The Sun' and 'Bun Badmind', reflects her Jamaican roots and appeals to a sense of wanderlust. She talks about her upbringing in Kingston, her time in the United States, and her multicultural heritage. Brady also reflects on her family's musical background, mentioning her uncle Carl Brady from The Byron Lee band. The interview touches on her acting experience, particularly in the Jamaican film 'Betta Mus Come', and her thoughts on the connection between film and music. Brady emphasizes the importance of storytelling in both mediums and the personal nature of her music. She also discusses the challenges of being an independent artist and the importance of vulnerability and transparency, especially as a parent.

The article is an interview with Jamaican musician Tarrus Riley, discussing his new single 'Ez Nuh' produced by Chimney, his approach to music, and his recent EP 'Healing'. Riley emphasizes his desire to create music that resonates with a diverse audience and reflects his love for people. He also touches on the challenges of change in the music industry and the audience's apprehension towards it. The interview highlights Riley's commitment to producing quality music that remains clean and conscious, and his ability to innovate within the Jamaican music scene. Riley also pays homage to his late father, Jimmy Riley, and shares how the 'Healing' EP has personally impacted his life and career.

The article discusses the new music video 'Smooth' by Jamaican dancehall artists Jahvillani and Skillibeng. The song and video celebrate style and fashion, which are significant aspects of Jamaican culture and the broader African diaspora. The video showcases the artists as fashion icons, and the article draws parallels between their portrayal and the La Sape subculture of the Congo, as well as the style-centric nature of Black America's pimp culture. The collaboration between Jahvillani and Skillibeng is noted as a continuation of their successful musical endeavors, with a previous collaboration with Rytikal. The track 'Smooth' is highlighted for its focus on luxury and the glamorous side of the artists' lifestyles.

The article discusses the evolution of Dancehall and Reggae music genres from their origins as platforms for self-expression to becoming profitable ecosystems that benefit a wide community, including vendors, promoters, and artists. The author addresses concerns about the rise of 'gimmicks artists' in the Jamaican music industry, which some stakeholders believe could harm the quality and international reputation of Jamaican artistry. However, the author argues that the music industry should continue to provide opportunities for marginalized individuals and that the music will evolve and support the community as it always has. The article suggests that while quality concerns are valid, the music industry has room for everyone, including journalists and new artists, to grow and make a living.

The article features an interview with Jamaican Reggae and Dancehall artist Agent Sasco, formerly known as Assassin. Sasco discusses his musical journey, reflecting on his growth and transformation within the genre. He talks about his home studio and his YouTube show 'Modern Builder'. Sasco is set to release an EP on November 19, which follows his 2018 album 'Hope River'. He expresses his aim to create sincere music and believes that 'Hope River' has aged well, as it is based on his true experiences. The artist also touches on the evolution of dancehall music, the impact of the younger generation on the genre, and his own development as an artist. Sasco mentions working with various producers for his EP, including Toddla T, Tropkillaz, Finatics, Riff Raff, and Teflon. He also shares that books like 'The Secret' and 'Angela's Ashes' have influenced his life. Lastly, Sasco shares his thoughts on the post-pandemic world, emphasizing a change in behavior and a newfound appreciation for communal activities.

The article discusses the significance of stories, myths, and music in shaping human consciousness and culture, particularly in Jamaica. It reflects on how ancient societies used archetypes and allegories to communicate complex psychological concepts and how modern society often dismisses these narratives as non-factual. The author argues that the unconscious mind communicates through symbols and stories, which are essential for understanding our collective and individual psyches. The article also examines the role of music in Jamaican culture, describing musicians as modern-day vessels for expressing the human experience and facilitating societal evolution. It highlights the importance of music in providing emotional catharsis and representing the collective hopes and fears of the population. The author suggests that music has taken the place of traditional myths and stories in contemporary Jamaican society, serving as a medium for education, cultural expression, and community building.

The article discusses the impact of streaming platforms on the Jamaican music industry, focusing on Audiomack's role in promoting music from the region. Tanya Lawson, from Audiomack Caribbean, shares insights on how the platform is not just about profit but about a genuine love for music and the desire to bring different genres to the forefront. She emphasizes the shift from music sales to streaming and subscriptions, highlighting the global reach of the internet in connecting audiences. The article also touches on the challenges and misconceptions artists face with the new digital era and the success stories of artists like Intence, Chronic Law, and Jada Kingdom on Audiomack.

The article discusses the increasing recognition of music producers in the industry, highlighting the work of Andrew 'Moon' Bain, a producer and founder of Lustre Kings. Bain has produced notable tracks for artists like Protoje, Lila Ike, Agent Sasco, Chronixx, and Kabaka Pyramid. He shares his journey in music, from playing the cello at age 4 to producing and starting his own label. Bain emphasizes the uniqueness of dancehall music and its influence on global genres. He also touches on the challenges and potential of the Jamaican music industry, advocating for transparency and professionalism. The article also covers Bain's views on the impact of autotune, the rise of afrobeat, and strategies for musicians during the pandemic.

The article is an interview with the Jamaican singer Answele, who hails from Trelawny and is known for his unique voice and easy-going lyrics. Answele discusses his musical journey, including the change of his stage name from Swele to avoid confusion with Swae Lee from Rae Sremmurd. He shares that his music is mostly inspired by life experiences, with sadness being a key emotion driving his creativity. Answele grew up in Trelawny with both parents influencing him, and he recalls the moment he knew he wanted to sing was in primary school. His recent single 'Jah Is In Control' was inspired by personal struggles and his faith. He is strategic about his career but also adaptable to change, and he is currently working on a short album featuring I-Octane and plans to release two albums in two years.

The article discusses the use of the 'What If?' trope in storytelling, particularly in superhero comics, focusing on DC's 'Dark Nights: Metal' and 'Dark Nights: Death Metal' series. These series explore alternate, evil versions of Batman and incorporate them into the main comics canon. The author highlights how creators Scott Snyder and Greg Capullo build upon previous 'What If?' scenarios involving Batman, such as Bat God and Batman's stint as the god of wisdom. The article also touches on the character Barbatos and the Batman Who Laughs, a new version of Batman with the Joker's madness. The series is praised for exploring the ramifications of powerful 'What If?' questions and for engaging both dedicated and casual readers with its deep dive into Batman's fears and the dark multiverse.

The article discusses the changing landscape of the global music industry, highlighting the rise of geo-agnostic audiences with diverse musical tastes due to the internet's influence. It features an interview with Tallis DNB, a New York-based DJ originally from Jamaica, who blends dancehall and reggae with other genres. Tallis DNB talks about his musical journey, starting from 2009, his move to New York, and his aspirations as an artist. He emphasizes his desire to avoid being pigeonholed into a single genre and discusses the challenges of pursuing Jamaican music from abroad. The article also touches on the politics within the music industry and Tallis DNB's connection to his Jamaican roots, including his desire for recognition from the Jamaican audience.

The article is an interview with Grammy award-winning producer and musician Young Pow, known for his work on albums like Stephen Marley's 'Mind Control' and Damian Marley's 'Welcome To Jamrock'. Young Pow discusses his musical influences, which include black gospel, Dave Kelly, Bob Marley and The Wailers, and Kanye West. He shares insights into his journey from playing in church to producing and playing keys for renowned artists, and the transition to secular music despite opposition. Young Pow emphasizes the importance of quality in music production, which he feels is lacking in current Jamaican music. He also talks about his process of creating music with Damian Marley and the diversity in his production style. The article mentions his own label, Young Pow Production, and his recent and upcoming projects with various artists.

The article reviews the film 'Walk Good,' a ten-minute feature by South African Director Adriaan Louw that explores the Jamaican experience. The film is described as a journey across Jamaica, showcasing its beauty and the vibrancy of its people and culture. It touches on themes such as farewell, the dancehall culture, and the pursuit of freedom. The directors, Adriaan Louw and Roberto Colombo, discuss their experiences filming in Jamaica, their approach to storytelling, and their personal connections to the island. They also reflect on the dancehall culture and its impact on Africa. The film is praised for its balance, clarity, and emotional depth, capturing the essence of Jamaican life and culture.

The article discusses the transformation of the entertainment industry, focusing on the shift from digital purchases to subscription models in music and film/TV platforms. It highlights the dominance of this model in western markets and the continued value of tangible media. The article then explores why Dancehall music from Jamaica isn't competing on the same level as other genres in album sales, considering cultural significance, historical context, and the evolution of music consumption from physical sales to streaming. It also addresses the challenges Jamaican music faces in international markets, including competition and the need for Jamaican artists to access foreign fans. The article suggests that Jamaican music, particularly Dancehall and Reggae, needs more time to evolve and establish itself before it can truly compete internationally, with collaboration being the current best approach.

The article discusses the issue of style theft in the Dancehall music scene, highlighting how audiences often debate over the origins of particular sounds and styles within the genre. It emphasizes that music is inherently collaborative and inspiration-driven, making the debate somewhat unnecessary. The history of Dancehall is touched upon, tracing its roots back to the 70s in Jamaica and noting the influence of Reggae. The article mentions foundational DJs and the evolution of the genre, including the international impact of the Dem Bow riddim by Bobby Digital Dixon. It also covers the careers of Shabba Ranks, Bounty Killer, and Merciless, and how accusations of style theft have led to tensions between artists. The piece concludes by reflecting on the collaborative nature of music and how it leads to constant shifts in style, which can result in both conflict and innovation within the genre.

The article discusses the historic feud between Dancehall artists Vybz Kartel and Mavado, which began in the mid-2000s. Vybz Kartel, initially a lyricist for Bounty Killer, established a dominant presence in Dancehall until Mavado's breakout in 2005 challenged his position. The rivalry escalated into a lyrical war and indirectly influenced street violence, leading to a police-enforced truce in 2007. The feud was reignited for a clash at the Sting Dancehall Festival in 2008, and despite a meeting with Jamaica's Prime Minister to conclude their feud in 2009, the rivalry's impact persists in Dancehall culture. The article also touches on the legacy of the Gully vs Gaza feud, mentioning proteges like Popcaan and groups like 6ixx who align with Vybz Kartel, as well as current alliances and potential new feuds shaping the genre.

The article discusses the state of album sales in the Jamaican music industry, focusing on dancehall music and artists like Popcaan and Koffee. It highlights the low sales figures for albums like Popcaan's FIXTAPE and contrasts them with the success of artists like Koffee. The writer argues that dancehall music is diverse and that the audience has a role in shaping the industry. The article also touches on the challenges faced by artists like Popcaan due to visa issues and the difficulty of breaking into international markets. It suggests that the music industry in Jamaica could benefit from greater support for local acts and a focus on cultural authenticity rather than trying to conform to international standards. The writer emphasizes the importance of understanding the democratic nature of music and the potential for music to transcend its creators.

Donovan Stewart, known as 'The Baker', has escalated his feud with Dancehall artist Mavado by accusing him of song theft and drug use. Stewart gained notoriety after a self-defense incident during a robbery was reported on CBS News, leading to his viral fame and nickname. He collaborated with Mavado on the intro of the song 'Top Shotta Is Back' but now claims Mavado stole a song from him. Additionally, Stewart has accused Mavado and another artist, Alkaline, of using hard drugs, though these claims remain unconfirmed. The article suggests skepticism towards Stewart's allegations, noting they come from an 'aggravated party'.

The article reviews 'Dorohedoro,' a new anime series on Netflix, praising its unique visual style, engaging narrative, and use of hybrid animation techniques. The series is based on a manga and follows the story of Caiman, an amnesiac with a lizard head, in a post-apocalyptic world. The review highlights the anime's attention to detail, character design, and color schemes, which contribute to its punk aesthetic. It also discusses the thematic elements of mythology and death, as well as the contrast between the worlds of the sorcerers and 'The Hole.' The article suggests that 'Dorohedoro' stands out for its depth and could become a significant show in 2020, potentially challenging current popular anime series.

The article discusses Daddy1, a dancehall artist, and his latest release, a six-song EP titled '1 Bro Gad' from VP Records. The EP is highlighted as a significant step in Daddy1's career, establishing him as a serious contender in the dancehall music scene. The first single, 'Rich', is described as foundational to the EP, reflecting Daddy1's philosophy on financial freedom and social mobility. The article also mentions other tracks like 'Drops', 'Pretty Pon Snap', 'Our Time', and 'Live Life To The Fullest', each with its own significance. Additionally, Daddy1 has released a two-part documentary called 'Who is Daddy1' to introduce himself to new audiences. The EP is praised for its balance and quality, and the article recommends it, noting its availability on global music streaming platforms.

The article discusses the significance of storytelling in Jamaican dancehall music, describing it as a vital element and a sub-genre within the music scene. It traces the evolution of dancehall from toasting to deejaying, highlighting the importance of narrative and performance in the genre. The piece references several dancehall artists, such as Professor Nuts, Bounty Killer, and Busy Signal, who have contributed to the storytelling tradition. It also touches on the influence of westerns and outlaw films on Jamaican gangster culture. The article notes a contemporary shift in the audience's perception of dancehall music and mentions Govana's tribute to Professor Nuts as well as the importance of storytelling as a language within music.

In an interview with Fyah Roiall, the grimehall artist discusses his debut album 'Underrated'. Roiall talks about incorporating more melodies into his music and the misconception of a 'softer side', explaining that his songs reflect his thoughts and views. He emphasizes the importance of lyricism in his work, noting that his lyrics resonate with audiences during live performances. Roiall also touches on the balance between lyricism and melody, stating that both are essential in music. The album 'Underrated' is a project that took four years to complete, with Roiall aiming to highlight and work with underrated talent. He reflects on the challenges of artists who fuse different genres and the market dynamics that influence musical success. Roiall criticizes the narrow perspective of critics who label dancehall as violent without acknowledging the diversity and positive messages within the genre.

Reginald 'BawdaCat' Brumley, a Jamaican DJ and comedian, gained popularity through his YouTube platform, with the help of his videographer friend Drizzy. They created a unique entertainment format featuring debates, reminiscent of Plato's dialogues, with BawdaCat in the role of Socrates. However, a dispute arose between BawdaCat and Drizzy, leading to a split. BawdaCat accused Drizzy of theft and other issues, while Drizzy claimed BawdaCat was delusional and disrespectful. The core of their disagreement is over who should control their collaborative platform. The article suggests that the confusion could have been avoided with formal agreements and understanding of roles, highlighting the importance of clear business arrangements in creative partnerships.

The article discusses the music video for Lila Iké's single 'Forget Me' from her album 'The ExPerience', produced in collaboration with Wikid Media. The video features a narrative of a tumultuous relationship between Lila Iké and her on-screen partner, played by model/actor Jeff Crossley. It portrays a story of love and conflict, highlighting issues of autonomy and ownership in relationships. The article suggests that the song and video address the larger dysfunction in black relationships and the importance of recognizing when to leave a harmful situation. The overarching message is about the strength required to make difficult decisions in relationships, and Lila Iké's brand is associated with strength and femininity.

The article discusses the ongoing feud between dancehall artists Savage and Intence. Savage has expressed his dislike for Intence and has released diss tracks such as 'Through Hell's Gate' in response to Intence's 'Through The Gate.' The feud has also involved other members of the GAZA music clan, with Sikka Rymes and Shawn Storm releasing tracks targeting Intence. Intence has indirectly responded to these disses in his music but has stated in an interview with TVJ's Entertainment Report that he is not interested in clashing with artists he considers beneath him, focusing instead on his career. The article highlights the aggressive nature of the diss tracks and the potential for a lyrical clash, although Intence seems to be avoiding a full confrontation.

The article discusses the ongoing debate about who dominates the Dancehall music genre, questioning whether it's the artists or the audience who define its identity. It suggests that the genre operates as a feedback loop of energy between the two, making it difficult to pinpoint responsibility for the prevalence of violence in Dancehall lyrics. The editorial argues that both artists and audiences, along with record labels and media companies, share responsibility for the genre's direction. It encourages those who criticize the violent themes to support less popular, conscious Dancehall music, thereby using their power to effect change and guide the genre towards a more positive direction.

The article discusses the 'pay it forward' philosophy prevalent in Dancehall culture, emphasizing the importance of community support in the rise of artists. It highlights how established artists like Ninjaman, Bounty Killer, Mavado, and Vybz Kartel have historically helped newer artists like Popcaan and Quada gain prominence. The piece also addresses a recent incident where Foota Hype, a veteran Dancehall selector, claimed credit for the success of Konshens' hit song 'Do Sumn’.' Konshens responded by acknowledging the collective effort behind his success. The article questions the tendency within the music industry to claim sole credit for an artist's success, warning against the erasure of the collective journey and contributions that lead to an artist's fame and fortune.

Gladstone Taylor's article 'Eight Artists Who Embody the Roots Reggae Tradition' delves into the genre of roots reggae, a music deeply intertwined with Rastafarianism and Black liberation. The article highlights the genre's heyday in the late '70s with artists like Bob Marley and Burning Spear, and its role in political advocacy and cultural heritage, as recognized by UNESCO. Taylor discusses the musical characteristics of roots reggae and its evolution, noting the contemporary scene in Kingston, where spaces like Jamnesia Surf Camp foster new talent. The article profiles eight artists, divided into 'The Legends' and 'The New Generation,' detailing their contributions and stylistic elements. 'The Legends' include Lee 'Scratch' Perry, Max Romeo, Augustus Pablo, and Freddie McGregor, while 'The New Generation' features Hempress Sativa, Kabaka Pyramid, Protoje, and Micah Shemaihah. Each artist's work is explored, emphasizing their adherence to roots reggae's tradition and their unique takes on the genre.

Gladstone Taylor's article 'Eight Artists Who Embody the Roots Reggae Tradition' delves into the genre of roots reggae, highlighting its significance as a medium for Rastafarian tradition, Black liberation, and political activism. The article outlines the genre's history, its musical characteristics, and its role in Jamaican society post-colonialism. It also discusses the One Love Peace Concert hosted by Bob Marley in 1978, aimed at reducing political tensions in Jamaica. The article features eight artists who have been influential in roots reggae, dividing them into 'The Legends' and 'The New Generation'. 'The Legends' include Lee “Scratch” Perry, Max Romeo, Augustus Pablo, and Freddie McGregor, while 'The New Generation' features Hempress Sativa, Kabaka Pyramid, Protoje, and Micah Shemaihah. Each artist's contribution to the genre is explored, with a focus on their music's themes and stylistic elements. The article also mentions the recognition of roots reggae by UNESCO as part of the intangible cultural heritage.

The article discusses the rise of Dancehall artist Daddy1, real name Adrian Bailey, highlighting his impact on Jamaican music and culture. Daddy1, from Montego Bay, has gained recognition with hits like 'Alien Brain,' 'Anthem,' 'Custom,' and 'Trending King.' His influence is so significant that the Prime Minister of Jamaica even changed his Twitter handle to 'The Most Honorable Brogad,' a slang term popularized by Daddy1. The artist is known for his clean lyrics, creativity, and unique sound, which became prominent with his 2019 hit 'Out Here.' Despite legal troubles faced by him and his group, the 6ix, Daddy1 continues to pursue his passion for music, inspiring his audience with his resilience and talent.

The article discusses the rise of dancehall artist Squash, also known as Andrae Whittaker, who was detained by the Jamaica Constabulary Force during a state of emergency in Montego Bay. Squash was held for five months without formal charges at the Freeport Police Station. Despite this setback, his music gained popularity, particularly the songs “Mek It Shake” and “6ix Boss.” After his release in January, Squash's career surged, earning him the title of 6ix Boss. The article highlights Squash's background, his natural inclination towards music, and his journey from singing in his bathroom to becoming a recognized artist in the dancehall scene.

The article discusses the rise of Jamaican deejay Quada, who became known in the music scene through his association with Popcaan's Unruly camp. The buzz around Quada and other new artists began in early 2016, but it wasn't until December of that year that they gained significant attention with the release of the single 'Unruly Camp' featuring Popcaan, Jafrass, and Quada. The song became very popular in Jamaica, and Quada's unique, aggressive delivery style caught the attention of many. The article also mentions Quada's debut single 'Reflex' released in February 2018, which provided more insight into his personal experiences and background.

The article discusses the cultural exchange between America and Jamaica, particularly in the realm of music and entertainment. It traces the history of Caribbean migration to the U.S. and highlights the influence of Jamaican DJ Kool Herc in the creation of hip-hop. The article also mentions Bob Marley's contribution to music by blending American funk and soul with reggae. Focusing on the current music scene, it introduces Bakersteez, an artist who embodies the fusion of Jamaican and American culture in his music. Bakersteez, born Daniel Simpson, moved from Jamaica to Florida at a young age and later returned to Jamaica, bringing with him a mix of American and Jamaican influences that have propelled him to stardom.