Talk:Sizzla
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This page was placed on Votes for Deletion in June 2004. Consensus was to keep; view discussion at /Delete.
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[edit] Prolific?
"He is unusually prolific, even by Jamaican standards." What does this mean? Prolific means 'producing young or fruit especially freely', according to m-w.com. Is Sizzla producing lots of offspring? Lots of albums? --Yamla June 29, 2005 16:18 (UTC)
- Definition #2 of prolific taken from www.dictionary.com: "Producing abundant works or results: a prolific artist." Patricksartini9@hotmail.com July 27, 2005 06:23 (UTC)
[edit] Anti-gay lyrics
"...he has been involved in controversy over what many perceive to be anti-gay lyrics..." - 'What many perceive'? Even Sizzla himself knows he's 'anti-gay' and I don't think anyone can claim otherwise. 81.154.169.154 July 22, 2005 21:47 (UTC)
[edit] Sizzla To Stay
Well,
Sizzla is to popular and it would be too stupid to delete it.
But examples of his lyrics would stand nice.
http://www.outrage.org.uk/pressrelease.asp?ID=255
--Rastavox 00:42, 11 September 2005 (UTC)
The link above is broken.
[edit] Gay controversy
You personal belief may be that Sizzla is anit-gay but there has been no proof presented of this not even in the links
- Agreed. Please refer to Point of View. Adequate credible references must be made, and use this page for discussion before reverts to avoid a revert war. TKE 05:17, 3 March 2006 (UTC)
If someone is going to make wild accusations about sizzla they better have some dam evidence or else the part about him and homosexuality will be removed. jmac800
- To quote the BBC article linked in the article: "In one of his songs, Pump Up, have Jamaican patois lyrics which have been translated by OutRage as 'burn the men who have sex with men'." Teklund 08:03, 13 November 2005 (UTC)
According to one of the BBC articles Outrage translate fire fi di man dem weh go ride man behind as burn the men who have sex with men which is an appalling translation, it appears from a politically motivated translator with no understanding of Rastafari culture. To me it should translate as Jah or the Day of Judgement will burn those who have anal sex. It does not encourage people to burn people they believe might be having anal sex. Given Outrage!'s reputation as an extremist organisation I will look out for some material critical of their attitude toward Sizzla and Rastafari. This is the way to go forward on this one. Deleting references to the homophobia controversy material is not the way forward, SqueakBox 19:12, 13 November 2005 (UTC)
Jamaican culture legitimizes lynching of gay men. This is historical fact. What are your motivations in excusing this incitement to genocide?
It may be when it has little to do with the article. There are more gay critism of Sizzla in the article than actual things about sizzla. What does Jamaican attitudes towards gays have to do with Sizzla. None of this has been proven and is all accusations being presented as fact by pro gay people -- unsigned comments from Jmac800 on November 13, 2005.
- Nevertheless, Sizzla is primarily known for his homophobia. The article is not about Jamaican attitudes toward homosexuals, it is about Sizzla. If you would like to add encyclopedic comment about Sizzla's other contributions to society, please feel free to do so. --Yamla 03:54, 14 November 2005 (UTC)
I disagree that Sizzla is primarily known for his anti gay stance. He is primarily known as a reggae singer, and primarily known in Jamaica, which is why the section is now below the faith and music section. It is a part of what Sizzla is known for, which is why we include it, SqueakBox 13:07, 14 November 2005 (UTC)
Does anyone notice the contradictio that sizzla is jailed for swearing in public yet he is not punished for saying he is going to kill people. This should be fixed
- I edited the head of the "Homophobic lyrics" section. Previously it was "Lyrics by Sizzla have not been welcome by gays". It was a cumbersome and ridicule euphemism. It´s like renaming the Holocaust "Population reduction program that wasn´t welcome by jews". Totally ridicule. Please don´t vandalize and keep true facts there.
Hey, dont make false vandalism comments. All you did was edit an article which had no vandalism in it and inserted POV. False accusation clainms are the sign of the POV warrior, SqueakBox 14:30, 23 April 2006 (UTC)
LIKE DUDE SAID YOU HAVE TO UNDERSTAND RASTA CULTURE THERE IS NO GAY CONTROVERSY HERE TO EVEN GIVE THE ARTICLE A SECTION ABOUT THAT IS BOGUS I CAN SEE A LINE ABOUT IT BUT A WHOLE SECTION IT SEEMS THAT WHOEVER CREATED THIS ARTICLE RAN OUT OF CONTENT AND DECIDED TO PUT THAT SECTION IN THERE....SIZZLA'S MUSIC IS NOT ABOUT KILLING GAYS HIS TEACHINGS ARE SIMILAR TO THIS:
Babylon has set up a system designed to keep black people enslaved and ashamed of their culture. The system is so structured that the only way for black people, is to look to the east and seek repatriation to the continent of their origin guided by the Trinity of Haile Selassie, Marcus Garvey and Immanuel and thier teachings.
!!!!!
This bit needs changing yeh "Jamaican law considers male homosexuality a criminal offense" False. Jamiacan law considers the act of anal sex, homosexual or not, an offense. Homosexuality is not against the law. ..in fact im just deleting that whole statement obviously made by a fan who feels the need to justify Sizzla's homophobia.
[edit] Special Interests?
The use of the term "special interest groups" to describe those protesting homophobic lyrics creates a negative bias by implying that such protests are not really in the public interest, but rather selfishly-motivated and thus potentially illegitimate. I think it would be better to use the term "advocacy groups."Lpslogan29 18:34, 4 March 2006 (UTC)
Again, I'm changing the term "special interest group" to "advocacy group" after it was changed back. I think I've provided ample reason why "special interest" implies bias, whereas the editor who switched it back provided no explanation whatsoever.Lpslogan29 17:52, 27 March 2006 (UTC)
[edit] You Guys Forgot Albums
Jah Protect (2006)
1. Yourself 2. Beautiful Day 3. Black Woman 4. Revenge 5. Black People Suffering 6. Jah Protect 7. Kick Dem Out 8. Care 9. Jah Jah 10. Liberate The Poor 11. Legalize It 12. Prison 13. Planet Earth 14. Some How 15. Just Like
Red Alert (2004)
1. Your Love Is 2. Life 3. Beautiful 4. Bring Your Lovin' 5. Slew Them 6. Love You 7. Burn The Herb 8. Stay Clean - (featuring Steely/Clevie) 9. Better Tomorrow 10. Alert 11. First Thing 12. Boom Boom 13. Long Way 14. Blessing 15. Shi Want Me
Burning Fire (2005)
1. Jah Is Love 2. Love You For Who You Are 3. Take Good Care 4. You Gonna Need My Love 5. Dress Immaculate 6. Jah Knows Best 7. No Bad Mind No Red Eye 8. Buss Brain 9. Be Yourself 10. African Queen 11. Sing A Song 12. No Man Stand Alone 13. World Leaders 14. Fire
Life (2004)
1. Things Will Be Better 2. Mortal Man - (with Thriller U) 3. Marijuana 4. Haven't I Told You 5. We Got The Love 6. Jah Works 7. Ain't That Nice 8. Jah Love 9. Greater One 10. Stay In Tune 11. When Nature Calls 12. Born & Raised 13. Life 14. Perfect Lover 15. One & Only 16. One In My Life
Jah Knows Best (2004)
1. Jah Knows Best 2. Real People 3. Subterranean Homesick Blues 4. Rise Them Nature 5. You're Gonna Need My Love 6. You're Better Off 7. I Myself Know 8. Got It Going On 9. My Time, Your Time 10. Move Up 11. You World Leaders 12. Jah Is Love
Speak of Jah (2004)
1. Fight Against The Youth 2. Give Thanks To Jah 3. Teach The Little Children 4. Speak Of Jah 5. Somehow 6. Dem Ago Suffer 7. Vision 8. Love And Affection 9. Girl's Dem, The 10. Freedom 11. Somehow - (remix) 12. Right Road 13. Couldn't Come Among Us
Black History (2001)
1. Bandulu 2. Instance 3. Ring Leader 4. Black History 5. No Pain 6. Rastafari Children 7. Problem Inna The System 8. Bun Dem Up 9. Run Dem To Wrong 10. Things Will Be Better 11. Upfullness 12. Galong 13. Don't Be Disappointed 14. Happy To Love
Up In Fire (2002)
1.We've Been Together 2. Beautiful Eyes 3. Mek Lot a Doe 4. Oh Yes Baby 5. Can't Touch Mi Turf 6. Out Di Way 7. Black Woman Showoff 8. Real (The Live Feel) 9. What Dat 10. Judgment 11. All the Best 12. Mek Lot a Doe [Remix] 13. Instrumental 14. Instrumental
[edit] Article About Sizzla You Can Use
Babylon has set up a system designed to keep black people enslaved and ashamed of their culture. The system is so structured that the only way for black people, is to look to the east and seek repatriation to the continent of their origin guided by the Trinity of Haile Selassie, Marcus Garvey and Immanuel and thier teachings.
This is the message of Sizzla and it influences his music to the extent that he is being looked upon as the teacher and the inspiration for Jamaican youths who want to retain the basic culture of their African origins.
Sizzla's songs speak to poverty and hopelessness that pervades young Jamaica and obviously oppressed youths worldwide. Like Bob Marley, a couple of generations before him, he delivers a message which speaks to poverty, homelessness, police brutality, cultural pride and political and religious oppression.
Born Miguel Collins, Sizzla is a product of one of Jamaica's uptown ghettos, August Town.
One of his earliest experiences of how unfair the social system is in Jamaica, was while he was in his mid-teens. In order to get into a Technical High School so he could learn a trade and have a better chance of earning a living, he had to leave High School , go back to pre-high and then apply to get into a High School which taught trades- Dunoon High School, where he studied Mechanical Engineering.
Dunoon has a reputation of association with some of the best dancehall deejays from the city, including Shabba Ranks and Lady G. So with an inner inclination towards music, it wasn't surprising that while there, he started recording music.
It was Homer Harris, the same man who gave Buju Banton his first break, who introduced him to top Jamaican saxophonist, Dean Frazier, (Musical Director for Philip "Fattis" Burrell's Xterminator Family).
"Fatis" was delighted with his potential, decided to record him.
Sizzla, who had originally planned to follow in the footsteps of his mechanic father Aston, suddenly had a change of heart. He abandoned his mechanic training, came under the influence of Buju Banton and Shabba Ranks' cassettes and decided to stick to music.
The auto industry loss was a tremendous gain for the music industry in Jamaica and indeed around the world.
Since the start of 1997, Sizzla's popularity within the music industry has grown so rapidly, he is considered a musical phenomenon. His tunes fill the charts and sales have been so trmrndous that every reggae producer wished he had a Sizzla song to release and every sound system wants a Sizzla dubplate to be current.
Touring with the Xterminator Family and star perfomer Luciano, has gained for him, tremendous experience and exposure and now Sizzla is about to move up the ranks and make his name as a musical prophet and messenger, in his own right
______________________________________________________________________________________________________________
Jamaica is an island of contrasts. The magical beaches and verdant landscape provide an unlikely backdrop for political discord, restless youth and gun culture. Alongside a history of rebellion co-exists an incredible musical heritage that boasts a score of artists who made music that made a difference. One dreadlock Rasta is ensuring that the roots and culture legacy lives on. Perhaps the most captivating and enigmatic performer to emerge from Jamaica in the last twenty years, Sizzla
Twenty-three year old Sizzla began his journey as Miguel Collins, born of devout Rastafarian parents and raised in the close-knit community of August Town. The 1980's witnessed a dancehall explosion and with the music came the lifestyle; drugs, gunes and "slackness" (vulgarity). Sizzla watched carefully, collecting his lyrical ammunition. Formally adopting the Rastafarian faith, with it's no-holds-barred advocacy of repatriation, slavery reparations and the use of ganja, he joined the ranks of the Bob Ashanti in the mid 1990's. Bobo is Jamaican slang for African, Africa being the spiritual home of the Rasta. The name Ashanti derives from an ancient religious tribe, similar to the Israelites.
The Bobs stand against all forms of oppression or modern day slavery, which have been forced on them by Babylon, the western world. Shunning institutionalized education and religion they have built self-sufficient communities and live frugally according to their strict beliefs. The Bobos' refusal to toe the establishment line together with their often controversial pro-change diatribes inspires supporters and alarms their opposes.
Sizzla began to develop his own uncompromising style whilst serving his musical apprenticeship with the Caveman Hi-Fi sound system. For him the music is a vehicle for his message, and in 1995 he grabbed the opportunity to spread the word far and wide. Kick starting his recording career with a release through the Zagalou label, he then teamed up with Bobby 'Digital' Dixon for a series of singles. Extensive touring with fellow roots and culture artist Luciano followed, earning Sizzla critical acclaim.
1996 marked an important turning point for Sizzla who began working with producer Phillip 'Fatis' Burrell of Jamaica's foremost modern roots stable, Exterminator. From the outset their relationship was one of mutual respect and inspiration. A run of successful singles led to the release of Sizzla's debut album, 'Burning Up' (RAS). The alliance again proved fruitful a year later with the follow-up, 'Praise Ye Jah' (JetStar). Securing his position as a top conscious reggae artist, he set about cultivating his role as a spriritual messenger. Sizzla's combination of Rasta principles and up-to-the-minute dancehall rhythms made his hard line approach more palatable. A brilliant and passionate performer, Sizzla broke boundaries, appealing to those looking for something new, music with depth.
His major breakthrough came with the release in 1997 of the now classic album, 'Black Woman and Child' (Greensleeves). Bearing all the hallmarks of Bobby 'Digital' Dixon's dancehall-influenced production, the impact on both the reggae and mainstream markets was phenomenal. The evocative title track, issued as a single, rapidly achieved anthemic status. Along with universal praise came Sizzla's first nomination for Best International Reggae Artist of the Year at the 1998 MOBO Awards and a place in various magazines' top 100 albums of the year. 1999 also saw him receive his second MOBO nomination. A constant presence in the reggae charts worldwide, Sizzla's fire shows no sign of abating.
If success brings media interest then Sizzla is no exception. But although he is a prolific recording artist, he remains a mysterious figure, having little or no contact with the media. To many Sizzla is a dichotomy; music is a vital means of delivering his message yet he doesn't support the music industry, believing it to be another corrupt and oppressing institution. Not wanting to be seen to endorse the industry, he is wary of any involvement with press and promotion - and has granted only a few interviews to date. His rare live appearances are always sold out.
Whether or not you share his philosophy, there is no denying that Sizzla is a gifted musician who has the courage to stand by his convictions, even at the risk of his career. Like Bob Marley before him and the black Muslim rap artists of today, Sizzla is all about truth through music. A principal figure in the 90's roots and culture revolution, he has inspired dispossessed Jamaicans and newcomers to reggae music alike.
He has an ability to fuse passionate lyrical styling with deceptively simple rhythms that take in range of genres from staccato dancehall and gentle roots reggae to surprisingly commercial R&B and soul arrangements. Glorious opening track "The World" is a modern take on the pulsing dub beat and a call to conquer the evil west by rejoicing in Rastafari. Sizzla's plea for truth on "Courage" is set against a lilting guitar hook. He asks the ghetto youths to follow King Selassie and "Grow U Locks" on a punching dancehall rhythm. The R&B influenced closing track "Must Rise" is an earnest appeal to black people to find strength in unity. All share Sizzla's unmistakable voice, one moment gospel-like and next pure fire.
This Bobo Ashanti cannot be ignored. Embracing his roots and culture heritage, Sizzla has taken all that is great in reggae music and made it his own. Let him save your soul.
______________________________________________________________________________________________________________
Emerging during the latter half of the '90s, the enormously prolific Sizzla was one of the leaders of the conscious dancehall movement. Along with Buju Banton and Capleton, he helped lead dancehall back to the musical and spiritual influence of roots reggae, favoring organic productions and heavily Rastafarian subject matter. A member of the militant Bobo Ashanti sect, he sometimes courted controversy with his strict adherence to their views, particularly his aggressive condemnations of homosexuals and white Western oppressors. Yet overall, his music was generally positive, advocating faith, compassion for poor black youth, and respect for women. He remained something of an enigma to the public at large, rarely granting interviews and keeping his concert appearances to a minimum. Nonetheless, he still ranked as arguably the most popular conscious reggae artist of his time, thanks to a normally high standard of quality control -- all the more impressive given the frequency with which he recorded. A versatile singjay-style vocalist with a gruff, gravelly tone, he was capable of both rapid-fire chatting and powerful, melodic singing, and his best backing riddims were among the strongest in contemporary dancehall.
Sizzla was born Miguel Collins on April 17, 1976, and was raised in the August Town area of Kingston by devout Rastafarian parents. After honing his vocal skills, he landed a gig with the Caveman Hi-Fi sound system, where he first made a name for himself as a performer. He cut his first single for the small Zagalou label in 1995, and soon moved on to Bobby "Digital" Dixon's Digital B imprint. However, he didn't manage a breakout success until saxophonist Dean Fraser recommended him to producer Philip "Fatis" Burrell. Sizzla released a series of singles on Burrell's Xterminator label, including "Judgement Morning," "Life's Road," "Blaspheme," "We Uh Fear," "I'm Not Sure," and the Shadowman duet "The Gun." His first LP, Burning Up, appeared on Xterminator later in 1995, and he toured extensively alongside Luciano and Mikey General. Unlike kindred spirits Capleton and Buju Banton, Sizzla's early material was culturally oriented right from the start; he was able to build an audience without any of the lyrical slackness that helped establish the other two.
Creatively speaking, Sizzla really came into his own with the release of his second album, the Burrell-produced Praise Ye Jah, in 1997. Widely considered one of the top conscious dancehall albums of its time, Praise Ye Jah was quickly trumped by the release of the Dixon-produced Black Woman Child that same year. The title track was a smash hit and became something of a cultural reggae anthem. Sizzla scored several more hits during 1997, including "Like Mountain," "Babylon Cowboy," "Kings of the Earth," and the Luciano duet "Build a Better World." This hot streak kicked off an enormously productive recording binge that lasted over the next several years, with much of his output still done for Burrell.
[edit] Born to Father?
"He was born in Saint Mary, Jamaica, to a devout Rastafarian father"
That sentence sounds a bit strange to me
