A religious movement that accepts Haile Selassie I,
as King of Kings, Lord of Lords and the Lion of Judah as Jahy.
A religious movement that emerged in Jamaica in the early 1930s,
arising from an interpretation of Biblical prophecy.
Raggamuffin (or ragga) is a kind of reggae rap that includes digitized backing instrumentation. It is a form of dancehall, and has been popular since the middle of the 1980s; “(Under Me) Sleng Teng” (Wayne Smith; 1985) is usually recognized as the first ragga song. The instrumentation is usually behind dub singing, which is similar to rapping in its focus on rhythmic, assonating and rhyming words.
Ragga is the short form of raggamuffin, a term which held its present musical connotations since the late 1980s or beginning of 1990s. The term ragamuffin is derived from the Middle English personal name Ragamuffyn, which was usually employed in an insulting manner towards street children. The word later came to mean a person who is shabbily clothed and dirty, often applied to orphans. It was used in this way to describe Kingston ghetto youth, and the youth themselves took on the term to describe their new music. The name was used early on in album titles by Asher D & Daddy Freddy – “Raggamuffin Hip-Hop” as well as the Daddy Freddy songs “Ragga House” with Simon Harris or “Ragga Rock” with Led Zeppelin.
One of the reasons ragga music has gained such widespread use in Jamaica so quickly is the relatively low cost of building synthesized rythms. Many producers can turn out thousands of singles in a year, and producers often make “rhythm albums” entirely composed of beats for artists to record their own melodies and lyrics to. The style can be traced to the popularity of Wayne Smith’s 1985 single, “Under Me Sleng Teng,” which was produced by King Jammy, and featured a rhythm made on a Casio keyboard. The song boosted Jammy’s popularity immensely, and was followed by a host of imitators. The style remained popular
throughout the 1990s, and began to incorporate more and more elements of hiphop, both in the style of the beats and in the sampling techniques. This influence has allowed some tracks to become crossover hits in the United State’s urban music market. It has also been a major influence on the jungle/drum’n’bass scene in the United Kingdom