The singer discusses her next project, sorta dating Justin Bieber and how her abusive relationship made her closer to her fans The singer discusses her next project, sorta dating Justin Bieber and how her abusive relationship made her closer to her fans

The BIG Cosign: Jasmine V Tells How She Went From Middle Finger Flip-Offs To Standing Ovations

Jasmine V rakes in millions of views on YouTube not just off the strength of her mixed Filipina-Mexican beauty, but her singing prowess. Recognized as Justin Bieber's leading lady in his 2010 breakout video "Baby," the brunette belter has chalked up an adult's worth of life experiences by the age of 20. The R&B/pop singer, hailing from San Jose, Calif. has churned out melodic earworms like "Hello", "Invincible" and now, her Kendrick Lamar-assisted single "That's Me Right There." After sampling fame as a 7-year-old beauty queen at a local mall, Jasmine relocated to Los Angeles, booking modeling and commercial acting gigs before rocking the mic full-time. She was soon signed to Damon Dash at 12 following an impromptu street rendition of Frankie J's "How To Deal." After a few lukewarm releases and brief industry hiatus, Jasmine found herself coping with an abusive relationship, eventually turning her fame into a platform for domestic violence victims in the teary-eyed video for "Didn't Mean It." Now, she's stomping back onto the scene in fresh Timbs with her That's Me Right There EP (out today). As VIBE's BIG Cosign artist for November, Jasmine reminisces on her industry beginnings, coping with Justin Bieber stans, her new project and possibly collaborating with former manager, boxing champ Manny Pacquiao. —Adelle Platon (@adelleplaton)
VIBE:One of the earliest memories of your career in the public eye was singing the national anthem at Manny Pacquiao's boxing matches. What launched your career in the entertainment business? Jasmine V: It’s funny because I’m originally from San Jose and my grandma put into me in a pageant when I was seven at like the local mall and that’s when I first knew I liked being in front of people. I wasn’t really shy. So, pageants slowly got into acting and modeling, so that’s when I moved out to L.A. to pursue acting and modeling. So I was doing all that and I did a couple of commercials and I did a few jobs here and there. I was walking down the street from my agency and some guy heard me singing Frankie J's "How To Deal" and when he heard me singing he introduced me to a couple of people he knew in the music industry, I didn’t know much about it. I was only 11 at the time. I got to the lady who is still my manager to this day, it’s been about 10 years since she’s managed me, and I got signed to Damon Dash when I was 12. How was working with Dame Dash? It was definitely a new experience, especially being so young and not knowing anything about the music industry. So, when I worked with Damon Dash it was definitely one for the books. For someone to believe in me at 11, 12 years old is almost not heard of. So you know, he flew me out to New York for the first time where I would stay for a few weeks with my mother and we would record songs. It’s so crazy to look back at it now.

Who were your early influences? My influence growing up was like Michael Jackson. I loved Aretha Franklin because I used to sing her song “Respect” at like every talent show and I would win with it. Alicia Keys is my idol. I really look up to her, and definitely Beyoncé. Did you have a blueprint for success? Was anybody in your family in the entertainment business before you? No. My family was always musical though, but none of them made a career out of it. So fame didn’t scare you? No. I wasn’t scared. Especially my first big break was [singing the national anthem at a Clippers game, and I just remember wanting to get out there and be in front of so many people. Now that I’m older, I think about it more and I’m like “Oh my God, Oh my God, Oh my God.” How did I even relax back then? Another big opportunity came when you were in Justin Bieber’s video “Baby.” I was 16, that was so long ago! It’s so crazy. Were you two ever together at that point? Well yeah, I first met him on the “Baby” video. That’s when I first realized who he was. I didn’t know he had his own music at the time. I was more then honored to be in the video. [He was a] really nice kid. I ended up opening for him on his "My World" tour and yeah, we dated when we were younger, but we were so young and it was more work-related than anything. The only time I would see him was when I would perform. But we were still little, so it’s not something we can really take seriously. Do you ever text each other these days? No. Not really. I run into him every now and then and that’s when I’m able to be like, “Oh, congrats on everything.” How did you deal with the Beliebers because any girl next to Bieber equals an auto-attack on the Internet. When I would perform on tour [with him], I would get a couple of middle fingers here and there from some of the girls but it was just something I had to take in and realize that it’s going to happen regardless. I’m a girl. I was in the video. You can’t take it seriously. These people don’t know you personally. After a while I had to be able to laugh it off and just not let it get to me. It is crazy because they’re so dedicated and they love him so much so I totally understood. Being in the spotlight so young, do you regret any songs you’ve done in the past? I’ve never regretted any songs that I’ve done in the past. I’ve only regretted the songs that I’ve really loved and never put out, and now it’s kind of too late to put them out because they don’t make sense. I just go back and listen to them, and think, 'Wow, this would’ve been a really great song to put out,' but it’s a learning experience. Majority of my fans are girls, so a lot of the songs I recorded when I was younger were about falling in love, being heartbroken, and girl empowerment. I feel like a lot of them are probably outdated.

You recently opened up about being in an abusive relationship. What inspired you to take a stand against domestic violence? When that whole thing happened, I just wanted to be a voice for young girls and be that shoulder to lean on because I didn’t have one when I was in my situation. Nobody knew and I knew if I would’ve just said something, I would have had so many supportive people, like my parents, my brothers and my team around me, but I didn’t have the courage. I wanted to be the courage for these girls that didn’t know how to say anything so I was like, 'You know what? It was unfortunate that I went through it. But I can take this negative and turn it into a positive, and hopefully help younger girls or even boys, because it happens to boys as well.' And when I put the video out and put the number for the domestic violence hotline at the end, calls increased by like 60 percent. You also had a savior. Yeah. Towards the end of me in that relationship, I just remember being so upset. I was tired of where I was, even in that relationship and in life in general. I had just turned 18; I didn’t know what was going to be happening. I wasn’t signed to anybody. Everything was just piling on me. I was going through problems with my ex-boyfriend and this guy I’d never seen before could see me crying from a window. He just whispered to me, 'Are you okay?' And I just looked at him and was like, 'No, I’m fine. I’m fine.' He was my courage that I didn’t have. He ended up calling the cops for me. That was the last time that I had to deal with that in that relationship. What’s crazy is I’ve never seen him again after. If I did have a chance to see him, I would tell him thank you. With this new EP, do you going to revisit some of those feelings from that relationship? I kind of closed that chapter in my life. It’s been a few years, and me and him don’t talk anymore and we leave it that way. But I want to start fresh and be able to channel the emotions I’m going through now. Being single again, I don’t have a boyfriend and just figuring out what I want to do with my life, you know, being a young girl. You’re going to fall in love and then break up and date, and be heartbroken. I want to be able to channel all of those emotions and have fun and have all these girls listen to the song and be like, 'Wow. I’m going through that. How did she know?' Speaking of dating and relationships, do you think social media makes it harder or easier to find the right person? Social media makes things a lot harder. Because nowadays you have people that just make a fake profile with a really hot guy or a really hot girl, and you think that it’s really them and then you get Catfished. You find out way more stuff when it’s on social media. Social media is a lot harder than actually going out, getting off your phone, walking out the door and being social. I’d rather meet a guy in person and have him like me for me, then have him like me with Instagram filters because all that stuff is kind of deceiving. If you meet somebody in person and they learn to fall in love with you, your voice, your face and your personality rather than your text messages, your pictures on Instagram or your tweets, it will work out way better. Do you ever feel like you have to tone yourself down on Instagram because so many young girls look up to you? It is hard. A lot of my fans are younger than me so I always make sure I don’t post anything or tweet anything that’s crazy. Sometimes I am crazy—not really, just kidding. But it’s more so out of respect. Not everybody’s going to agree with you at the end of the day, so it’s like even if I don’t dress in a certain way that offends people, there’s going to be something else in the picture that they’re going to find that they don’t like. And it’s going to happen all the time; you can’t please everybody. But it’s a level of respect, not only for people, but also for yourself. Do you feel the same way about your music? Yes, definitely. I want people to relate to it and I want the parents of these kids to be like 'That’s somebody you should look up to,' rather than 'You can’t listen to this,' or 'She does this, and she does that.' For your most recent single, “That’s Me Right There,” what was the motivation behind that? I was actually in a relationship at the time when I recorded that song so it was definitely relatable to me because I was able to be like, 'That is my man.' I’m not insecure. I know that he got me and I got him. So at the end of the day, you could be over there at a party with a whole bunch of girls and I could be chilling and I know that nobody can love you like I can. You also have Kendrick on there, who has been M.I.A., working on his new album. How were you able to get in contact with him? Well, I saw him in the studio and I got to meet him. He’s such a humble person and a great guy, and the fact that I got him on my record thanks to my team, I was super excited. I was actually stunned because it’s like, Wow. Kendrick. You're definitely in tune with hip-hop. Do you feel like that’s the direction you’re going in with your music? Yes, it’s definitely a mixture of that, pop and dance music. I have a song on my EP that has a little bit of a Spanish vibe, so I want to be able to make different kinds of music but have it all tie in together. I have collaborations with Jeremih, Problem and Ne-Yo. Now you were once managed by boxing champ, Manny Pacquaio. Is there any chance you will be doing a collaboration with him in the future? Oh my God, if that could happen, that would be amazing! Maybe in the future if we could make that happen that would be awesome.

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Then & Now: Common Details How He And J Dilla Collaborated On The "Thelonious" Track With Slum Village

J Dilla and Common had a really tight creative bond and, at one point, lived together in L.A. So you know that Common got dibs on all of his hot beats first. They were hip-hop brethren just trying to work together and of all of their collaborations, living and posthumous, the track “Thelonius,” is the sharpest intersection of the two legendary artists' careers.

A singular song fit for two albums, the cut was placed on Common’s fourth studio album Like Water for Chocolate and Fantastic Vol. II, Slum Village's classic sophomore album. “Thelonius” as we know it was in a way an accident...a soulful snafu that we get to enjoy forever. In this excerpt of VIBE's Then & Now video franchise, Common shares how the song manifested unplanned, willed into existence by Dilla’s uncompromising creative compass.

The story is brought to life with artwork by visual artist supreme, Dan Lish (@DanLish1), the man behind Raekwon’s The Wild album artwork. The illustrations you see in this video are a small fraction of what you can find in his upcoming book: Egostrip Vol 1 – The Essential Hip Hop Art Book, a psychedelic visual history of hip-hop to be enjoyed by the genre’s oldest and youngest fans alike. 

Today is the last day to support Lish's Kickstarter for the incredible project. Click the following link for a copy of your own: 

“I picked up on what inspired me about the artists, whether it be a certain lyric from a classic song or my perception of what may be going through their mind at the moment of creation,” says Lish.

There is much more to be said about all of these artists. For more stories on Common’s catalog, including several more Dilla cuts, stay tuned for the upcoming episode of Then & Now, where we dig deeper into notable tracks in the career of one Lonnie Rashid "Common" Lynn, Jr.

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Courtesy of Biz 3 / FCF

Quavo Is Introducing 'Fan Controlled Football' To The Culture

From their penchant for popping tags and name-dropping designer brands in their rhymes to the obsession with diamond-encrusted neckwear, the Migos are the modern-day poster-children for decadence and opulence. But when it comes to balling, group member Quavo is a seasoned veteran, literally and figuratively. Notorious for his appearances in NBA all-star celebrity games, where he routinely dominates the competition, Huncho has built a rep as one of the athletically gifted hit-makers in music today.

Although he's known for his skills on the hardwood, football is definitely among his passions. His newest endeavor, an ownership stake in Fan Controlled Football (FCF), the first professional sports league to put the viewer in the coach's seat and the general manager's office, in live time, finds him putting his focus back on the gridiron. Having inked an exclusive, multi-year streaming broadcast partnership with Twitch, the FCF will be the first professional sports league to be fully integrated with the streaming platform with the potential to explode in the digital age, where user interest and participation is the main recipe for success.

Having tossed the pigskin around as a Georgia high school football star, to Quavo, it was a no-brainer to get involved with the innovative league on the ground level. “We are building a brand and something different in our league – with the fans. They are in control and get to pick the team names, colors, logos, and more,” said Quavo said in a press release. “I’m really excited because FCF is fast-paced, high-scoring 7v7 football and you are in control. You go from sitting on the couch watching TV and pressing buttons on the remote to actually pressing the buttons on the plays.”

Played on "a 35-yard x 50-yard field with 10-yard end zones,” the Fan Controlled Football league will kick off in February 2021, with a four-week regular season, one week of playoffs, and a Championship week. The league will consist of former elite D-1 athletes, the CFL, XFL, and the Indoor Football League. Broadcasted live from the FCF’s state-of-the-art facility in Atlanta, each game will be 60 minutes in length and will allow the viewers to play a hand in the final outcome on Twitch.

Aside from sports, Quavo has been relatively lowkey on the musical tip as of late, with two years having passed since a solo release or a Migos album. However, according to him, this delay can be considered the calm before the storm, as he assures him and his brethren are primed for one of their biggest years yet. VIBE hopped on the line with Quavo to talk Fan Controlled Football, what he's got cooking in the studio, and his foray into TV and film.


You're the newest team owner at Fan Controlled Football (FCF). What about the league piqued your interest and made you wanna get involved?

It's just showing my interest in the game of football and just trying to put a twist to where it's fan-controlled, fan-involved. A lot of times we watch the game, you watch the game, you just have some concerns. Sometimes you feel you can make the plays or call the play, [with FCF], you can sit on the couch and make the play. I just think we came together to make something crazy like that. I feel like it's something hard, it's something new, it's something fresh. It's a new beginning to something, like giving ni**as a chance. Giving D-1 players who couldn't make it to the league a chance, giving ex-NFL ni**as a chance if they still got it, [and] to go with the fans. When we saw the Falcons lose the Superbowl LI, we [fans] just knew what plays to call, we knew to run the ball. We were up 28-3. All we had to do was hold the ball, but we wanted to air it out and we made a mistake and lost to Tom Brady. Just like when Marshawn could've won a Superbowl. If they'd have given him the ball on the two-yard line. We knew that Marshawn Lynch was supposed to get the ball, [but] they wanted Russell Wilson to win it and the New England Patriots caught an interception. So that's how we're trying to shape it, we're trying to make something new.

The FCF will be live-streamed exclusively on Twitch, which has become one of the leading platforms for eSports live-streaming and will kick off in February 2021. Do you feel the FCF has the opportunity to fill that NFL void during the spring, particularly given the fan engagement that FCF enables?

Most definitely, cause after the Super Bowl, it just feels like you just want another game. You feel like you want one more game. and coming from something [where it's] eleven on eleven players to seven on seven, I feel [there’s] still a difference. After coming from watching the game and the regular politics, the regular structure of the game, now you're getting to be involved in a game that you can control. You can pick the jersey, you can pick the helmets, you can pick the jerseys, you can pick the coaches, you can pick the plays. I just feel there are two different dynamics [between the NFL and FCF). You come from sitting on the couch and pressing the remote to actually pressing the button on the plays."

Speaking of fan engagement, the FCF is the only professional sports league that enables fans to call the plays in real-time and puts the viewer in control of a game’s outcome like never before. Have you ever had that experience, as far as fantasy football?

Nah, but I'm into Madden. You can sit at home and pick your plays [with FCF], it's just like the lifestyle of Madden. It's like a reality of Madden. You're playing with people at home, with these unique athletes, and it's seven-on-seven.

As an Atlanta native, how significant was the FCF’s state-of-the-art facility being in your hometown in your decision to come on board as an owner?

It's very important. We got top-tier talent here, so it's opening up opportunities for a lot of guys. We're just glad it's in the south, it's like a hub. Everybody loves Atlanta and everybody wanna be here. Everybody wanna play and the weather is good.

NFL Super Bowl Champions Richard Sherman and Marshawn Lynch, boxing legend Mike Tyson, and YouTuber and podcaster empire Greg Miller are among the FCF's team owners. How does it feel to be competing against some of the most accomplished athletes and entertainers in the world? Have you had the opportunity to meet with any of them?

Most definitely. I have a good relationship with Mike Tyson. I've met Marshawn Lynch, it's a blessing. I feel like we're not competing right now, I feel like we're building a brand. I feel like we're building a league. I feel like we're trying to make the world understand what we're bringing to the table and what type of game we bring to the table, you feel me? I feel we're trying to create something different. Once we get the ball rolling, it's all together and moving into a real FCF league, then we'll get to compete. Of course, we all wanna win, but right now, we're just trying to get the foundation and the basics going and letting the strength of the owners and the relationships show on the field.

Being that you'll all be working with your respective fan bases in shaping your team’s personality and identity, any thoughts about what the team’s name will be? 

Man, I wish I did, but it's so straight strictly fans that you never know. Just like with music, can have an idea that is a smash, and then the fans don't think it is. You gotta strictly listen to the fans on this one. You gotta listen strictly to how they want it because it's the point of the game, that's the point of the league. We gotta let them control this game and then we the players and we the people that's listening to the people, the culture. FCF stands for culture, too, you feel what I'm saying? We listen to the culture, we're letting the culture run the field.

How involved will you be in the drafting and scouting process for your squad?

The fans make the draft, fans get to see everything. Open books, everything. It's an open thing, it ain't nothing to hide over here. The fans control it all.

In addition to sports, you've also been delving into acting, with cameos in shows like Atlanta, Star, Black-ish, and Ballers. Earlier this year, you appeared as yourself in Narcos: Mexico. How did that opportunity come about? 

Narcos reached out. We [Migos] had this song called “Narcos” on the [Culture II] album and we went and shot [the video] in Miami and everybody thought it was a Narcos movie scene and it ended up being Madonna's house. So we just shot that there and then they reached out to us. I think Offset had a performance somewhere and Takeoff had to do something and I just ended up being free that day and I went and shot it in New Mexico. I had fun, I loved it.

Do you have plans to pursue any supporting or leading roles in film or television?

Hell yeah, most definitely. I've been sitting down and having real great meetings with directors and people that got some movies in the works for 2021. I feel like I’ve got some good spots. I don't wanna tell it cause they’re gonna make some announcements. It's coming soon.

It's been two years since you've released a solo project or one with the Migos. Can fans expect any new music from you anytime soon and what are your next plans on that front?

Most definitely, hell yeah, we're shooting videos right now. We’re vaulting up a whole lot of videos so we can give you music and visuals at the same time. “Need It," the song came first and then the video. Right now, we wanna get a lot of videos and a lot records in the vault and smash [them] all at once 'cause it's been two years.

Pop Smoke's passing was one of the more tragic events in rap in recent memory, but his debut album, which you appeared on throughout, has been one of the most successful and acclaimed projects of 2020. How has it been seeing how the album’s been received, especially after you and him developed such a bond in a short time?

I'm happy. I'm proud of him, that was my partner. We did a lot of records, we spent a lot of time together and I feel like the album would've did even more with him being alive. A lot of people's album just go crazy when they die, I feel like his sh*t would've still went crazy. He had the momentum, he had the buzz. He was having fun. He was hot, he was fresh, he had everything ready.

This interview has been edited for length and clarity.

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Toots Hibbert performing at Hammersmith Palais, London in 1983.
Photo by David Corio/Redferns

Remembering Toots Hibbert

The best singers don’t need too many words to make their point. Otis Redding could let loose with a sad sad song like “Fa-fa-fa-fa-fa-fa-fa-fa-fa” and get you all in your feelings. Bob Marley got pulses pounding with his “Whoi-yoooo” rebel yell. Gregory Isaacs melted hearts with nothing more than a gentle sigh. Toots Hibbert, who died last Friday at the age of 77, could sing just about anything and make it sound good. One of the world's greatest vocalists in any genre, Toots paired his powerful voice with the understated harmonies of Raleigh Gordon and Jerry Mathias to form The Maytals, a vocal trinity that never followed fashion and remained relevant throughout the evolution of Jamaican music—from the ska era to rock steady straight through to reggae, a genre named after The Maytals' 1968 classic “Do The Reggay.”

Whether they were singing a sufferer’s selection (“Time Tough”), a churchical chant (“Hallelujah”), or the tender tale of a country wedding (“Sweet and Dandy”), The Maytals blew like a tropical storm raining sweat and tears. The lyrics to Six and Seven Books,” one of The Maytals' earliest hits, are pretty much just Toots listing the books of the Bible. “You have Genesis and Exodus,” he declares over a Studio One ska beat, “Leviticus and Numbers, Deuteronomy and Joshua, Judges and Ruth...” Having grown up singing in his parents' Seventh Day Adventist Church in the rural Jamaican town of May Pen, Toots knew the Good Book well.

The Maytals broke out worldwide in 1966 thanks to the song “Bam Bam,” which won Jamaica's first-ever Independence Festival Song Competition, held during the first week of August as the island nation celebrated both independence from Great Britain in 1862 and emancipation in 1834. They would go on to win the coveted title two more times, but “Bam Bam” was a singular song with a message every bit as powerful as Toots' voice. “I want you to know that I am the man," Toots sang. He was young and strong, ready to "fight for the right, not for the wrong." The trajectory of "Bam Bam" would not only transform Toots' life but make waves throughout popular music worldwide.

"Festival in Jamaica is very important to all Jamaicans," the veteran singer stated in a video interview this past summer while promoting his latest entry into the annual competition. "I must tell you that I won three festivals in Jamaica already, which is “Bam Bam,” “Sweet & Dandy” and “Pomp & Pride.” Toots described that first festival competition as a joyous occasion. "Everybody just want to hear a good song that their children can sing," he recalled. "Is like every artist could be a star."

In 2016, on the 50th anniversary of "Bam Bam" winning first place, Toots looked back over the legacy of the tune that made him a star. "I didn’t know what it means but it was a big deal," he told Boomshots. "You in the music business and you want to be on top and you write a good song and you go on this competition and if they like it then it becomes #1." After The Maytals won, the group was in demand not just all over the island, but all over the world. "We start fly out like a bird," he says with a laugh. "Fly over to London."

"Bam Bam" went on to inspire numerous cover versions, starting with Sister Nancy, Yellowman, and Pliers. It would also be sampled in numerous hip hop classics, and interpolated into Lauryn Hill's "Lost Ones." But according to Toots, he did not benefit financially from these endless cover versions. "People keep on singing it over and over and over, and they don’t even pay me a compliment," he told Boomshots. "I haven’t been collecting no money from that song all now."


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“This man don’t trouble no one... but if you trouble this man it will bring a Bam Bam” Original Maytals Classic @tootsmaytalsofficial 🎶 All them a talk, them nuh bad like Niya Fiya Ball ☄️🔥💥 via @tonyspreadlove . 💥💣🔫#Boomshots

A post shared by Word Sound & Power (@boomshots) on Sep 12, 2020 at 8:19am PDT

When Toots began singing in his parents' church, music was not seen as a career prospect, and the profits were slim for Jamaican recording artists in the 1960s. "Those days we get 14 cents for the record to play on the radio," Toots said. "I get three shillings and five shillings for a number one record, which I had 31 number one record in Jamaica... It’s not about money for me. It’s about the quality that Jamaicans need to go back in the festival jamboree... You gotta talk to the children."

On the poignant “54-46 (Was My Number),” Toots recalls the dehumanization of his arrest and 18-month imprisonment at Jamaica's Richmond Farm Correctional Center for what he always insisted was a trumped-up ganja charge just as his music career was taking off. The song's crescendo comes two minutes in when Toots breaks into a scat solo that cannot be translated into any language known to man, delivered with palpable passion that made his message universal. During Toots' ecstatic stage performances he would follow this riff by commanding his band to “Give it to me... one time!” Then the 'd make 'em say Uh!  (Way before Master P!) “Give it to me... two times!” Uh! Uh! And so on and so forth until Toots worked the place into a frenzy.

The Maytals' live show was so explosive that Toots began touring all over the world, opening for rock megastars like The Rolling Stones and The Who. While Bob Marley richly deserved the title King of Reggae, his friend Toots was performing internationally before The Wailers, and remained a force to be reckoned with throughout his life, blazing a trail for generations of reggae artists to follow in his footsteps.

On his Grammy-winning 2004 album True Love, Toots recorded some of his greatest hits with a host of legendary artists, many of whom were also good friends, including Willie Nelson, Mick Jagger, Keith Richards, Bonnie Raitt, Sheryl Crow, and Eric Clapton. His 2006 cover of Radiohead's "Let Down" was a favorite of the band's, who used to play it on their tour bus. Radiohead guitarist Jonny Greenwood called Toots’ version “truly astounding,” according to Easy Star Records Michael Goldwasser.

Toots supported himself and his family by touring all over the world. During a 2013 show in Richmond, Virginia he was singing John Denver's "Take Me Home Country Roads" when a teenager in the crowd threw a vodka bottle at the stage and hit him on the head. He suffered a concussion and had to stop touring for several years. As his first album in a decade, Got To Be Tough was highly anticipated when it was released on Trojan Jamaica label August 28. On the cover the former boxer and lifelong fighter can be seen throwing a punch. Just a day after the album dropped, Toots came down with symptoms similar to COVID 19. Within a few days he was hospitalized where doctors placed him into a medically induced coma from which he never recovered. As his Tidal obituary pointed out, he passed away exactly 33 years after his old friend Peter Tosh died by gunfire.

Songs like "Just Brutal" from the hit different now, with Toots pleading for more love in a world gone wrong. "We were brought here," Toots sings. "Sold out. Victimized brutally. Every time I keep remembering what my grandfather said before he died."

“I’m feeling alright,” Toots said the last time we spoke, while he was still sidelined with stress issues due to the bottle-throwing incident. "I’m feeling alright. I’m feeling alright. I’m feeling just cool because is Jah works. You seet?" I asked him if the song "Bam Bam," was about him—a peaceful man who should not be provoked—or else. "Nooo don't trouble him," Toots said with a laugh. "It’s gonna be double trouble, triple trouble. A lot of trouble."

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