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Creator Of Beyoncé Church Service Delivers New Take On The Old Testament

Spreading the gospel in today's world comes with a creative gamble. There are those who still take to streets with hugs and messages from the Bible and there are others who have found ways to include today's biggest artists into scripture. Insert Beyoncé Mass, a church service mixed with inspirational songs from the Grammy-winning singer.

The alternative service was created in 2018 by Rev. Yolanda Norton, who taught the class "Beyoncé and The Hebrew Bible" at San Fransico Theology Seminary. In an effort to teach students about black women and their relationship to the gospel, Bey's use of spiritual and religious imagery in her work came to mind. "We're talking about respectability politics, the commodification of the body, sexuality, motherhood and relationships because these are all very real to black women," she tells VIBE about the womanist worship service. "We build from that to talk about how all of these issues show up in the Bible."

The class found its way to the church pews in 2018 with much fanfare. With scripture from the Old Testament, Rev. Norton and her team strategically weaved through Beyoncé's vast discography to curate a service with some of the singer's most moving records.

The first service at San Francisco's Grace Cathedral brought out over 500 people, a huge difference from the normal 50 attendees. While some saw the mass as a "spiritually awakening experience," critics questioned the presence of secular music in the church. There's also the immediate likeness to Kanye West's Sunday Service where the artist blends his discography with gospel hymns. But Rev. Norton says the two have nothing in common.

"I've been in ministry for 12 years," she says. "I've been ordained for six years and I'm a trained theologian. I have a decade's worth of education in the field. I lead with theology and the mission of Christ. Again, it's a very different thing. He's a performer—I'm not. That doesn't work for what I'm doing. What I can do is attempt to construct a meaningful conversation about God and Christianity."

Rev. Norton's Beyoncé Mass will take place this evening in Brooklyn's First Presbyterian Church at 7 p.m. ET and again on Thursday (Oct. 24) at Harlem's St. James Presbyterian Church at 7 p.m. ET.

Check out our chat with Rev. Norton where she breaks down the future of Beyoncé Mass and more.

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How did Beyoncé Mass come about and how does it connect to your class "Beyoncé and the Hebrew Bible?"

Rev. Yolanda Norton: First, I'm a Hebrew Bible scholar who teaches what popular vernacular call The Old Testament. I'm finishing up my Ph.D. at Vanderbilt, my doctoral studies focused on the Hebrew Bible but I also have a secondary resource interest in ethics and homiletics which is the study of preaching.

My work is interdisciplinary and I'm always seeking how African-American women encounter the Bible, Christianity and how the intersection of patriarchy and racism has influenced the development of Christian faith. So thinking about that work, I developed this class called "Beyonce and the Hebrew Bible."

It uses womanist theories to highlight the realities of black women. It's a term that pulls inspiration from Alice Walker's In Search of Our Mother's Gardens and with that, I used womanist theological theory to frame for my students the issues black women face and how we encounter the Bible. In particular, I used that theory to inform conversations about the music and persona of Beyoncé so that we can talk about the issues black women face. We're talking about respectability politics, the commodification of the body, sexuality, motherhood and relationships because all these things are very real to black women. Then we build from that to talk about how all of these issues show up in the Bible.

Beyoncé Mass came about because one of my students [Sam Lundquist] was interning at a church in San Francisco and asked us to lead service in their midweek capital, which is their prime gauge/alternative worship service. We agreed to do it and I went away to a wedding. When I came back, Beyoncé Mass Service had gone viral. Since then, we've taken the small team to Portugal, Southern California and now here we are in New York.

How was the service in Portugal? 

It was amazing. I really didn't know what was going to happen in Portugal more than any other place. I thought, "I don't know if this translates right." I know there are intersections between the kind of problems we face in the United States but I don't know how close that is.

We were supposed to do it at one church but once it hit the media, they got a lot of pushback and they pulled out. We found a Catholic church and so repurposed it for the mass. We didn't know who was going to show up until that night because the church only held about 350 people. Let's just say we broke some fire codes both nights.

We had people sitting on the side of the pews and on the floor. So it has been quite amazing to think about the impact of the mass and the populations of people who are who were able to reach.

How do you feel about the criticism you've received about Beyoncé Mass?

You know, people are entitled to think what they want to think. I'm not worshipping Beyoncé and I'm not encouraging anyone to worship her. I'm very clear that this is a Christian worship service and we're just using the music to tell a story about black women and to provide an alternative vision of who and what the church can be and we know that can be intimidating to people.

I know that message doesn't resonate for everyone but for as long as there is a population of people who find affirmation and healing and flow in this work, then I'm just going to keep doing it and I can't be concerned about what people who have this kind of blanket critique. I have a community of scholarly women and black female friends that give me solid feedback along the way. I do my best to live in community with that feedback and that critique, but for people who have decided to dismiss it? I can't give you that energy.

How do you handle the comparisons to Kanye West's Sunday services and given stan culture among the Beyhive, do you worry that people will misinterpret the message behind the service?

We've seen increasing comparisons between the Beyoncé Mass and Kanye's Sunday service. I've never been to one, but my very basic answer is that I've been in ministry for 12 years. I've been ordained for six years and I'm a trained theologian. I have a decade's worth of education in the field. I lead with theology and the mission of Christ.

Again, it's a very different thing. He's a performer—I'm not. That doesn't work for what I'm doing. What I can do is attempt to construct a meaningful conversation about God and Christianity.

When it comes to the Beyhive, I get it. I'm beyond a fan, but my focus is on the mission of Jesus Christ. I know there are people who come to the mass who aren't devout Christians at all. They're atheists, agnostics, people who have been hurt by the church, and it reminds me of an opinion piece that was written by a gay man who felt emotionally abused by the church and decided to abandon it. He attended our San Francisco service and realized there's a difference between who God is and what the church does.

 

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one of the only things that can get me to attend mass: YONCÉ.

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So I think there are a lot of people who come to the mass for various reasons. The best that I can do is to create a meaningful worship center that hopefully provides some healing and centers people on what I think is God's mission in the world.

When you think about the mission of Beyoncé Mass, black women immediately come to mind. Will the New York services share lessons about black women in the Bible? 

The Hebrew Bible scholar in me has to say, we have to be attentive to the fact that race was not operative in the biblical world, right? So these distinctions of black and white are not there in the Bible. What is there for me as a Bible scholar is that there are communities that were being formed and there are some people who are celebrated and belong in the text and there are some people who don't. So it's not about talking about black women in the Bible, but it is about how black women can find themselves in the Bible.

It's a thin distinction but a very real distinction. I'm clear that in the reception history of the Hebrew Bible, black women, in particular, have been excluded. So my work is to retrieve a voice for black women. It's just a matter of doing that in the ways that I feel is the most faithful to the scholarship and my discipline.

Where do you see Beyoncé Mass heading?

My goal is, you know, trying to pinpoint a set of cities to do the math in. While doing that I want to increase our outreach capacity. When we can find inclusive, affirming states and worship for all of God's people, we can go out into the world and do the work of justice. I want it to develop this network.

We found the right church in Harlem. Their minister Rev. Derrick McQueen is an out gay male and has a Ph.D. in ethics. We're also working with Brooklyn's First Presberyian Baptist Church that's ministered by a black woman. These are spaces where people see them for who they are and love them because that's the mission that God has given us.

What are four songs from Beyoncé's discography that speak to the messages in the service? 

The song we always use is "Flaws and All." It's so raw and honest. [The lyrics say,] "I'm a train wreck in the morning, I'm a b***h in the afternoon." I'm all of those things and you can turn that into a conversation with God. We aren't perfect and we have a bunch of flaws, but God loves us. We may never understand the mystery of why God loves us beyond our imperfections but God does.

Another one would be "Formation." It's a sense of working together as one. We have to work together to be "in formation" and while she's doing that, she's talking about her love, not for her own self but other black bodies [Jackson 5 nostrils lyric].

There's also "Halo" and of course, "Love on Top."

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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: https://www.kickstarter.com/projects/dan-lish/egostrip-book-1 

“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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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.

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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

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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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