MASERU, LESOTHO, May 15th, 2020/www.gbafrica.net/ Lesotho is the last African country on the continent to confirm the presence of the coronav!rus, according to reports by Aljazeera. This past Wednesday, the Southern African country reported that of the 81 tests that have been conducted on travellers from South Africa and Saudi Arabia, one was positive. Lesotho is still awaiting the results of an additional 301 tests.
News of the outbreak comes at a politically uncertain time. Lesotho’s Prime Minister Thomas Thabane is set to resign this week following the collapse of his coalition in parliament in addition to having been charged for the murder of his former wife almost three years ago.
Additionally, Basotho citizens who are currently stuck in South Africa are allegedly making dangerous border crossings in an effort to return home. However, the South African government has increased the presence of security forces at borders which we temporarily closed amid the national lockdown.
While the governments of numerous African countries have implemented national lockdowns as part of continued efforts to curb the spread of the outbreak, the likes of South Africa, Ghana, Nigeria and Zimbabwe have already begun easing restrictions.
The total number of coronavirus cases on the continent stands at 72 482 with at least 2494 reported deaths according to the BBC’s Coronav!Crus in Africa tracker.
Top 10 Drama Movies To Watch This Week [RATED 16+]
The beauty of Netflix is that the streaming service has a wealth of genre options at your disposal. If you want to get your action fix on, you are free to do so. If you’re in the mood for a comedy, thriller, or straight-up horror movie, they’ve got those as well. But sometimes it’s hard to beat a genuinely great drama, and boy does Netflix have a wealth of options in this particular genre. To help whittle down your choices, we’ve gone ahead and curated a list of the very best dramas on Netflix right now, which run the gamut from period pieces to relationship dramas to little-seen gems. There are movies from big, well-known filmmakers on this list, and there are also films from up-and-comers that are absolutely worth checking out.
So peruse through our list of the best drama movies on Netflix below, and get to watchin’. But beware; some of these may require a tissue or seven.
Someone Great – (2019 film)
Jenny, a music journalist living in New York City, lands her dream job with Rolling Stone in San Francisco. Her boyfriend of nine years, Nate, breaks up with her, and she spirals into a depression. Her best friends Erin, a real estate agent afraid to admit her feelings to her girlfriend Leah, and Blair, a social media manager who needs to break up with her boyfriend Will, with whom she has lost chemistry, are the only ones who can bring her out of it. Jenny contacts Erin and Blair after learning the concert series known as Neon Classic is putting on a pop-up show at Sony Hall and proposes one last adventure together before she moves, both to celebrate a new chapter in her life and to mend her broken heart.
The Lovebirds – (2020 film)
Jibran and Leilani are a couple who have been together for four years. Their relationship is fraught, and the two argue constantly about a variety of topics. While driving to a dinner party, the two mutually agree to end the relationship. Distracted by the breakup, Jibran runs a red light, hitting a cyclist with their car. The man refuses help and flees the scene. A man with a mustache suddenly commandeers their car, claiming to be a police officer and that the man on the bike is a criminal. He pursues the cyclist, but after catching him runs the cyclist over with their car several times, killing him. Mustache prepares to kill Jibran and Leilani with a gun but flees after hearing police sirens. Jibran and Leilani then flee the scene themselves.
I’m In Love With A Church Girl – (2013 film)
Wealthy drug dealer Miles Montego meets a nice Christian girl, Vanessa Leon, at a mutual friend’s house, and the two hit it off and start a relationship. Miles tells Vanessa that he used to be a drug dealer, but now wants to change his life. At first she is reluctant, but accepts it, assuming that he will start having faith in God. However, unknown to Miles, a few DEA agents are watching him and his friends and plan on taking them down.
Queen And Slim (2019 film)
While some would call it more of a dramatic thriller than a romance, it’s hard to ignore the chemistry between main characters Queen and Slim. They meet for the first time during an awkward first date, but are soon forced to go on the run after they fatally shoot a police officer in self defense. What follows is a complex reflection on Blackness in America, and a heart-pumping tale of runaway lovers.
365 Days (2020 film)
After a meeting between the Torricelli Sicilian Mafia crime family and black market dealers, Massimo Torricelli watches a beautiful woman on a beach. His father, leader of the Sicilian Mafia family, is shot dead.
Five years later, Massimo is now the leader of the Torricelli crime family. In Warsaw, Laura Biel, a fiery executive, is unhappy in her relationship with her boyfriend Martin, who rebuffs her when she tries to initiate sex. Laura celebrates her 29th birthday in Italy but after Martin embarrasses her, she goes for a walk and runs into Massimo, who kidnaps her.
The Photograph (2020 film)
Journalist Michael (Stanfield) follows a lead that introduces him to Mae (Rae), a successful art curator who’s grappling with the recent death of her mother. But as we follow their romance, we’re also introduced to a love story from the past that’s unexpectedly linked to the present.
Elisa & Marcela (2019 film)
Elisa & Marcela (Spanish: Elisa y Marcela) is a 2019 Spanish biographical romantic drama film directed by Isabel Coixet. Starring Natalia de Molina and Greta Fernández, the film tells the story of Elisa Sánchez Loriga and Marcela Gracia Ibeas, two women who passed as a heterosexual couple in order to marry in 1901 at Church of Saint George in A Coruña becoming the first same-sex matrimony recorded in Spain.
Love Jacked – (2018 Film)
The film stars Amber Stevens West as Maya, a young woman on a trip to Africa. While there she enters a whirlwind romance with Mtumbie (Demetrius Grosse), but shortly before returning home she breaks off their engagement when she catches him with another woman. To protect herself from the disapproval of her father (Keith David), she enlists Malcolm (Shamier Anderson), a Canadian hustler on the run from his vengeful partner in crime Tyrell (Lyriq Bent), to impersonate Mtumbie.
All the Bright Places (2020 film)
Teenagers Violet Markey and Theodore Finch attend the same high school in Bartlett, Indiana. Violet is reeling from the death of her sister in a car accident while Finch is on probation in danger of not graduating. The two come together and grow closer when they are paired up for a school project in which they are required to report on the wonders of Indiana.
Everything, Everything (2017 film)
Eighteen-year-old Maddy (Amandla Stenberg) is being treated for SCID, an immune disorder that prevents her from leaving her home and interacting with others. Her mother, Pauline Whittier, takes care of her with the help of her nurse Carla, who has taken care of Madeline for 15 years. Pauline does not allow Maddy to leave her house or interact with anything that has not been “sanitized”. Pauline monitors her daughter’s health status constantly and provides daily medication. Only Pauline, Carla and Carla’s daughter, Rosa, are allowed in the home. Pauline does not let Maddy leave their home or interact with anyone outside. Maddy yearns to see the world, particularly the ocean.
Black Romance Films Are Having A Moment
It began with a kiss. Just one decade after the birth of cinema, vaudeville actors and dancers Gertie Brown and Saint Suttle gleefully embraced one another on film. They held hands and locked lips, giving the world its very first image of Black romance and intimacy on-screen. 1898’s Something Good-Negro Kiss proved that love and affection was at the center of Black life. More than that, intimacy has always been essential to the survival of our people. Now, some 120 plus years later— cinema has finally reached the point where it has expanded to allow complex images of Black love, across time periods, between same-sex couples, and more recently, without being bogged down in trauma and pain.
Before Good-Negro Kiss was discovered in 2018, one of the earliest versions of Black romance in cinema was 1954’s Carmen Jones starring Harry Belafonte and Dorothy Dandridge. Filmed in sweeping cinemascope, Carmen Jones follows a soldier named Joe (Belafonte) who gets so enamored with Carmen (Dandridge) that he becomes obsessive, even going AWOL to be with her. Though the film is sexy, and the tension between the actors is palpable — the romance in Carmen Jones is stilted to make white audiences comfortable. Hollywood was only willing to see Black intimacy through the lens of a renowned musical, wrapped in what ultimately becomes a tragedy. By the end of the film, Joe murders Carmen out of obsession and jealousy. Despite Belafonte and Dandridge’s determination to showcase their sensuality, the material only allowed them to go so far. This sort of restraint would become the blueprint for generations of Black romance films.
Considering the utter chaos of the 1960s, it’s a wonder that 1964’s Nothing But A Man was ever made. A decade after Carmen Jones, Hollywood felt it was time to roll the dice on something different. Starring Ivan Dixon and Abbey Lincoln as Duff Anderson, a railroad worker, and Josie Dawson, a Birmingham school teacher, respectively, Nothing But A Man isn’t packaged for white audiences like the musicals of the previous decades. However, the burdens and pains of the couple’s relationship, namely Duff’s flakiness about commitment and the rage he feels as a Black man living in the South, fall on Josie’s shoulders. Moving into the 1970s with films like Claudine and Mahogany, and certainly, in the 1990s and early 2000s, Black romance on-screen would either be shrouded in comedic relief, or the relationships became the sole burden of the Black woman to bear. Often, both tropes were present.
Still, Black romance stories were always evolving. The 1980s sparked something new for Black sensuality in the movies. Though these were still heteronormative depictions, (aside from 1984’s The Color Purple), films made significant steps forward in terms of diverse images of Black people. However, they still held on to sexist ideals. 1986’s She’s Gotta Have It used a Black woman’s rape as a form of character development while 1988’s Coming to America — billed as a comedy, rewarded its protagonist for lying to his love interest. This would become the formula for the many Black romance movies that came to fruition in the 1990s. Cheating, lies, abandonment, lack of accountability, and trauma are all very present in some of our most beloved films. Poetic Justice, Love Jones, Jason’s Lyric, The Best Man, and Love & Basketball, all have some form of struggle love embedded within the narrative — typically leaving Black women wielding the shorter end of the stick.
Poetic Justice is riddled in misogyny, The Best Man has a serial cheater as a leading man, and in Love Jones, the lack of communication and accountability from both partners is dizzying. Moreover, women are often asked to overlook cheating, lying, manipulation, or being friend-zoned to present themselves as worthy of their male partner by the film’s conclusion. Yet, in our quest to connect and see brown bodies sensually and romantically in cinema, we hold these films close to our hearts, overlooking many of the toxic traits of the characters.
Despite the mega success of Black films in the 1990s— following the debut of Gina Prince-Bythewood’s Love & Basketball in 2000, Black stories in cinema, aside from a few here and there, were all but erased in Hollywood. Throughout this near decade-long drought, prolific director Tyler Perry was one of the only voices in the game. However, the quality of Perry’s storylines, as well as the portrayal of his female characters, have proven to be problematic. These characters are often emotionally broken, angry, and at times unhinged. If and when they do find love in movies like 2005’s Diary of An Angry Black Woman, 2008’s The Family That Preys and 2009’s I Can Do Bad All By Myself, it’s after they suffer some dire consequence or horrific punishment. This was particularly jarring during a time when there were hardly any other mainstream film images of Black people on-screen.
Thankfully, as we pressed forward into the second decade of the 21st century, Black filmmakers, writers, and producers were knocking down doors in Hollywood once again. In 2012, Ava DuVernay stepped onto the scene with her stellar film, Middle of Nowhere. The film follows Ruby (Emayatzy Corinealdi) grappling with the choice to leave her incarcerated husband, Derek (Omari Hardwick), to follow her dreams and possibly find new love with a bus driver named Brian (David Oyelowo). Though this was a significant shift in the way Black intimacy, sensuality, and romance was depicted in movies, the real transformation happened in 2016, with Barry Jenkins’ Academy Award-winning, Moonlight.
Loosely based on screenwriter Tarell Alvin McCraney’s real life, Moonlight puts the Black male coming-of-age story center stage. However, instead of honing in on the violence and despair of the inner city, like the hood homeboy films of the 1990s — Moonlight focuses on Black love between Black men. First, there is the relationship protagonist Chiron (Alex R. Hibbert) has with his father-figure, Juan (Mahershala Ali). Later, Chiron explores his queer identity with his classmate Kevin (Jharrel Jerome). The film is a sumptuous duality of hypermasculinity against lush sensuality. With this film, Jenkins effectively shattered our expectations regarding Black intimacy on-screen, while unraveling why Black love in all of its varied prisms deserves a spotlight in cinema.
Moonlight would pave the way for 2019’s Queen & Slim and 2020’s The Photograph. Two vastly different films, one— a harrowing dramatic thriller, centering Queen (Joe Turner-Smith ) and Slim (Daniel Kaluuya) who are forced together by circumstance. A dull Tinder date paves the way for a standoff with a racist police officer who eventually lays dead, prompting our leads to run for their lives.
Penned by Lena Waithe and directed by Melina Matsoukas — the film is almost an antithesis of what we’ve seen before when it comes to Black romance in the movies. Instead of the tried and true formula of a meet-cute, conflict, and resolution, Queen & Slim unites a Black man and a Black woman through Black radicalism. They come to lean on one another, inadvertently building a foundation when there is no one else either of them can trust or turn to. The weight of their relationship rests equally on both of their shoulders, as they become each other’s ride or die.
In contrast to Queen & Slim, writer/director Stella Meghie’s The Photograph, is a much-deserved presentation of soft Black romance, without the trauma or brutality. The film follows Mae (Issa Rae), an art curator grappling with the death of her estranged mother, and Michael (Lakeith Stanfield) — a journalist who crosses paths with Mae’s late mother’s work. The film follows the typical romance formula, but the conflict and resolution aren’t gut-wrenching or emotionally tumultuous. Mae and Micheal deal with real-life issues without being battered or broken. Both parties —like the lead characters in Queen & Slim, share the weight of their missteps and miscommunication. The Photograph is a recognition of straight-forward Black sensuality and love without the heaviness of Black pain. Despite all of this, the film has garnered mixed reviews. Since there isn’t any toxicity between the main characters or much comedy in The Photograph, it appears foreign to us. As a community, we’ve been conditioned to only recognize Black Love shrouded in chaos. Presently, Black women in particular, are asking Black people to look beyond archaic examples of love that are rooted in sexism, misogynoir, and rigid gender roles. Instead, Meghie presents two grown people who must hold themselves and each other accountable to have a chance at a loving and modern relationship.
Black women are also getting the opportunity to be seen as romantic leading women, in the broader scope of cinema alongside leading men from different cultures. Following the footsteps of the 2006 film Something New, where Sanaa Lathan’s leading man was Australian actor Simon Baker, Issa Rae will become a leading lady once more in Netflix’s The Lovebirds. The Insecure actress stars as Leilani, opposite Pakistani-American actor Kumail Nanjiani. Rae is a woman who is grappling with her strained relationship with her boyfriend, Jibran (Nanjiani). The couple’s commitment to one another is hilariously put to the test when they suddenly find themselves in the middle of a chaotic murder mystery.
Black film, and undoubtedly Black romance film, has come a long way since that very first kiss was captured on-screen in 1898. With more women filmmakers at the helm, diverse projects, and the current wave of Black cinema in Hollywood, Black romance movies have the opportunity to give the next generations more nuanced depictions of connection, sensuality, sex, and intimacy. With films like Queen & Slim, Moonlight, The Photograph, and The Lovebirds — we have witnessed Black people from all walks of life and sexualities dive into romantic relationships with love, accountability, and self-awareness, which are truly the ultimate relationship goals.
– Aramide Tinubu/www.vibe.com
20 Dance-hall Songs Celebrating 2 Decades In 2020
It was the year 2000 (Y2K for short) that saw many Dancehall artistes at the height of their careers, others on the decline, while some were just getting their feet wet. One thing was certain, and that was a fresh new sound was emerging.
The era closed off with the old-timers like Shabba Ranks, Super Cat, Lady G, and Admiral Bailey, and dawned on the new, some of which are still turning up the streets even today. Having stood the test of time, keeping current and making hits, we now see some of these deejays as veterans in the industry. Afterall our catalog of songs turning 20 marks a distinguished music career spanning two decades.
There were many hits from deejays on the staggering riddims of the year 2000. Others came through with resounding studio albums, which would launch some pretty epic Dancehall tracks of all time. We break down the few that made the cut as standout singles that year with an Apple Music playlist of the selections, which you can find at the end of the article. Enjoy and remember to share.
Let’s start with Mr. Bombastic.
1. Shaggy – It Wasn’t Me
It was two decades ago that 31-year-old Shaggy decided he needed to pull a few strings to take his brand and Reggae music mainstream. A call to songwriter Rikrok would be the beginning of the dynamic duo we have come to know in the chart-topping single It Wasn’t Me.
According to Shaggy, he and Rok alongside his longtime producer Sting International, Shaun Pizzonia, all knew the song was going to be ‘something special’ because they were all tickled in humor while coming up with the lyrics.Advertisement
However, unknown to many, the mega platinum-selling track almost wasn’t released due to tiresome studio meddling. Despite poor marketing by the studio, the track was instrumental in making Shaggy’s Hot Shot his biggest selling album, topping the charts in more than a dozen countries around the world.
2. Shaggy – Angel Featuring Rayvon
Another teaming with Barbadian singer Rayvon followed shortly after to also top the international music charts. Shaggy’s next blockbuster hit Angel, proved to be almost as successful as It Wasn’t Me, reaching No. 1 in several countries.
While void of the humor of its predecessor, the track spoke volumes in the message it submitted. A song dedicated to Shaggy’s guardian angel, which he is blessed to see as his current girlfriend on earth, “Shorty you’re my angel, you’re my darling angel. Girl you’re my friend when I’m in need lady,” as the hook goes.
With the success of his other hit singles such as Mr. Bombastic, Oh Carolina, Hey Sexy Lady among others on his Hot Shot 2000 album, Shaggy launched a revised and updated edition, Hot Shot 2020 to celebrate the albums 20th anniversary last month.Advertisement
3. Spragga Benz & Lady Saw – Backshot (Superstar Riddim)
It didn’t matter who you were or where you were from, when the feisty undecorated vocals of Lady Saw whined (even before the beat kicked-in), “A nuh belly rub a dub, because a backshot mi love,” the wave that would invade and send your body into all kinds of indecent positions was simply uncontrollable.
To this day, the timeless lyrics lacing on the hypnotic rhythm of Spragga Benz and Lady Saw’s Backshot doesn’t just play in one go, but is rather jeered for several pull-ups before running through the rest of the track.
The single was included in Spragga’s third studio album Fully Loaded that released in 2000 under VP Records. It was also on the soundtrack for the thrilling Jamaican crime film, Shottas in 2002.
Backshot has been remastered since and was performed on the Superstar Riddim with his other singles Bait and Analogy along with voicing from Buju Banton, Alley Cat, Sean Paul, Frisco Kid, and Elephant Man to also feature their respective tracks.
4. Beenie Man – Girls Dem Sugar Featuring Mya
Beenie had quite a few hits in the year 2000 but none scored the recognition and success as his hit single Girls Dem Sugar featuring R&B sultry singer Mya. Not only did the song afforded him the name “The Girls Dem Sugar” but also made his tagline “zagga zow, ziggy zow, zagga zow,” a signature style of his brand, that is Beenie Man.
The single was inspired and conceptualized from his 1997 hit single Who Am I (Sim Simma), by the intervention of American rapper/ music producer mogul, Pharrell Williams of the Neptunes.
Girls Dem Sugar is the second single from Beenie’s album Art and Life, which gained international success, peaking at No.13 in the United Kingdom and included on Billboard’s 12 Best Dancehall & Reggaeton Choruses of the 21st Century at No. 7. It also recently ranked as one of Billboard’s 100 Greatest Songs of 2000.
5. Capleton – Who Dem/Slew Dem (Bellyas Riddim)
One of the most defining periods of Capleton’s career came around 1999-2000 with a string of releases through his Y2K album More Fire. Any smart sound selector or DJ back then would know the impact Capleton’s single Slew Dem would have on the crowd and so it became somewhat of a party starter in those days.
By then, Capleton was a more confident and electrifying Rastaman chanting, “more fire” and “bun out” for everything and everybody that would cross him. Who Dem/Slew Dem was a direct target and cry for the obliteration of anything close, near, or resembling a homosexual person. Of course, with a reputation of low tolerance for homosexuals, Who Dem/Slew Dem was embraced as the perfect sing-along anthem for Jamaica.
LGBT advocates have returned fire to the deejay, saying that his songs encourage violence against homosexuals. Protests and backlash have resulted in the cancellation of several US events over the years. In response, Capleton’s team has claimed that his songs do not promote such violence.
Capleton’s More Fire album saw other hit singles such as the taunting Hunt You, along with More Prophet and Good In Her Clothes. Also, Crazy Looks on the Latino/ Boasty Gal Riddim was another party banger.
6. Sean Paul – Deport Dem
Before the Grammy and other major music awards, Y2K marked the beginning of mega-stardom for Dancehall’s prestigious, Sean Paul. His breakthrough singles Deport Dem and Infiltrate from his debut album Stage One that was released in 2000, soared his career forward and made him a dignitary on the Dancehall scene.
Deport Dem was one of the hardest hitting tracks of its time, there wasn’t a party, dance, club, wedding, or even baby shower on the entire island of Jamaica that didn’t have this track not only on queue but also on shuffle and repeat.
Paul’s other singles Check it Deeply and Haffi Get Da Gyal Ya featuring Mr. Vegas from the album also got some major plays. His collab with Mr. Vegas saw minor success on the US R&B chart, peaking at No. 66.
7. Ward 21 – Blood Stain (Bellyas Riddim)
The creators of the infamous Bellyas Riddim – Ward 21’s pioneering single Blood Stain was arguably the most dominant on the riddim, even against heavy-hitters such as Mr. Lex’s Halla Halla and Beenie Man’s Heights of Greats Man.
Ward 21 crew members, Andre ‘Suku’ Gray, Mark ‘Mean Dog’ Henry, Kunley McCarthy and Ranaldo ‘Rumblood’ Evans’ teaming on Blood Stain was an epic production of animated sound effects complete with ghastly and intimidating tones, ultimately creating one of the most resounding gun tunes ever.
It was the success on riddims like Bellyas and Bada Bada that established Ward 21 as serious and in-demand music producers during the late 90’s and 2000’s. However they proved to be just as dynamic as Dancehall artistes, their singles Haters, Judgment Day and Blood Stain are some of the most unforgettable tracks to date.
8. Sizzla Kalonji – Give It To Dem (Chiney Gal & Blazing Riddim)
Sizzla’s effort in carving out a space for himself in the very raw and slack Dancehall arena as a certified Rastafarian was sampled in his articulation behind Give It To Dem.
From the get go, “Blaze up the chalwah, likkle but mi tallawah, Ganja mi smoke and a fuck off dem gyal ya,” communicated volumes of the ingenious artiste he was and still is today. The fusion of Rastafarian lifestyle and expressions blended with the indelicacies of Dancehall folklore was something he and fellow disciple, Capleton were experts at.
With his assertive delivery of the hook “give it to dem” on the heavily pulsating Chiney Gal & Blazing Riddim, Sizzla’s single was one of the biggest tunes everywhere (radio/club/party) in the year 2000 and even many years after.
Sizzla was also running the streets in 2000 with his other hit single Loving and Upright on the Bobo Spice Riddim.
9. Cecile – Changez (Chiney Gal & Blazing Riddim)
Bad Gyal Ce’cile or just Ce’cile back then, was also a pretty big player on the Chiney Gal & Blazing Riddim with her scandalous single Changez. The launch of this creative name-dropping diss track had everyone including many deejays sitting on the edge of their seats to hear what Ce’Cile was going to spill.
In the highly hilarious yet daring skit, Ce’Cile tackles several prominent deejays, “Listen up, mek mi read out di application, fi see a which deejay can run mi program,” she intros before the slaughter.
“Bounty Killer too stiff, so him can’t position/ Nuh just the other day mi a scope out Mr. Lex but him go tear off the shirt and mi sight chicken chest/ Mi love Beenie Man but him body look weak/ Mi nu think Spragga Benz can dweet / Ninja Man free but him nah get a slice, mi nuh want him stab mi wid knife/ Zebra could neva even hold mi hand, lawd what a youth look like leprechaun,” was just a taste of her savage track.
10. Lexxus AKA Mr. Lexx – Full Hundred (Orgasm Riddim)
After his infamous single Cook released in 1999, Lexxus had fans wrapped around his little finger. He would continue the following year to drop several other hit songs through his debut album Mr. Lexx in 2000. Though there were his celebrated tracks like You, Divine Reasoning, and Get Wid It, they didn’t quite measure up to the earworm, Full Hundred that promises, “2000 now, so so wha wi a go do? Give it to dem”
Mr. Lexx the album spent five weeks on the Billboard Reggae Album Chart and peaked at No. 12 – one of his best-noted musical accomplishments during his music career.
11. Elephant Man – Replacement Killer (Scarface Riddim)
After his split from the Scare Dem Crew, Elephant Man’s solo career reached colossal heights in 2000 with the release of his Comin’ 4 You album. His single Replacement Killer was one of the hottest tracks in the collection along with Mr. Watchie Pum, Bun It, and Headache with Delly Ranks.
Replacement Killer had another name-dropping narrative, similar to Ce’Cile’s Changez. In Elephant’s version he too mentions the big dogs in the game, Shabba, Capleton, Lexxus, and a few others, relaying witty riddles of his meetings with them.
The single was featured on the Scarface Riddim along with you Mr. Lexx’s You and Harry Toddler’s Dance The Angels. Elephant’s voicing on Replacement Killer was undeniably ranked among the top three best performing tracks on the riddim.
12. Harry Toddler – Dance The Angels (Scarface Riddim)
With an easy delivery of, “A na na na, na na na, na na na” in the intro and throughout Harry Toddler’s Dance The Angel, the vibe on any dance floor would go from 0 to 100 real quick.
Dance The Angel was one of the coolest dance tracks of its time, prompting everyone to, “Move to left and na na na, move to the right and ja ja ja.” Having such an easy execution, even the shy and reserved would let loose and start breaking it down as soon as the hook kicked in.
13. Ricky Rudy – Bling Dawg (Scarface Riddim)
Another worthy mention on the Scarface Riddim was the vilifying tune Bling Dawg; he was never called Ricky Rudy again after the release of this single. The hook was the name on repeat, furthermore, if you didn’t like Bling Dawg for whatever reason, the deejay vehemently stated “chuck off pon a peg” or “gwaan go suck a egg,” in other words just do away with yourself.
The full-blooded track went on to pick up a lot of traction on the club scene and parties everywhere, you just couldn’t help but sing along to join Bling Dawg in casting off his haters.
Another big track for the deejay in 2000 was his teaming with Ras Moses AKA Beenie Man on the single Circumstances.
14. Mr. Vegas – Girls Time (Orgasm Riddim)
The reigning years for Mr. Vegas included his stint in the year 2000 with singles like Girls Time and She’s A Ho. There was also his collaboration with Sean Paul on
Haffi Get Da Gal Yah (Hot Gal Today) that shot to the US R&B chart, peaking at No. 66.
Girls Time was perhaps his most resonating and widely received single that year; the track was featured on the Orgasm Riddim to find Mr. Vegas flexing his gyallis appeal.
15. Buju Banton – Woman Dem Phat
From his 6th studio album Unchained Spirit in 2000, Buju Banton’s single Woman Dem Phat was by far the fan-favorite. The single was a popular radio hit and made its way on many playlists of fans simply wanting to keep fresh on their Buju collection.
Unchained Spirit, comprising of its 16-track list didn’t quite receive the recognition Buju’s previous work did or after for that matter. Woman Dem Phat however kept his street cred on par.
Another hit single for Banton during that time was Be My Love Tonight featured on the Latino/Boasty Gal Riddim.
16. Wayne Wonder – Keep Them Coming (Bug / Clone Riddim)
Wayne Wonder brought new meaning to the genre with his soulful, cool, and collect musical delivery while matching grit and rawness in lyrics with his Dancehall counterparts.
Lending vocals to several hardcore tracks in his musical career saw the massive success of singles like Joy Ride with Baby Cham, I Don’t Know Why featuring Buju Banton and Anything Goes featuring CNN and Lexxus to name a few.
In 2000 his euphonious single Keep Them Coming was certainly the frontrunner on the Bug / Clone Riddim as well as one of the major players on the music scene. Keep Them Coming was featured on the exclusive Reggae Gold Album 2000 along with his other monster hit Magnet (1999) with Bounty Killer.
17. Bounty Killer – Another Level featuring Baby Cham (Bug / Clone Riddim)
Y2K was a quiet year for Bounty Killer; although he was actively releasing music with tracks like Warlord’s World and Community Service on the Punanny Riddim nothing quite made a hit like his single Another Level.
It was a teaming with himself and the charismatic Baby Cham that made the single Another Level literally mutate to another level on the entertainment scene. The track was featured on the pulsating Bug / Clone Riddim with several other major deejays but none could simply measure up. Next to Wayne Wonder’s Keep It Coming, Bounty Killer and Baby Cham’s collab on Another Level was categorically on the upper echelon.
18. Baby Cham – Babylon Bwoy (Bounce Riddim)
There is simply not one track on Baby Cham’s mind-blowing, double album Wow… The Story that can take dominance, the majority of the songs on the collection were huge hits. However, most of the tracks were previously recorded throughout the late 90’s even though the album officially released in 2000.
Among the Y2K recordings was his mega-hit single Babylon Bwoy that was backed on the Bounce Riddim. The very basis of the song is an intrinsic attitude most Jamaicans have with these ‘babylon bwoys.’ The anger in his tone, which would often peak in a high-pitched shriek, conveyed such a genuine upset that it made the track completely relatable to the masses.
The hook was catchy, which helped in the overall appeal of the track and made it something fans could easily mimic. After all who doesn’t want to know the lyrics to a real bad man tune. Cham did that!
19. Baby Cham – Man and Man
Man and Man was another huge success from Baby Cham’s Wow … The Story album that was actually released in 2000. By December of that year the single shot to No.1 on the local Reggae and Dancehall charts.
Man and Man sees Cham completely overshadowing the riddim to deliver a tireless spitting of heavy deejaying. He sifts through a series of issues tinged in gossip, the way one would ‘reason’ with others on the street corner.
He goes into great detail, flexing his homophobic rhymes, while calling out the ‘loose’ girls in the neighborhood and the showing up the fake bad-men in the area. He does this in one go, without taking a breath or breaking for either a hook or chorus.
Wow …The Story is a liberal collection of masterful singles and some of Baby Cham’s best work to date. Among the monster players were –
Disc 1: Mass, Many Many, Que Sera/Hotti Hottie Crew, Funny Man, Gallang Yah Gal, Boom, Desperate Measure, Babylon Bwoy, Man and Man along with Ghetto Pledge & Can I Get A on the Bug / Clone Riddim
20. Beenie Man | Elephant Man | Ward 21 | Lexxus – (Punanny Riddim )
Call it the resurrection of the Punanny Riddim, dynamos such as Beenie Man, Elephant Man, Ward 21, Lexxus, Bounty Killer among others, simply couldn’t miss their chance voicing on the rhythmic Punanny Riddim, which had originally released all the way back in the 80’s. Admiral Bailey single-handedly made the riddim into a hit with the release of his notorious track Punanny in 1986.
The remastered version was the riddim behind Beenie Man’s remix of Man Roll Deep as well as Lexxus’ Get Wid It. Then there were the loonies, Ward 21 that dropped two tracks Haters Pt 2 and Five A Day along with Elephant Man’s Pu**y Dem, which were all major hits.
The Metrics Of Success For Camidoh’s CP (Contingency Plan)
Ghana’s finest Afropop/RnB singer, record producer and a songwriter, Camidoh, has been trending on the Ghanaian airwaves last and this year looks even better for him and his team. His old songs as far as 2018, such as “For My lover” still remains relevant till date, receiving massive airplay.
His new songs in 2020 have equally been massively circulating on our airwaves and making appearances on the Ghud Music weekly charts. His song, “The Best”, released last year, also made some appearances on the charts within early this year. His current E.P, “Contingency Plan (C.P)”, is what we are currently grooving to.
The E.P was released on the 4th of July 2020 and it has already started making its way onto the Ghud Music charts with 18 radio stations playing his songs within the period.
“Maria” made its appearance on the Ghud music’s Urban chart and General chart, within the first week of its release as #2 and #8 respectively. “Maria” maintained its position on the urban chart as #2 and Moved up to from #8 to #4 on the general chart for the week ending 16th July, 2020.
Live FM, Citi FM and Pluzz FM played his EP the most since its release. Judging from his airplay data, his #CPMediaTour has contributed enormously to the album release.
Camidoh is indeed one of our finest talented acts who have ensured to stay relevant since his entry into the music industry. We look forward to more surprises and great tunes from Camidoh and his team in the upcoming months.
Ghud Music digitally monitors and analyzes airplay from over 75 radio stations in all regions across Ghana.
(Source: Ghud Music Data Analyst – 24/7/2020)
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