Peter Tosh: A Musician or a Prophet?

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Peter Tosh1

My Dear Friends,
Let’s Introduce You to the Mystic Man

By Nicholas Ellis

In a modern world lacking a credible moral compass, I advise an education of reggae’s, Jamaica’s, mine and Rastafarian hero, Peter Tosh. Tosh walked a path only he could define;  paved through his beliefs, which were never compromised throughout his life.

”I know who I came to be,

I have to be me,

I don’t care what people want to say,

Because peoples will always say”

He was a revolutionary of Justice notably on the song, ‘equal rights’  featuring the words ‘Everyone is crying out for peace, yes, No one is crying out for justice’. Unfortunately this was  in a decade where peace preceded his vision. It is now that we see the visionary seeds he planted through his life and classic albums, such ‘No Nuclear War, ‘Legalize it’, and ‘Bush Doctor’. As discomforting as fate will have it, history teaches in retrospect.

Tosh was born into humble beginnings on the 19 October 1944 in a tin room shanty in the impoverished yet serine seaside town of Westmoreland, Jamaica the nation’s westernmost parish. His family made their living through the local farms and would fish in the nearby sea like most families in Westmoreland.

Peter was always unique, he displayed talent as a musical prodigy from a young age beginning with the guitar at five years old then evolving onto piano music at thirteen. He would proclaim, ‘I would play the songs of the angels.’

The locals of Westmoreland would pay Peter to play them songs having a great fondness and admiration for Peter’s unique voice. In the years that passed, his fan base would move onwards from Westmoreland to Kingston and around the globe.

From a young age Peter would visit the local Baptist church with family yet it was here that Peter began to have doubts upon not only religion beliefs, but society, history, and the bias politics Jamaica had all but seen since the colonial era within the world around him.

Upon arriving in Kingston, Jamaica after his father died, Peter lived in trench town. Trench town was a slum, known as the Calcutta of the western hemisphere where you lived in fear of attack, robbery and disease. Death seemed like the only possibility of escape. Many in trench town were black and witnessing such slums forced him to act and question how he could make a difference? ‘Cold ground was my bed at night and rock was my pillow too, ‘ it was not simply poetic license.

As fate would have it another Jamaican prodigy, Bob Marley resided in the infamous Trench town and alongside Tosh, and Bunny Wailer formed The Wailers. The name was birthed out of there being plenty of wailing to do in the circumstances surrounding Trench town.

Inspiration often hijacks us in the most unlikely locations and in Trench town I would argue both Bob and Peter found many aspects in their lives here to draw upon, which would become part of the DNA of the Wailers work. The acclaimed album, ‘Catch a Fire’ deals with social injustice towards black people, and ‘the current state of urban poverty’.

At 22, Peter after denouncing his families Christian beliefs, ‘If he was created in the image of God then why isn’t God Black?’ defied the establishment and became a Rastafarian which he felt empowered him.

Peter Identified with the teachings of the Rasta that God or Jah is black; Africans are the ‘true’ chosen people and that the Ethiopian Haille Selassie was the holy messiah prophesised by the Holy Bible in Issiah about a black king being crowned in Africa. ‘It is a fact and can be proven historically, biblically Haille Selassie is the returned messiah.’

Tosh’s epic first album was titled, ‘Legalize It’, with the lead single about legalizing Marijuanna, which he saw as a fundamental statement, in part by his own Rasta beliefs, ‘This was created by the creator, it is spiritual, Jah created it for the motivation of the mind of man.’

The striking cover art for Legalize it, featured Peter smoking his chalice pipe in a marijuana plantation in the Jamaican countryside. The song and cover seemingly representing Peter Tosh the artist and the man. The great Jamaican music producer Bunny Lee who knew Tosh well during his career states, ‘Young people should think of Peter Tosh as a great revolutionary in music- and as a person.

bob-marley_mick-jaggar_peter-tosh

Bob Marley_Mick Jaggar and Peter Tosh

The talent displayed in the album, ‘Legalize It’ is astonishing with music encompassing a vast array of genres including, rock, soul, and reggae teamed with a distinct voice, combined with an ethos of political songs virtuous of Tosh yet there are exquisite outpourings within ballads of a philosophical nature. Such ballads are never simple, or filled with generic phrases, such as ‘I will love you, forever’ it is more an education of emotions.

Occasionally I fail to acknowledge Peter Tosh the human, as he seems so gigantic and mythical to a simple mortal as I. Yet on the track ‘Why must I cry’ his ever endearing honesty sums up the harsh realization of love at times,

‘I will never fall in love again,

Cause only my heart feels the pain, Feels the pain’

You can hear almost imagine with suprise how lonely Peter must have been whilst you sing along to the repeated phrase, ‘Why must I trod this lonely, lonely, road, Why must I carry this heavy, heavy, load?’

Equal Rights brought together Peter Tosh s dedications to the revolutionary movements growing in Africa, and the mysticism and wonders of his personal growth as a prophet, poet, preacher and world-class musical trailblazer. The album included a number of songs that became human rights anthems over the next two decades: Get Up, Stand Up, Downpressor Man, African, Apartheid, and the title tune. There were also intensely personal songs of his revelations as a Rasta: I Am That I Am and Jah Guide ; and the ultimate rude boy, proto-punk declaration of Stepping Razor

Peter Tosh (maxresdefault)Tosh’s enigmatic Talent attracted The Rolling Stones . The band made him the only signing to their record label and hoped to gain credibility from association with an uncompromising iconoclast. They released the album Wanted Dread & Alive. They took him on their stadium tour, introducing him to new audiences. Mick Jagger sung with him on a duet and gave him a hit (“Don’t Look Back. This wasn’t enough for Tosh. He accuses them of not promoting him properly.

He was so principled and their hedonistic rock’n’roll lifestyle didn’t interest him – he was genuinely revolutionary in his thoughts and ambitions for his music and he really did want to change the world with his songs even if it alienated him. As Tosh sang: “I’m like a steppin’ razor, don’t you watch my size, I’m dangerous!

Tosh’s third album, ‘Bush Doctor’ was a leap forward, in both production terms and showmanship as Tosh attempts to break through into the international market upon release on Rolling Stones record. Stand out tracks include, ‘Pick myself up’, ‘Soon come’ and ‘Stand firm’, as well as the mighty title track. It also featured Tosh’s duet with Mick Jagger, ‘Don’t look back’ and the biblical epic, ‘Creation’. Never on ‘Bush Doctor’ do you feel you are being ‘ranted at’ or emotions of complaint, such was the man’s talent but Tosh pulls no punches either

In 1987, months before his murder, Tosh created the album, ‘No Nuclear War. Posthumously, it won him a Grammy. The sounds were fresh and the lyrics as potent and poetic, as ever even after months in seclusion living the quiet life in rural Jamaica. ‘No Nuclear War is perhaps my favourite album from Tosh, as with retrospect, represents poetic irony in the never say die attitude, I am what I am attitude of the songs, and after all these years Peter continues combining his principles within his art.

The one love, One peace concert went down in history because Bob Marley called Manley and Seaga on stage and made them shake hands, in front of the television cameras. Tosh’s earlier, braver action was not televised because he ordered the ‘lickle pirates from America… wid dem camera and dem TV business’ to stop filming.

Today, Tosh’s legacy is gaining justice and its own equal rights around the world, amongst rock and rolls hall of fame and that of his former band mate, Bob Marley. Notably, Jamaica after long time distancing itself from Tosh seems cosy to the idea of laying claim to one of its most disobedient sons, as with a biography, a film, an annual symposium, and a birthday concert, the man born Winston, Hubert Mcintosh is finally receiving recognition. Last year, the governing People’s National Party, which Tosh supported awarded him Jamaica’s great honour, the Order of Merit, which was bestowed on Marley in the weeks before Bob’s death from cancer in 1981.

With the world still threatened by the outpourings of violent rhetoric, regarding Nuclear War and with equal rights being intensely questioned around the globe, most notably in Europe with the recent influx of immigrants from the middle east (amongst continents and countries), I feel that with what Peter Tosh championed through his Art and actions all them years ago we could create evermore harmony for everyone, standing by his pure and simple messages of justice, and equal rights.

 

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Storytelling is Crucial

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Making Pictures for A Living

Guenevere Schwien vividly remembers the exact moment she decided to become an artist. “I was in second grade, and a watercolor artist came to our classroom to give a demo,” she recalls. “After he showed us a few techniques, I thought, This is what you do as a grown-up? You make pictures for a living? I was like, yeah! Sign me up!” That was it. Her passion for painting has never waned.

Spontaneous Light pastel Guenevere Schwien

Spontaneous Light pastel Guenevere Schwien

The artist considers herself fortunate to have had parents and teachers who supported her dreams all along the way. Growing up, she attended a number of different schools where art education was important, and she was encouraged to explore painting, ceramics, and other media as well. “I really loved sculpture, but I always had this romantic notion of becoming a painter,” she admits, so when it came time to go to college, she decided to study painting at the Academy of Art in San Francisco.

 

Tangent (distance) - website

Tangent (distance)

Guenevere was attracted to the school because the faculty were required to be practicing artists with work in galleries. She says she was heavily influenced by her instructors, one in particular. “One of my first mentors was Carolyn Meyer. She’s a landscape painter who inspired me so much that I wanted to emulate her.” For a time, Guenevere thought she was destined to be a landscape painter working in the alla prima method, which is the cornerstone of the school’s art education. “I was really into painting these rainy street scenes,” she says, starting to laugh. “I went through so many tubes of Ultramarine Blue. Tubes and tubes of it! My mother still calls it my blue period.” But in her last semester of the program, she met another artist who changed the course of her career.

During those last few months of school, Guenevere discovered motorcycle riding, a hobby she still enjoys to this day. “I got really into motorcycles, and I couldn’t stop obsessing about them,” she admits. “I was taking a class with Kevin Moore, and finally one day he said, ‘You talk about motorcycles all the time. When are you going to start painting them?’ It completely opened my eyes to something new. It was as if he had given me permission to think about painting something other than landscapes, something I was truly passionate about. And that’s when I became Motopainter.”

Modern Beauty 24x36 for WEbsite - Oil

Modern Beauty

For several years, Guenevere focused primarily on motorcycle art, creating paintings under the name Motopainter. She has explored other subjects as well, but recently she’s begun a new series involving lights, which she believes will be her signature subject matter offering a lifetime of possibilities. A spirit of fun, a love of color, and a dedication to showing movement are the threads that tie all of this work together. “I really dislike the term ‘still life,’” she states emphatically. “My paintings do not fit that description. Are we stuck with that term for life? If we are, I’m going to rebel against that as much as I can.”

Not only has Guenevere’s subject matter changed over time, her approach to painting has as well. And it all started with an exhibit at San Francisco’s Museum of Modern Art. “I worked there during college,” Guenevere explains, “and I had the privilege of seeing a lot of great exhibitions. One of them was a Chuck Close retrospective, and I can still remember the first time I saw his huge black-and-white self-portrait. I was truly amazed—that was the sensation I felt, pure amazement. Since then, I have been striving to create paintings that have that kind of impact.” Guenevere says that’s when she fell in love with photorealism and started training herself to precisely render the illusion of a three-dimensional object on a two-dimensional surface.

9Ft Ducati with Artist

9Ft Ducati with Artist

While technical mastery is certainly an important component of her work, narrative and meaning are equally essential in creating the kind of impact she’s after. Oddly enough, her ability in this area has been enhanced by her practice of capturing her art-making process on video. Guenevere started shooting videos of her work in progress several years ago when she was commissioned to paint a six- by nine-foot painting for a motorcycle collector. “I knew this would be a rare opportunity,” she notes, “so I hired a videographer to document the occasion.” She enjoyed going back and reviewing the creation of that painting so much that she taught herself how to record her own videos of herself at work, which she now posts to her YouTube channel as often as she can. But only recently has she begun to appreciate the ways her video documentation has influenced her art. “Storytelling is crucial to making a good video, and I started to realize that you can do that in art,” she goes on to explain. “Even in painting, you can pare down the feelings and distill the story into a single image. So, in a way, shooting videos has shown me how to communicate an idea in one image.”

Guenevere Painting Lights Web

Guenevere Painting Lights

Perhaps this explains why Guenevere is so content working on the new series about lights. They are the perfect vehicle for both technique and expression, allowing her to make emotional statements through visual communication, which is the very thing she says she’s been striving for all these years. “These paintings represent a message I want to share with the world,” she notes. “To find the beauty in the tangled mess, to constantly look for that gold in the garbage, the light in the dark—that’s a huge life lesson that I’m still making a daily reality. So, my message is triumph over struggle, and I hope people find that kind of mystery and magic and joy in my work.”

Bringing hope and positivity to the world through art is no small thing. Turns out, there’s purpose, challenge, and a wealth of self-fulfillment in making pictures for a living.

Recently named the Grand Prize winner of the American Women Artists 2017 Spring Juried Exhibition, Guenevere Schwien is a member of the International Guild of Realism and is currently represented by the Carmel Art Association. To see more of the artist’s work, visit her website at www.gueneveres.com

 

Jennifer King

is a marketer, artist, writer, and entrepreneur. She currently provides art marketing services and coaching to visual artists through her company, Connect Artist Marketing. Learn more at www.connectartistmarketing.com.

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Culture, Lifestyle and Restaurants

Jared Stein_Cafe Front2

Through a Coffee Shop Window

By Jared Stein

_signature interview_Jared SteinThere is no reason I should be in a coffee shop on a Tuesday night at nine o’clock. But I suppose its less taboo than sitting in a bar alone. I should be in my bed, hidden away from this city for a few hours.

There is no real reason for to be here, but I come here anyway. I come with the habitual cravings of any wannabe artist – desires for an exotic meal and a quiet cafe that might offset the discomfort of having roommates in back alleys of Soho. At Café Krister food and quiet are guaranteed to me. It is where I go to in a search for solace, a place free of computers and televisions.

In place of TVs I stare out the window at the snowy rain. And outside in the snowy rain a dwarfish black woman sits on a bench, calling to the people who rush home in the rain. Her back is to me, but when she turns her head I can see her lit like an actress on a Broadway stage.  The ware on her skin is hidden in the accents of purple and red coming from a glowing pair of fluorescent eyeglasses, an advertisement in an across the street window. The soft yellow glow of the coffee shop light highlights her facial features and causes some of the misty snow rain on her face to twinkle. The moisture may also be tears. It may be both.

Trendy people on the street continue to pass her in the slush. I watch them pass from my seat in the coffee shop. Some people look down as they walk by. Others pretend to notice the giant eyeglasses. All of the people pretend not to hear the woman calling to them.

Like the people in the rain I also do not hear what the woman is saying. Her voice is muted by the glass which frames her like a television screen. She is a documentary on city life and her soundtrack is whatever classic rock is currently playing over the coffee shop speakers.

When no one passes her, the woman sits alone. She looks to the left and right as if she is expecting a friend to arrive. She sits with no one and I sit with no one. She is in the rain and I am in the coffee shop. The metallic odor of a cigarette she lights somehow passes through the window. he is a woman. A homeless woman. Another beggar on the street. And this person, she wipes some rain off her face, because that is what people do.

I had given her two dollars on my way in to make myself feel better. And I know that the woman, who I began to ruminate on as I watched her through the window, will be on that bench when I decide to leave. I could give her more money, but most likely will not. I will become another person who passes her in the rain on my way home. I think I will pretend to look at the fluorescent glasses as I pass.

On Sun, May 24, 2015 at 7:51 PM, Jared Stein <> wrote:
There is no reason I should be in a coffee shop on a Tuesday night at nine o’clock. I should be in my bed, hidden away from this city for a few hours. Maybe it’s because I’d feel bad sitting in a bar.

There is no real reason for to be here, but I come here anyway. I come with the habitual cravings of any wannabe artist – desires for an exotic meal and a quiet cafe that might offset the discomfort of having roommates in back alleys of Soho. At Café Krister food and quiet are guaranteed to me. It is where I go to in a search for solace, a place free of computers and televisions.

In place of TVs I stare out the window at the snowy rain. And outside in the snowy rain a dwarfish black woman sits on a bench, calling to the people who rush home in the rain. Her back is to me, but when she turns her head I can see her lit like an actress on a Broadway stage.  The ware on her skin is hidden in the accents of purple and red coming from a glowing pair of fluorescent eyeglasses, an advertisement in an across the street window. The soft yellow glow of the coffee shop light highlights her facial features and causes some of the misty snow rain on her face to twinkle. The moisture may also be tears. It may be both.

Trendy people on the street continue to pass her in the slush. I watch them pass from my seat in the coffee shop. Some people look down as they walk by. Others pretend to notice the giant eyeglasses. All of the people pretend not to hear the woman calling to them.

Like the people in the rain I also do not hear what the woman is saying. Her voice is muted by the glass which frames her like a television screen. She is a documentary on city life and her soundtrack is whatever classic rock is currently playing over the coffee shop speakers.

When no one passes her, the woman sits alone. She looks to the left and right as if she is expecting a friend to arrive. She sits with no one and I sit with no one. She is in the rain and I am in the coffee shop. The metallic odor of a cigarette she lights somehow passes through the window. he is a woman. A homeless woman. Another beggar on the street. And this person, she wipes some rain off her face, because that is what people do.

I had given her two dollars on my way in to make myself feel better. And I know that the woman, who I began to ruminate on as I watched her through the window, will be on that bench when I decide to leave. I could give her more money, but most likely will not. I will become another person who passes her in the rain on my way home. I think I will pretend to look at the fluorescent glasses as I pass.

 

Fun on the streets of New York
Dance Parade: May !6th

New York dance parade

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Hispanic Society of America

Músico de Teatro from the Siglo de Oro
The Executive Director of the Hispanic Society of America
cordially invites you to the Concert Series featuring

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Our program will be comprised of Zarzuela, music from the Spanish theater during the period known as the Siglo de Oro, or Spanish Golden Age. Hispanic Society of America 613 W 155th St New York, NY (212) 926-2234

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