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Alborosie opens up about losing his visa and working on it to be back on tour in November. He also talks about the message in reggae music being revolution.

Imani talks with World Music Views about her career and new music video Home.

Dancehall artiste iWaata stepped into the spotlight with the same energy that has fueled tracks like “Cut Off Jeans,” “Clip Tall.” That tone—humble yet self-assured—carried throughout the interview, revealing an artist deeply rooted in faith, discipline, and a relentless drive to succeed.

The self-producing Jamaican artist on building his own creative universe, redefining dancehall autonomy, and carrying a quiet legacy of greatness. The first conversation with rising Jamaican artist-producer Quoyard takes place over the phone. His voice comes through warm, measured, and steady. No theatrics. No fumbling for words. It’s the tone of someone who has already held long conversations with himself about where he’s going. “I go by Quoyard. I’m an artist from Jamaica,” he begins. It is his first-ever interview. Yet nothing about his composure suggests a debut. And then, almost as an afterthought, he mentions something that recasts the entire conversation. His grandmother is Madge Sinclair — the legendary Jamaican actress whose commanding presence in Roots, Lion King, Star Trek, and Coming to America made her one of the most respected Caribbean performers of the 20th century.

DJ Paradise has gathered a few artists for his Global Peace Project EP.

Brooklyn New York's Barclays Center is set to host a landmark moment in dancehall history as Vybz Kartel headlines Reggae Fest on April 11 and 12, marking his first return concert in the United States in 20 years. The event, led by prominent promoter CJ Milan, has already generated significant momentum, with tickets selling out rapidly upon release. Milan, who secured Kartel as the first solo headliner for Reggaefest, a party event that started in Manhattan and now travels across the U.S., opens up about the significance of the booking. “Usually, I like to put something for everybody, but Kartel is a generational (artist). You can rock out with him.” The journey to finalizing the show started with Milan's ambition and he record of staging successful reggae events in New York City. “First of all, nobody could get in contact with Kartel,” Milan revealed in an exclusive interview with World Music Views. “I called every manager, and then I got frustrated. When I get frustrated, I do it myself.” Taking matters into her own hands, Milan connected with veteran dancehall producer Skatta Burrell, who is also Kartel's road manager, a move that expedited the process. “It went really fast,” she said. “Then a couple of people (from Kartel's team) came down for Massive.” She recalled a pivotal moment in negotiations when producer TJ Records sought clarity on logistics. “TJ was asking me questions about certain things and said, ‘How soon can you get to Jamaica?’ I said I need three days.” Determined to present a compelling case, Milan went to the studio, curated a Kartel mix, and synchronized it with footage from her last Barclays Center show, crafting a persuasive presentation.

In an exclusive interview with World Music Views, dancehall legend Vybz Kartel opened up about his highly anticipated performance at the Freedom Street concert set for December 31, promising fans an unforgettable experience. Known for his dynamic persona and lyrical mastery spanning two decades, Kartel detailed his plans, which include a series of wardrobe changes and performances that span his entire career. Fans will witness the evolution of Kartel, from the early days of the “Teacher” to his current status as the “World Boss.”

The History Of Reggaetón, Reggae and Dancehall as told by Maxine Isis Stowe, the former Columbia Records executive, sits at the intersection of Reggaetón, Reggae and Dancehall. She played a pivotal role in signing acts like Shy Guy singer Diana King, who she had a similar vision for her as Rihanna achieved, if only Diana could have let go off the small island influences and assimilate her sound more into American pop and sing more like fellow Sony artist Mariah Carey. “When I saw Rihanna break through, I thought that was what I had in mind for Diana. I would say that Diana’s reluctance to be fully Americanized was her limitation because her voice was big enough, but culturally she couldn’t let go,” Stowe said. She is also known for her significant contributions to the development of dancehall in the 90s and early 2000s in the US, serving as A&R and executive producer for several chart-topping hits and albums, resulting in over 5 million in album and single sales. This includes Ini Kamoze’s “Here Comes The Hotstepper,” Mad Cobra’s “Flex,” “Bad Boys Soundtrack,” “Cool Runnings Soundtrack,” "Chant Down Babylon" album by Bob Marley, Half Way Tree by Damian Marley and more projects that have achieved Platinum and Gold status in the US.

Roger Steffens on Bob Marley: One Love Movie and Reggae's US$2 Million Archives.

Colin Gayle is the manager of Grammy Winning South African star Tyla. He is a Jamaican who found success in the music business working with acts like Kenny Lattimore, Jazzy Jeff, Jill Scott 50 Cent and more. Colin Gayle has over 25 years in the business and is a Co-Founder and CEO of Africa Creative Agency.

Aidonia opens up about his album "Occupied Mind," major label deal, and willingness to do a 'Best of Both Worlds' project with Masicka. More on worldmusicviews.com

In 1982, Grammy nominated reggae band Musical Youth achieved global success with their hit “Pass The Dutchie,” a song based on The Mighty Diamonds’ “Pass The Kouchie.” Three decades later, members Dennis Seaton, Michael Grant, Kelvin Grant, Frederick Waite Junior (Junior Waite), and a representative of Patrick Waite’s estate initiated legal proceedings in 2004 against their lawyers according to court documents obtained by WMV. This, after losing a previous dispute stemming from a 1984 agreement outlining the division of royalties between the owners of the copyright in the original work and the derivative work.

RZA’s debut studio album, "Bobby Digital in Stereo," was executive produced by music mogul turned hotelier Jon Baker. Released on his Gee Street label 25 years go on November 24, 1998. It’s a superhero experimental concept album based on a story featuring RZA rhyming as an alter-ego named ‘Bobby Digital’: The name that had be cleared by the Jamaican dancehall and reggae producer most famous for making the "Dem Bow" beat that started Reggaeton. "Bobby Digital in Stereo" is certified Gold on February 5, 1999, by the Recording Industry Association of America (RIAA) for selling 500,000 units and it is also certified Gold in Canada on December 16, 1998, for selling more than 40,000 units in that country.  Read more on worldmusicviews.com

Bob Marley Tops Billboard’s 2023 ‘Year-End’ Reggae Charts—For Fourth Year In A Row. Read more on worldmusicviews.com

Forensic Musicologist Brian McBrearty says he believes the copyright lawsuit filed by Steely and Clevie against the reggaeton community is silly and has no basis. The riddim making duo submitted a copyright documents for the 1990s dancehall hit song “Dem Bow” by Shabba Ranks in a Los Angeles Court, but Brian, speaking exclusively with WMV says that will not be enough to stake claim over and entire genre even if the riddim is similar to "Dem Bow" genre songs. A California judges set to decide if the case will go to jury on Thursday September 22 based on evidence presented by the plaintiffs and the dismissal request by lawyers the defendants which include Pitbull, Drake, Justin Timberlake, Karol G, Bad Bunny, Daddy Yankee and more. If the case goes to trial, a forensic musicologist like Brian will be called in to determine whether or not there is a common thread between 1800 reggaeton songs and Steely and Clevie's 1989 riddim 'Fish Market'. The San Fransisco native admits he is not acquainted with reggae and dancehall culture and only became interested upon hearing about the Steely and Clevie Case. He also says he has been hired by record labels and advertising companies to ensure there is not infringement in songs they may use. More on worldmusicviews.com