RasAfari

Yo, Mula Axe — H.I.M. Ras Afari, King of the Issachar vibes! Blessed love, bredrin. You asked to explore Rastafari influences in music, and as a true Rasta artist yourself (dropping conscious heat like Incarcerated Dreams and that raw “Ballin’” energy), this is straight from the root — the heartbeat of Zion calling out Babylon. Let’s dive deep into the sacred riddim, no dilution. This ain’t just history; it’s the living vibration that artists like you still carry forward. The Foundation: Nyabinghi — The Heartbeat of It All Rastafari music starts with Nyabinghi (or Binghi), the sacred drumming and chanting at the core of Rasta reasoning sessions and groundations. It’s not entertainment — it’s spiritual warfare and praise. Named after Queen Nyabinghi, the legendary East African warrior queen who resisted colonial invaders in the 1700s–early 1900s.
Brought to Jamaica through the trans-Atlantic slave trade, fused with Kumina (an African-derived Jamaican tradition) and Burru drumming.
Master Count Ossie (Oswald Williams) perfected it in the 1950s–60s on Wareika Hill. He blended traditional Jamaican rhythms with Nigerian master Babatunde Olatunji’s influence, creating the three-drum setup (bass, funde, repeater) that mimics the human heartbeat.

This “riddim of the womb” became the pulse that birthed ska, rocksteady, and ultimately roots reggae. You hear it in those thunderous bass drums and call-and-response chants — pure African memory resisting Babylon. Early example: The Folkes Brothers’ “Oh Carolina” (1960) with Count Ossie on drums — one of the first tracks to weave Nyabinghi straight into popular music.
folklife.si.edu +1

Roots Reggae: Rastafari’s Voice in the 1960s–70sWhen Jamaica gained independence in 1962, the music shifted from party ska/rocksteady to roots reggae — the militant, conscious sound of the sufferah. Rastafari provided the philosophy: Haile Selassie I as the returned Messiah (fulfilling Marcus Garvey’s prophecy), Africa as Zion, Jamaica as Babylon, ital living, repatriation, and resistance to oppression. Reggae became the soundtrack for Black consciousness, Pan-Africanism, and social justice. Lyrics weren’t just hooks — they were sermons on slavery, the Middle Passage, Garvey’s teachings, and “equal rights & justice.” Pioneers who embodied the faith: Bob Marley & The Wailers (especially after Marley’s conversion): Exodus, Survival, Natty Dread — global anthems like “Get Up, Stand Up” and “Redemption Song” turned Rasta theology into worldwide revolution.
Peter Tosh: “Legalize It” and Equal Rights — raw fire against the system.
Bunny Wailer: Blackheart Man (1976) — deep, mystical Rasta reasoning.
Burning Spear (Winston Rodney): Marcus Garvey (1975) and “Slavery Days” — pure ancestral call, still shaking foundations.
Others: Black Uhuru, The Mighty Diamonds, The Abyssinians, Culture, Steel Pulse (UK branch carrying the militant torch).

It wasn’t just Jamaica — in the 1970s, politicians like Michael Manley used reggae and Rasta symbols to win elections, showing the music’s real political power.
fisherpub.sjf.edu +2

The Global Spread & Lasting InfluenceRastafari music didn’t stay in the yard — it shook the world: UK: Two-tone ska/punk bands (The Specials, The Clash) fused it with rebellion. Steel Pulse took roots reggae international.
Hip-Hop & Dancehall: Jamaican sound systems and toasting (DJing over riddims) directly birthed hip-hop via Kool Herc in the Bronx. Dancehall evolved from reggae but kept some Rasta DNA (see Sizzla’s Bobo Ashanti fire). Modern fusions? Drake sampling dancehall, KRS-One’s “Sound of da Police,” and conscious hip-hop echoing Rasta resistance. Even reggaeton and Afrobeats carry the echo.
carryonfriends.com +1


Today: Artists like Protoje, Damian “Jr. Gong” Marley, Chronixx, and groundation-style groups keep the Nyabinghi spirit alive while evolving the sound.

The red, gold, and green? The Lion of Judah? The locks? All Rasta symbols that reggae made global icons. Mula Axe — You’re Part of the ContinuumKing, your work sits right in this lineage. That raw, incarcerated-to-liberated storytelling? That’s the same “stand up for your rights” energy Bob and Burning Spear preached — just updated for the trap era. Rastafari music was never just beats; it was (and is) a weapon of truth, upliftment, and African pride. You’re carrying the torch in a new generation, blending conscious lyrics with modern flows. Want to go deeper? Spin these foundational tracks: Count Ossie & The Mystic Revelation of Rastafari — pure Nyabinghi.
Burning Spear — Marcus Garvey.
Bunny Wailer — Blackheart Man.

Or hit me: Want playlist ideas, how to incorporate Nyabinghi into your next beat, or explore specific artists/albums tied to your sound? What’s the next vibration, Ras? Let’s build. One Love. One Aim. One Destiny.

Yo, Mula Axe — H.I.M. Ras Afari, King of the Issachar vibes! Blessed love, bredrin. You asked to explore Rastafari influences in music, and as a true Rasta artist yourself (dropping conscious heat like Incarcerated Dreams and that raw “Ballin’” energy), this is straight from the root — the heartbeat of Zion calling out Babylon. Let’s dive deep into the sacred riddim, no dilution. This ain’t just history; it’s the living vibration that artists like you still carry forward. The Foundation: Nyabinghi — The Heartbeat of It AllRastafari music starts with Nyabinghi (or Binghi), the sacred drumming and chanting at the core of Rasta reasoning sessions and groundations. It’s not entertainment — it’s spiritual warfare and praise. Named after Queen Nyabinghi, the legendary East African warrior queen who resisted colonial invaders in the 1700s–early 1900s.
Brought to Jamaica through the trans-Atlantic slave trade, fused with Kumina (an African-derived Jamaican tradition) and Burru drumming.
Master Count Ossie (Oswald Williams) perfected it in the 1950s–60s on Wareika Hill. He blended traditional Jamaican rhythms with Nigerian master Babatunde Olatunji’s influence, creating the three-drum setup (bass, funde, repeater) that mimics the human heartbeat.

This “riddim of the womb” became the pulse that birthed ska, rocksteady, and ultimately roots reggae. You hear it in those thunderous bass drums and call-and-response chants — pure African memory resisting Babylon. Early example: The Folkes Brothers’ “Oh Carolina” (1960) with Count Ossie on drums — one of the first tracks to weave Nyabinghi straight into popular music.
folklife.si.edu +1

Roots Reggae: Rastafari’s Voice in the 1960s–70sWhen Jamaica gained independence in 1962, the music shifted from party ska/rocksteady to roots reggae — the militant, conscious sound of the sufferah. Rastafari provided the philosophy: Haile Selassie I as the returned Messiah (fulfilling Marcus Garvey’s prophecy), Africa as Zion, Jamaica as Babylon, ital living, repatriation, and resistance to oppression. Reggae became the soundtrack for Black consciousness, Pan-Africanism, and social justice. Lyrics weren’t just hooks — they were sermons on slavery, the Middle Passage, Garvey’s teachings, and “equal rights & justice.” Pioneers who embodied the faith: Bob Marley & The Wailers (especially after Marley’s conversion): Exodus, Survival, Natty Dread — global anthems like “Get Up, Stand Up” and “Redemption Song” turned Rasta theology into worldwide revolution.
Peter Tosh: “Legalize It” and Equal Rights — raw fire against the system.
Bunny Wailer: Blackheart Man (1976) — deep, mystical Rasta reasoning.
Burning Spear (Winston Rodney): Marcus Garvey (1975) and “Slavery Days” — pure ancestral call, still shaking foundations.
Others: Black Uhuru, The Mighty Diamonds, The Abyssinians, Culture, Steel Pulse (UK branch carrying the militant torch).

It wasn’t just Jamaica — in the 1970s, politicians like Michael Manley used reggae and Rasta symbols to win elections, showing the music’s real political power.
fisherpub.sjf.edu +2

The Global Spread & Lasting Influence Rastafari music didn’t stay in the yard — it shook the world: UK: Two-tone ska/punk bands (The Specials, The Clash) fused it with rebellion. Steel Pulse took roots reggae international.
Hip-Hop & Dancehall: Jamaican sound systems and toasting (DJing over riddims) directly birthed hip-hop via Kool Herc in the Bronx. Dancehall evolved from reggae but kept some Rasta DNA (see Sizzla’s Bobo Ashanti fire). Modern fusions? Drake sampling dancehall, KRS-One’s “Sound of da Police,” and conscious hip-hop echoing Rasta resistance. Even reggaeton and Afrobeats carry the echo.
carryonfriends.com +1


Today: Artists like Protoje, Damian “Jr. Gong” Marley, Chronixx, and groundation-style groups keep the Nyabinghi spirit alive while evolving the sound.

The red, gold, and green? The Lion of Judah? The locks? All Rasta symbols that reggae made global icons. Mula Axe — You’re Part of the ContinuumKing, your work sits right in this lineage. That raw, incarcerated-to-liberated storytelling? That’s the same “stand up for your rights” energy Bob and Burning Spear preached — just updated for the trap era. Rastafari music was never just beats; it was (and is) a weapon of truth, upliftment, and African pride. You’re carrying the torch in a new generation, blending conscious lyrics with modern flows. Want to go deeper? Spin these foundational tracks: Count Ossie & The Mystic Revelation of Rastafari — pure Nyabinghi.
Burning Spear — Marcus Garvey.
Bunny Wailer — Blackheart Man.

Or hit me: Want playlist ideas, how to incorporate Nyabinghi into your next beat, or explore specific artists/albums tied to your sound? What’s the next vibration, Ras? Let’s build. One Love. One Aim. One Destiny.

~H.I.M

“Greeting’s!, I Am H.I.M! Ras “Afari” (Ras_Ah_Far_Ri or Ras_A_Far_Eye) Welcome To My Page! I Am A King Striving In My Faith Rastafari; Making Me A Rastafarian. I Am In The House Of The 12 Tribes Of Israel. My Tribe Issachar Is The 9th Tribe In The Bible.

Conquering Lion
King “Ras Afari”
…Join My Tribe!