Outta space testo peter tosh biography

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He conceptualised that great continent as a state of mind, which means he could live his Africaness without ever going there.   In the heated election campaign of 1980, and in spite of Marley being previously shot (1976) for agreeing to perform on the Smile Jamaica Show, which was perceived as a political gesture, Tosh conceived and staged the Youth Consciousness 1 and 2 concerts at the Jamaica House grounds and at Fort Clarence.

My song say Mama Africa, that is just telling Africa I am coming home.'   Yet, on the other hand, although his main objective was Africa itself, Tosh loved Jamaica, which he dubbed, 'Jah mek yah,' and considered the island of his birth a piece of Africa afloat in the Caribbean - what he termed 'carry us/them beyond.'   His artistic response to that dislocation was to address Africa's historic significance by singing its praise, and encouraging an African identity.

His music was a tool for revolution, famously symbolized by his guitar shaped like an M16 rifle.   During the apartheid era, and before many of his fellow singers and musicians knew its meaning and implications, Tosh took a stance against the white supremacist governments of South and South West Africa and their Western allies. Tosh's activism was not confined to his music; he was a tireless advocate for human rights, often risking his own safety to stand up for what he believed in.

Tosh's uncompromising nature sometimes put him at odds with the mainstream music industry, but he remained steadfast in his convictions, refusing to water down his message for the sake of commercial success.

His resilience and unwavering commitment to his beliefs left an indelible mark on the world, championing the fight against injustice.

Legacy and Influence

Beyond his activism, Tosh’s charisma and unique style endeared him to fans across the globe. Above all, Tosh dedicated himself to the political freedom of Africa and committed himself to its liberation in both words and deed.

In 1967, he was arrested outside the British High Commission in Kingston protesting Ian Smith's take over of the former Rhodesia, now the South West African state of Zimbabwe. At the same time, he addressed the realities of Africa's contemporary problems by highlighting the issues that plagued it. As a complete work, it captures the racial, political immorality and systemic inhumanities that was part of the world of the 70s, a situation that remains to the present.

He read and passed on to those interested, a book he purchased in Brussels called the Broederbund (Brotherhood) that provided a background to the origins and implementation of the apartheid system.   Tosh talked direct, he addressed the situation as he saw it and he put his money where he put his mouth.

His pragmatic observation of local and world politics influenced his compositions. This vibrant yet challenging environment, known for its rich musical culture, became the crucible for his artistic ambitions. An accomplished unicyclist, he often delighted audiences by riding onstage, adding a special flair to his performances.

  His favourite was Freddie, the parrot. However, tension grew within the group, especially between Peter Tosh and Bob Marley, as Tosh witnessed Marley’s persona within the group overshadow his own. It was his way of communicating to youth, both as a reprimand to turn away from tribalism and partisan violence and for them to support what he thought the more progressive option offered.

The song African, one of his many compositions that convey his awareness, provides a sense of Tosh's ideal:   Don't care where you come from As long as you're a black man, You're an African Never mind your nationality You have got the identity of an African If your plection high, high, high If your plection low, low, low If your plection in between You're an African   These lyrics clearly demonstrate Tosh's views on identity and suggest an Afro-Jamaican and diasporic relationship to Africa.

|He often struggled in Jamaica with his group the Wailers (aka the Wailing Wailers - the group included Bunny Wailer and the world-renowned Bob Marley). Despite facing numerous challenges throughout his career, Tosh's influence continued to grow, earning him respect and admiration from fans around the world.

Tragically, Tosh's life was cut short when he was brutally murdered during a home invasion on September 11, 1987.

  Shifting the highlight from the specificity of South Africa's apartheid and placing the focus on the continent in general, Tosh's revolutionary spirit, communal solidarity and feminist consciousness are evident in the song Fight On:   Africa has got to be free Fight on brothers, fight on Fight on and free your land Fight on sisters, fight on Fight on and free your fellow man Cos if Africa is not free Then we all will be Back in shackles you see My brothers fight on Fight on and free yourselves Fight on and free your land Fight on and free your fellowman   Among his fans, Tosh's Africanist image is generally known, though in general, he has been slighted, not taken seriously or really understood.