If we’re not careful, Damian Marley thinks corporations will ruin cannabis culture

Damian Marley Talks Preserving The Spirit Of Cannabis As It Becomes An Industry
From the moment he walks into a small banquet room in the back of the Sunset Marquis Hotel in West Hollywood, Damian Marley projects a different swag than his brothers Julian and Stephen Marley. With a black-and-red “Zilla” snapback on his head covering his knee-length dreadlocks, a fresh pair of navy Timberland boots and a gleaming gold Rolex, the youngest son of reggae king Bob Marley is just decidedly more hip-hop.

It’s his signature style. After all, Damian was sought out by Jay-Z for a collaboration that landed on the 4:44 album and long before the Afrocentric wave of Black Panther, he and Nas joined together to release an album as Distant Relatives in 2010.

In other words, Damian Marley has chartered new musical territory for his family name, creating an inimitable sound that is equal parts reggae, dancehall and hip-hop. On the cannabis front, Damian has been pretty busy too. He is pushing the culture forward and creating new businesses. But it’s not just about making money for the self-described “young entrepreneur.” As Marley’s youngest son, Damian sees himself as a part of the original cannabis culture, the culture which respects the cannabis plant and the people who grow it. And he’s made it a part of his mission to not only help the cannabis industry grow but to ensure that it does in the right way.

With herb becoming legal, it’s important for us, the original culture of herb smokers and people who sell and grow herb, to be a part of it,” Marley said during an interview with Herb at the Sunset Marquis Hotel in West Hollywood, where his father often stayed.

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Photo by JESSICA CHOU/ Herb

Damian is nothing if not true to his words. In 2016, with longtime manager Dan Dalton and his family members, he bought a California prison and converted it into a pot farm. The transaction provided an instant financial boost to the city of Coalinga, and with around 100 new jobs, looks to be a consistent revenue stream for years to come.

The rest of his family is a part of the movement too. In mid-March, about a week after Herb spoke with Damian, Kaya Farms, co-owned by Damian’s brother Rohan Marley, became “the first legal medical cannabis dispensary in the English-speaking Caribbean.” It already appears the dispensary—located in Ocho Rios, Jamaica along with sister companies Kaya Herbhouse, Kaya Spa, Kaya Cafe and Kaya Tours—will be better received than Marley Natural, another cannabis brand developed by the Marley family.

Marley Natural came to market after a 30-year licensing pact between the Bob Marley estate and Privateer Holdings, the first company to secure many millions of dollars from institutional investors, prompting concerns among longtime cannabis entrepreneurs about the looming threat of corporate competition. Privateer Holdings was also roundly criticized for exploiting Rastafarian culture and lampooned for using Marley Natural to turn anti-capitalist Bob Marley into ‘Marijuana Marlboro Man.’ But Damian insists he wants to champion the people the way his father did.

“I’d really love to see that all of the people who have benefited from the plant and have been able to feed their families because of the plant can continue to do so when it’s legal,” Marley said. “It’s important that they’re not muscled out by corporations.”

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Photo by JESSICA CHOU/ Herb

Damian is clear about this in his music and his business ventures, which are inextricably tied. In his most recent music video for “Living It Up” from album Stony Hill, Damian celebrates Jamaican culture with his son. Stony Hill, the Jamaican neighborhood where Damian was raised, also shares a name with the singer’s Denver-based dispensary which opened around the same time as the album release. “Medication” was one of the album’s lead singles and further, Stony Hill Corp. has invested in cannabis businesses, including purchasing High Times magazine last year.

Damian says his goal is to inspire those in the cannabis community who may see themselves at a disadvantage as the legalization movement picks up and an influx of well-heeled investors descends on the industry. “It’s easy for capitalists to really take advantage of the fact that it’s now legal,” Marley says.

When asked about what he feels are the next steps in the legalization movement, Damian is clear: criminal justice reform.

“Look, first and foremost, before I can say anything, the greatest aspect should be that people aren’t incarcerated for herb,” Marley said. “It should be free to the level where anyone should be able to grow herb in their home, like they grow tomatoes or rosemary or whatever they want to.”

Damian, along with his brothers Stephen, Julian, Ky-Mani and Ziggy, will be bringing this message to San Bernardino, California this month, where they’ll be performing for the first time together in more than a decade at the Kaya Festival in honor of the 40thanniversary of their father’s Kaya Album.

The fest is being billed as “a socially conscious experience that utilizes the power of music and togetherness” to honor Bob Marley and “his unified way of living.” The word Kaya, like the festival itself, means many things: beauty, home, and, not coincidentally, cannabis.

Source: https://herb.co/marijuana/news/damian-marley-kaya-cannabis

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Kickin’ It With Bob Marley

In the gym with a soccer-loving reggae legend.

He sang about “one love,” but Bob Marley was passionate about many things, including the game of soccer. At home, in the studio, or on the road, Marley was never far from a ball.

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“Football is freedom,” he once said, and throughout his life, the game provided a refuge and release from the stresses of touring. In the summer of 1980, towards the end of the European leg of the Uprising Tour, Marley stopped doing formal interviews, instead organizing soccer games with members of the media and other musicians.

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One of these games took place inside a small West London gymnasium on July 16 of that year, when Marley’s team matched up with a squad led by fellow reggae artist Eddy Grant. Photographer Norman Reid was there to capture it.

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Marley, who by many accounts was a fierce competitor and hated to lose, wasn’t happy when his team went down early. “They went up on us quick — 2-0,” Garrick remembered. “So Bob called timeout. We told him, ‘Bob, you can’t call timeout — this isn’t basketball,’ but they gave us a break. That was their worst mistake.”

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While not big and strong, Marley was fast and agressive — and no stranger to small fields, having honed his game in the small yard outside his Hope Road home in Kingston, Jamaica.

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Once they understood the rules, the tables turned quickly, with Marley’s crew coming from behind to beat Grant’s team 5-2.

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Two months later, Bob Marley and the Wailers traveled to America to finish the Uprising Tour, with the last show taking place at the Stanley Theater in Pittsburgh on September 23, 1980. The performance would be the last of his career, as the legendary abd beloved talent died of cancer the following May at the young age of 36.

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Source: https://foto.gettyimages.com/sports/soccer/kickin-it-with-bob-marley/

Just give Jamaica the trophy, Netball NZ!

Opinion By Jamie Wall @jamiewall2 jamie.wall81@gmail.com

Netball NZ’s refusal to let Jamaica take the Taini Jamison trophy home is another PR failure for an organisation that really doesn’t need one right now, writes Jamie Wall.

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Jhaniele Fowler Reid of Jamaica celebrates with the Taini Jamison Trophy after winning the final against the Silver Ferns. Photo: PhotoSport

You have to hand it Netball NZ. Just when it seemed like they couldn’t possibly do anything else wrong, this week saw the news that they don’t know how a trophy works.

The word ‘trophy’ literally means a ‘tangible reminder of a significant achievement’. That’s why you have trophy presentations after someone wins something, so they can lift it up, celebrate with it, and drink out of it. Then you get to take it home and put it in a cabinet for everyone to see.

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It’s that last bit that Netball NZ has trouble understanding, because Jamaica left New Zealand without a reasonably important piece of baggage at the start of this month: the Taini Jamison Trophy. If you’ve forgotten, and you’d be forgiven for doing so given the complete downward spiral that the Silver Ferns have gone through since, that’s the trophy that the Sunshine Girls won before the Commonwealth Games.

They did so by becoming the first Jamaican team to record successive wins against New Zealand ever and the first to get a win in New Zealand. A remarkable effort by an outstanding group of athletes, so you’d think they’d be able to get something to remind them of the achievement. But not according to some bureaucratic nonsense from Netball NZ head of events, Kate Agnew:

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“Each series is a discrete competition. It is not a defendable trophy. Each series stands alone and each series is recorded on the trophy. Jamaica won the series. They don’t hold the trophy. Each series is independent of all the others so you can win the trophy but it doesn’t mean you are the holder.”

Of course, this explanation fails a simple examination on the basis of linguistics, first and foremost. If it’s not ‘defendable’ it’s not a trophy. If you can’t ‘win’ it, it’s not one either. So, by all means, call it the Taini Jamison Series to honour the former coach of the Silver Ferns. But don’t chuck in a piece of silverware that you can’t actually take with you.

Especially considering that it’s standard practice to have replicas of the most important trophies in world sport. It’s not even a secret either, World Rugby routinely publicise the fact that they have at least two versions of the William Webb Ellis trophy to use for promotional purposes – as well as one that the winners get to keep.

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The fact that it was brought to light by the Jamaicans makes Netball NZ look foolish, because they clearly didn’t tell anyone that it wasn’t going anywhere regardless of the result. The response about ‘discrete competition’ doesn’t really do much to convince anyone that this is nothing more than another PR failure for an organisation that really doesn’t need one right now.

However, it may shine some light on the sort of decision-making processes that have landed Netball NZ in the mess that it’s in. If they can’t even get the logistics of letting someone win a trophy right, then it goes a long way to explaining why the ANZ Championship got disbanded. Also how Janine Southby remains as coach, despite seemingly not having the coaching credentials or staff around her to take a high school side. And why Laura Langman decided that playing pro in Australia was a better option than representing her country under the current regime.

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Right now, Netball NZ have comfortably overtaken NZ Football as the leading contender for most inept sporting body in the country. But while they haven’t picked any ineligible players like the soccer boys did, it’s because they adhered to the draconian and nonsensical rules that they made up around that themselves.

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You get the feeling that there’s a lot more to come in the fallout of the Commonwealth Games netball debacle. But, for now, Netball NZ could at least do themselves a favour and quietly courier the Taini Jamison Trophy to Kingston, Jamaica.

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Because handing over a trophy is what you do when you get beaten.

Source: https://www.radionz.co.nz/news/sport/356025/just-give-them-the-trophy-netball-nz


 

Netball New Zealand keeping hold of Taini Jamison Trophy despite series defeat

Netball New Zealand is keeping hold of the Taini Jamison Trophy despite the fact the Silver Ferns lost the most recent series decider to Jamaica.

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NNZ’s head of events Kate Agnew fronted with some answers after Netball Jamaica president Paula Daley-Morris criticised the decision not to allow the Sunshine Girls take the silverware home, even though they won the final 59-53.

The Taini Jamison Trophy was introduced in 2008 and is contested when any national side other than Australia plays the Silver Ferns in New Zealand.

Agnew said it was simply a physical symbol which represented the history of the series, and they could not afford to let it go offshore.

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“Each series is a discrete competition. It is not a defendable trophy. Each series stands alone and each series is recorded on the trophy. Jamaica won the series. They don’t hold the trophy. Each series is independent on all the others so you can win the trophy but it doesn’t mean you are the holder,” Agnew said.

“Because of the value and preciousness of the trophy we couldn’t afford to have it go offshore either. For insurance purposes and its ongoing value in the history of New Zealand, we can’t really have it go offshore.”

The Silver Ferns lost twice to Jamaica during the series, going down by six goals in the decider. New Zealand then lost to Jamaica again in the bronze medal match at the Commonwealth Games.

Daley-Morris told Jamaican media that the players were upset by the fact they could not take the trophy home as it was a milestone victory.

“At the end of the series for the Taini Jamison Trophy, we were anticipating receiving the trophy, but we were told that it has never been won by any other national team and that it couldn’t leave the country,” Daley-Morris said.

“The team was disappointed in that we didn’t get medals or replicas, and we asked for even a picture of the trophy itself or even something symbolic to mark the occasion, and we haven’t received that either.”

Plus Jamaica didn’t exactly leave empty handed either. They were presented with a framed motif and NNZ plans to send a personalised plaque to recognise their historic achievement next week. Their name has been inscribed on the trophy which will remain on display at their headquarters.

Agnew admitted the communication could have been clearer between the organisations.

“I think we’ve got to absolutely take responsibility about making sure we are even more clearer about the status of the physical trophy itself going forward,” she said.

Netball NZ would consider making a replica trophy for future series, Agnew said.

Tournament winners do not always receive an original trophy. Replica trophies are often given to be taken home. World Rugby hands out replicas of the Webb Ellis Cup to every Rugby World Cup winner and they are not all the same size, while the Ashes cricket urn is kept at the Lord’s museum where it attracts thousands of visitors each year.

Source: https://www.stuff.co.nz/sport/netball/103376446/netball-new-zealand-keeping-hold-of-taini-jamison-trophy-despite-series-defeat


 

 

Rolling Stone: Grace Jones on New Doc ‘Bloodlight and Bami

‘Slave to the Rhythm’ singer/style icon on opening up for the camera, her ‘Black Panther’ shout-out and more

She’s been a Grammy nominee and a disco glamazon, a supermodel and a slave to the rhythm, a Bond femme fatale and Conan the Barbarian’s cohort, a style icon and a Studio 54 habitué. She is Grace Jones, and this tall, fearsome Jamaican remains an instantly recognizable celebrity and a fertile creative force. But director Sophie Fiennes’ immersive and intimate documentary, Grace Jones: Bloodlight and Bami, reveals a side of the artist rarely glimpsed by her legions of fans: unguarded, tender, down-home, vulnerable. Rather than follow the standard cradle-to-comeback trajectory of a music biodoc, slotting in vintage performances and featuring famous talking heads discussing her influence, this portrait drops viewers into the here and now of Grace’s world.

Shot and edited over the course of 12 years, Bloodlight and Bami (the Jamaican patois of the title refers to recording lights in music studios and one’s daily bread) chronicles the head-spinning international whirlwind that is Grace Jones’ life. From sterling live performances and late-night dance parties to the sessions that produced her 2008 album Hurricane, the movie follows its subject from luxurious penthouse suites to shanties in Spanish Town, Jamaica. There’s plenty of fabulous moments: Jones donning a fantastic array of headgear (her stylized nun wimple and disco-ball bowler hat, in particular, mesmerize), dressing down longtime collaborator/producer Robbie Shakespeare over the phone. But it’s counterbalanced by a lot of behind-the-curtain moments that offer a completely different view of the Nightclubbingsuperstar.

Rolling Stone spoke to Ms. Jones about the film, her plan to stage a concert in outer space and how her twerking lessons are going.

Did you like your shout-out in Black Panther?
Yeah! I was told before I went and saw it in Los Angeles; I’m going to see it again here in Jamaica. I sat too close to the screen with my brother, who is near-sighted, and I’m far-sighted, so I want to see it again. It was quite funny getting mentioned in that movie. I did a film called Shaka Zulu: The Last Great Warrior,where I play an African Queen, so I went ‘Wow.’ It brought all that back in a way.

There’s this distance and a real sense of toughness in both your persona and the characters you’ve played in films. And yet in Bloodlight and Bami, you reveal a more intimate side.
In those films, I’m playing characters. I’m trying to make sure you don’t think about Grace Jones in those films; you think about May Day (A View to a Kill) or Zula (Conan the Destroyer) or Strangé (Boomerang). I try to make sure those characters were completely apart from Grace Jones in performance.

Your 1982 longform video/concert film, A One Man Show, has never been available outside of VHS. Is there any chance it will ever be reissued?
Well, we’re talking about it, Chris Blackwell and me. We were producers of that film. It would be fantastic. I remember David Bowie told me that the performance on that film, you could just bring it out again and again after so many years, because it was really so far ahead of its time. People had their mouths falling down when they watched. It was so different. It really does stand the test of time, so we are talking about doing that. I just hope we can find the masters!

What struck you about Sophie’s film?
Ah, well [laughs] … what struck me was that I thought it was going to be so difficult to pull together. We had so much material after 12 years, and I didn’t see any of the film before it was finished. I love the way it went in and out of the performance side, the recording side. She really captured the stuff that you go through as you are working, doing talk shows and concerts. And then the whole part of me in Jamaica with my family, the way she went back and forth connecting [my] private, intimate life to the part where you’re performing, and then the audience is out there onstage with me. I just loved the way she saw that vision, because I lived it like that.

Was there any part of the film where you thought it was too personal?
No, never! Sophie, when she was filming, was like a fly on the wall. Obviously, I felt very comfortable with her, so she was like an insider. I felt like I could be myself.

Sophie also made a film about your brother [Fiennes’ debut film, Hoover Street Revival, focuses on Grace’s brother, Bishop Noel Jones]. What was it about that film that made you decide to let her tell your story?
The film with my brother was completely different: It was dealing with his church in South Central L.A. But that’s how I met her initially. I was invited to a screening for my brother’s film, and we hit it off. And I just said, “We should do something.” I also saw her other films and I knew she definitely has a vision and a passion for what she’s doing. So I felt completely safe in a way that I could be unsafe, you know? I could also let everything hang out. Literally!

In the film, there’s footage of you in the studio with Sly & Robbie working on Hurricane. During the Eighties, you worked with everyone from Nile Rodgers to Trevor Horn to C+C Music Factory. So what led you back to Sly & Robbie some 26 years after working with them on albums like Warm Leatherette and Nightclubbing?
When Chris Blackwell put Sly & Robbie together with me in 1980, I believe that being Jamaican and getting to know me – it just felt right. It just felt like this is when my voice is at its best, together with them. They’re like my brothers. I fight with them, I beat them up, but we’re like brothers and sisters. My voice seems to just meld perfectly with their rhythms, with their style. I love the fat bass, the percussion and rhythms. And I think they experiment more with me than with probably anyone else. We don’t mind experimenting together.

Are you working on a new album now?
Yes! I’ve been working on it for five years now. Hopefully another month to just work and not go anywhere and not have outside things happening. Between my memoir, the touring and now the film, we have to keep putting it on hold. But it’s very, very powerful. Sly & Robbie are on there in bits and pieces. I always call them in and say, “Let’s see what you can do with this.” And they always find something.

There’s a part in your memoir where you dismiss most modern pop stars for not being original and having their own vision – but what do you think about Jamaican artists? Have you ever thought about making a dancehall album?
Oh, I love dancehall! We do have a dancehall track that I’ve been performing live and on tour, but we haven’t put it in record form yet. It’s called “Shenanigans” and it has a dancehall riddim to it. But when we record it, I’d like it to drop even heavier, with a bit more edge. It’s too sweet still. When we finally do it, it needs to be edgier. I tried that whole bottom-shaking, twerking movement and almost broke my neck standing on my head to get my ass twerking. It’s really hard! But I’m taking lessons.

In the documentary, you reference Timothy Leary and talk about disco as being “like going to church with people on hallucinogens dancing.” How influential was acid on you in terms of your development?
It was like therapy, the way that I did it. I was born again in my own way; my eyes opened, the world got bigger but smaller at the same time. Bigger in the sense that it was mind-opening. It freed me up. I was a nudist during that time as well, so you get comfortable with yourself naked. And then from there, you see how small the world really is when you start traveling all over the place. One time I even hitchhiked to Paris on acid. It was amazing. You meet welcoming people and have good conversations and then grow from that. You learn just how small the world really is. It just encouraged learning and growing really with me. I felt like a gypsy going around the globe.

I always wanted to go to outer space, too. I always wanted to do a concert in outer space with David Bowie, Michael Jackson and myself. At one point I was like, “Let’s just call Bill Gates and have him fund it for outer space.”

Sadly, it would just be you now.
Well, now, with all the technology, you never know. Now we can just have a virtual reality concert in space.

Lauryn Hill announces 20th Anniversary Miseducation tour

Hill is revisiting her landmark album with stops across North America, including Toronto and Vancouver

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When the landmark album The Miseducation of Lauryn Hill was first released in August of 1998, Hill’s smart, infectious songs were everywhere — from cafés to stores to radio.

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Now Hill is revisiting the album with a North America-wide tour that kicks off July 5 in Virginia and includes stops in Toronto (July 18) and Vancouver (September 14), as well as Boston, Chicago, Atlanta, Portland, Los Angeles and more. She is also headlining the Pitchfork Music Festival.

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Hill was just 23 years old when she recorded the album, her first solo effort after her split with the Fugees.

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Recorded almost entirely at Bob Marley’s studio in Jamaica, The Miseducationblended rap, soul, reggae and pop, while the lyrics deftly delved into relationships, philosophy and faith.

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The album debuted at number one on the Billboard 200, and sold over 400,000 copies in its first week, making Hill the first female artist to reach that mark. The Miseducation was also nominated for 10 Grammys and won five, setting more records. The album has since sold over 19 million copies worldwide.

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Since the album’s success, Hill has only performed sporadically — most recently this week at Nina Simone’s induction into the Rock and Roll Hall of Fame.

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Tickets for the upcoming tour go on sale starting today.

Find the full list of tour dates here.

Source: http://www.cbc.ca/radio/q/blog/lauryn-hill-announces-20th-anniversary-miseducation-tour-1.4623494

658… Jamaica’s New Area Code

The current area code, ‘876’, is almost exhausted and requires an additional code, or NPA (numbering plan area), which will come into effect at midnight on May 31, 2018.

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The change effectively makes the dialling of local numbers a mandatory 10-digit exercise (the three-digit area code plus the last seven digits of the phone number).

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Although mandatory 10-digit dialling is six months away, the country’s major telecommunications providers, Flow and Digicel, are advising non-smartphone users to start editing local numbers in their contact list to reflect the ‘876’ area code before the seven-digit phone number.

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According to OUR spokesperson Elizabeth Bennett Marsh, the telecoms providers have explained that users of non-smartphones will have to manually input the area code in front of their contacts as there is no facility for them to do it otherwise.

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In contrast, smartphone users will have the advantage of utilising applications, or “apps”, that can update a person’s mobile phone contact list by automatically adding the area code.

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Come May 31, Jamaica will have its new area code to supplement the existing decades-old code, but there will be a permissive dialling period to allow users enough time to familiarise themselves with the new calling method. During that period, both seven-digit and 10-digit dialling will be allowed. However, when the permissive dialling period has ended at 12:01 a.m. on October 30, only 10-digit dialing will be allowed.

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Jamaica’s 876 area code was assigned in June 1996. It was envisaged then that the area code would provide sufficient numbering capacity for the next 20 years of demand growth. But, in 2009, after just 13 years, the country had to consider the introduction of a new area code to augment the existing ‘876’ numbering space and, consequently, to move from the current standardised 7-digit to a mandatory 10-digit dialling for all local calls.

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Jamaica is the first North American Numbering Plan Administration (NANPA) country in the region to implement an additional area code.

British residents deported to Jamaica told to ‘put on accent’

Labour MP David Lammy condemns government leaflet telling new arrivals how to blend in