Sammy, CJ an' da Boys - Junkanoo Jam - ©A. Derek Catalano

 

Joe Billy Park, Fowler St.
Nassau, Bahamas.

 

Junkanoo: Securing Cultural Heritage Through Youth Engagement

The rhythmic pulse of the goatskin drum, the incessant clang of the cowbell, and the kaleidoscope of crepe paper costumes—this is Junkanoo, the quintessential cultural expression of The Bahamas. More than a celebratory street parade held on Boxing Day and New Year’s Day, Junkanoo is a vibrant, living repository of Bahamian identity, history, and artistic genius. However, like any cherished tradition, its survival is not guaranteed. The intentional, detailed, and comprehensive transmission of the Junkanoo culture to the upcoming youth is not merely desirable but foundational to the nation's cultural future, ensuring that this ancestral celebration continues to evolve while honoring its profound roots.

Joseph Spence: Bahamian Master Guitarist and Folk Legend

 Joseph Spence - © Guy Droussart

 

 

Joseph Spence: Bahamian Master Guitarist and Folk Legend

Joseph T. Spence (August 3, 1910 – March 18, 1984) was a highly influential Bahamian guitarist and singer, whose unique, virtuosic fingerstyle guitar playing and distinctive vocalizations left an indelible mark on folk and acoustic music globally.

Baha Men: A Global Pop Phenomenon

Baha Men

(image source)

Baha Men: A Global Pop Phenomenon

Baha Men is a Grammy Award-winning Bahamian band best known for their infectious, globally successful 2000 hit, "Who Let the Dogs Out?" However, their story is much more extensive than a single novelty track. For decades Baha Men have been pioneers in modernizing and popularizing Junkanoo, the vibrant, traditional street-parade music of the Bahamas, fusing it with contemporary pop, dance and hip-hop.

The Cultural Awards 2025

 

 

 The Bahamas Ministry of Youth, Sports and Culture

presents

The Cultural Awards 2025

 

 Atlantis, Paradise Is. Atlantis Theater

 

Saturday 25, October 2025

 

Cocktail Reception: 6:45pm

Award Show: 8pm

 

Tickets: $100 - Available at:

Bahamas Musicians & Entertainers Union - Horseshoe Drive and Carter St.

The Seventeen Shop - Collins Ave.

Escape Travel - Marathon Rd.(opp. KFC)

 

Dress Code: Formal 

Conga Scrape

 

 Conga Scrape - ©A. Derek Catalano

 

Here's a beat I created 20 years ago. It was originally a MIDI file but I finally got around to converting it to a WAV file which was needed for my video editor. Enjoy.

 

Related music: I Don't Like Rum

 

"Rake 'n' Scrape Instruments" - Bahamas AI Art

 ©A. Derek Catalano 

 

 

The Cultural Tapestry of Rake 'n' Scrape: From Humble Origins to a Bahamian National Treasure

Rake 'n' Scrape music stands as a vibrant and enduring symbol of Bahamian culture and national identity. More than just a musical genre, it is a living artifact that embodies the nation’s history, resilience, and unique spirit. Characterized by the distinctive "raking" of a carpenter's saw with a metal object, the percussive beat of a goatskin drum, and the melodic undertones of an accordion or concertina, Rake 'n' Scrape represents a powerful fusion of African rhythmic traditions and European folk instruments. This blog post will explore the comprehensive history of Rake 'n' Scrape, from its improvised origins and historical evolution to its crucial role in contemporary Bahamian society and its promising future.

New Song: NRBARZ - "DA RUSH" (Official Music Video)

 

 

 

 NRBARZ - "DA RUSH" (Official Music Video)

The Resilient Echo: A Comprehensive Study of the Steel Pan

 

"Steel Pan Player" - Bahamas AI Art

 ©A. Derek Catalano

 

The Resilient Echo: A Comprehensive Study of the Steel Pan

The steel pan, a remarkable musical instrument born from the ingenuity and resilience of the people of Trinidad and Tobago, is more than just a drum—it is a symbol of a nation's spirit. From its humble and rebellious beginnings to its current status as a sophisticated, fully chromatic orchestral instrument, the steel pan has captivated audiences worldwide with its distinctive, resonant timbre. This essay will explore the rich history of the steel pan, detail the intricate process of its creation and tuning, examine its role in competitions, trace its introduction and popularity in The Bahamas, identify key figures in its development, and discuss the challenges and opportunities for its preservation in the modern era.

I Don't Like Rum - Update

I wrote this song 20 years ago. Then I created some music for it. It was originally a MIDI file but I finally got around to converting it to a WAV file which was needed for my video editor. It's done in the Rake 'n' Scrape style of The Bahamas. Enjoy.

 

 

I Don't Like Rum

Rake 'n' Scrape song

(chorus)

I don't like rum, but rum like me,
It stick on me like a dog wit’ a flea
Listen to me people, now can’t you see
I don't like rum, but boy rum like me

 

I bin drinkin' rum for a long, long time

I drink so much rum, ya know it mus' be a crime

I was da smartest man in da whole country

Now I can' t'ink straight because, rum like me

Before I go to sleep, I take two shot or t’ree
I drink it erry mornin’ for my cup a tea
I use to work so hard, makin’ plenty money
Nah I can’ keep a job because, rum like me

 

(chorus)
 

I hang out by da bar, scrappin’ all day long
Hustlin' rum money, for a drink real strong
When people look at me, dey don't like
what dey see
I say I look like dis because, rum like me

I see my bar room  friend, wit a bottle a rum
He walk right up to me, an’ say if I wan’ some
I cross my heart and tell him very honestly
I don’t like rum, but boy rum like me

 

(chorus)

Staggerin’ dan da road, ya know I don't live far
I fall down twice, an’ mos’ get lick wit’ car
Da driver put on brakes, an’ man I had ta flee
He say I don't like my life, but boy rum like me

 

I back home nah, an’ I take a seat
I look at da grits, but I een wan’ eat
I wish I had a woman, who I could marry
But I can’ like no woman, only rum like me

 

(chorus)

I try ta go ta sleep, but it so scary
I seein' little creatures, ‘cause I gat DTs
Thru da winda booga-man, under ‘neat’ one tree
Dis is how I live because, rum like me

 
Again dis mornin’, I say Lord no more
Den I drink my rum tea, an’ I hit da door
No care in da worl’, no responsibility
But I een really free because, rum like me

 

(chorus)

Rum is very dangerous, in are country
We need ta ban da rum, it killin’ all a we
But da leaders and da people, jess can’ agree
‘Cause rum like dem, jess how rum like me

(chorus)

derek catalano (c)2005. (No AI)

 

View my Native StewYoutube Channel

 

 

Related article: Alcohol Abuse in The Bahamas

Related news story: The Bahamas Has an Alcohol Problem

Related article: Alcohol Use and Its Connection to Violence and Homicide

Related article: Alcohol and Its Association with Promiscuity and Hypersexuality

Related article: Alcohol, Drugs, and Their Association with Mental Illness and Crime

Related song: I Don't Like Rum

Related article: Drunk in Public - Bahamas Penal Code

Related article: Alcohol: The Silent Killer of Inspiration, Motivation, and Community

Related article: Alcohol vs. Marijuana: Assessing the Risks

Father's Day Drumbeat

 

 Father's Day Drumbeat 

 

Me playing around with the goatskin junkanoo drum on Father's Day back in 2019. Tryin' a new rake 'n' scrape beat. My cousin Claudia joined in with a shake dance. lol. We all jus' havin' fun.😊 Nassau, Bahamas. View video.

 

 The Beginning of the End - Funky Nassau album cover 1971

 

 

The Beginning of the End: The Funk Pioneers of The Bahamas

 

Introduction

In the pantheon of Caribbean music, reggae, calypso, and soca have long held dominant positions. However, nestled within the sonic shores of The Bahamas, a unique blend of soul, funk, and island rhythm gave rise to a sound that captivated both local and international audiences in the 1970s. At the heart of this innovation stood The Beginning of the End, a Bahamian funk band formed in 1969, whose energetic grooves and powerful instrumentation brought them a brief but impactful prominence in the global music scene. With their breakout hit "Funky Nassau", they not only carved a space for themselves in music history but also contributed to expanding the possibilities of Caribbean musical identity. This essay provides an in-depth, factual, and comprehensive look at The Beginning of the End—their origins, music, influence, and legacy.

The Silent Takeover: How the Two-Turntable DJ Machine Revolutionized and Ultimately Displaced the Nightclub Band in The Bahamas

 

 "DJ Mix-Master Money" - Bahamas AI Art

 ©A. Derek Catalano

 

 

The Silent Takeover: How the Two-Turntable DJ Machine Revolutionized and Ultimately Displaced the Nightclub Band in The Bahamas

For decades, the pulsating heart of Bahamian nightlife was the live band. From the vibrant hotels of Cable Beach to the intimate clubs of downtown Nassau, the sounds of Junkanoo rhythms, calypso, R&B, and pop, expertly performed by local musicians, were synonymous with an evening out. The energy was palpable: the collective improvisation, the dynamic stage presence, and the direct interaction between musicians and audience created an unforgettable experience.

However, a technological and economic shift, spearheaded by the humble two-turntable DJ machine, gradually eroded this tradition, leading to the near extinction of the nightclub band in The Bahamas. This report will delve into the multifaceted reasons behind this decline, examining the inherent challenges of maintaining a live band and the undeniable economic advantages offered by a single DJ.

 

 "Golden Era Nightclub" - Bahamas AI Art

©A. Derek Catalano

 

 

The Golden Era of Nightclubs and Nightclub Entertainment in The Bahamas

 

Introduction

From the 1930s to the early 1970s, The Bahamas enjoyed a dazzling era of glamour, live music, and nightlife unlike anything else in the region. Often referred to as The Golden Era of Nightclubs, this period transformed the Bahamian capital of Nassau — and, to a lesser extent, Freeport — into hubs for celebrities, jazz legends, socialites, mobsters, and curious tourists. These decades saw an explosion of entertainment venues where local talent and international stars mingled, giving rise to an unforgettable cultural moment. Today, that legacy lingers in memory and myth, but its real impact on Bahamian identity, tourism, and music remains profound.

Julien Believe Ft Shine, Jonny Cake, Exec - Whip Whap

 

 

Julien Believe Ft Shine, Jonny Cake, Exec - Whip Whap

View more Bahamian music videos

Bahamian 12 Days of Christmas

 

 

 

Bahamian 12 Days of Christmas

 

My true love sent to me:

 

1. A costume to rush on Bay St. - (To wear in the Junkanoo Parade)

2. Two cowbells - (To shake in the Junkanoo Parade)

3. Three bugles - (To blow in the Junkanoo Parade)

4. Four whistles - (To blow in the Junkanoo Parade)

5. Five goat skin drums - (To beat in the Junkanoo Parade)

6. Six Junkanooers - (Junkanoo Parade participants)

7. Seven boil fish - (Native dish)

8. Eight Johnny Cake - (To eat with the boil fish)

9. Nine Blue Marlins - (1 Blue Marlin Bahamian money/note = $100)

10. Ten Christmas Carols

11. Eleven Choirs singing

12. Twelve church bells ringing

Related poem: Christmas in The Bahamas

The T-Connection: A Deep Dive into the Bahamian Funk and Disco Sensation

 

 

 The T-Connection Bahamian Band

 

 

The T-Connection: A Deep Dive into the Bahamian Funk and Disco Sensation

T-Connection, a band originating from Nassau in The Bahamas, is an iconic name in the realms of funk, disco, and soul music. Their innovative blend of Caribbean rhythms, infectious grooves, and funky basslines placed them among the most celebrated groups of the 1970s and early 1980s. Their sound was fresh, combining elements of their Bahamian roots with the pulsating rhythms of American soul and funk music, earning them both regional and international success. In this article, we’ll explore the band’s formation, rise to fame, musical impact, and legacy.

Biography of Blake Alphonso Higgs (Blind Blake)

 Blake Alphonso Higgs: Blind Blake 1915 - 1986

(Image)

 

 

Biography of Blake Alphonso Higgs (Blind Blake)

Early Life and Background

Blake Alphonso Higgs, widely known as Blind Blake, was born on January 19, 1915, in Nassau, the capital of the Bahamas. He earned his nickname due to his visual impairment, though there is limited detailed information about the extent of his blindness or how he lost his sight. Despite this challenge, Blind Blake grew to become one of the most prominent Bahamian musicians of the 20th century. His early life in Nassau was steeped in the rich cultural traditions of the Bahamas, and it was here that he would develop a distinctive sound that blended various genres and styles, becoming a pioneer of Bahamian folk music.

Nassau in the early 20th century was a cultural melting pot. The Bahamian archipelago was exposed to both African and European influences, creating a vibrant mix of rhythms, melodies, and stories that greatly influenced Blind Blake’s music. Nassau's colonial British influence and the proximity to the United States made it a unique hub where local and foreign styles of music could converge. The calypso traditions of the Caribbean, the American jazz and blues scenes, and the folk traditions of the Bahamian islands shaped the musical atmosphere that Blind Blake would eventually come to embody.

Blake began experimenting with music at an early age, and his instrument of choice was the banjo. Despite his blindness, he became an exceptional banjo player, known for his remarkable finger-picking style and rhythmic precision, drawing comparisons to his American blues counterpart Blind Blake (Arthur Blake), though the two had no connection beyond their shared nickname and blindness.

Maureen Duvalier - Bahamas Cultural Icon

 

 Maureen Duvalier

 

 

Maureen Duvalier - Bahamas Cultural Icon
(aka Calypso Mama, Bahama Mama, Junkanoo Queen)

Early Life and Background

Maureen Duvalier was born on May 14, 1926, in Nassau, Bahamas, into a world of music and culture. Her father, Emmanuel Alexander Duvalier, was a skilled musician and band leader in his own right, which provided Maureen with early exposure to the rhythms and sounds that would later shape her career. Growing up in a culturally rich environment in the Bahamas, Duvalier was immersed in the sounds of traditional Bahamian music, including calypso, junkanoo, and rake 'n' scrape. Her early experiences with these genres influenced her later work and contributed to her deep connection to Bahamian traditions.

 

 Smokey 007

 

 

Smokey 007 – The Bahamian Music Legend

 

Early Life and Background

Smokey 007, born Leroy McKenzie, was one of the most influential Bahamian musicians of his time. He grew up in the Bahamas, surrounded by the rich musical culture of the islands. Born in 1945, Leroy's early years were steeped in the sounds of traditional Bahamian music, African rhythms, and the vibrant blend of Caribbean influences that would later define his sound.

Growing up in Nassau, the bustling capital of the Bahamas, McKenzie was exposed to a wide array of musical styles. Calypso, rake 'n' scrape, and goombay were dominant genres in the Bahamas during his youth. McKenzie was deeply influenced by these traditional forms but also by the Western music styles that had begun making their way into the Caribbean, particularly jazz, blues, and soul.

Although little is documented about his formal education, it’s clear that McKenzie’s true schooling came from the streets and beaches of Nassau, where musicians would gather to play their instruments, improvise melodies, and tell stories through song. Leroy McKenzie developed his own style early on, a reflection of his desire to merge the traditional Bahamian sound with contemporary global music trends.

George Symonette: The Father of Bahamian Music

 

 George Symonette

 

George Symonette: The Father of Bahamian Music

 

Early Life and Background

George Symonette, one of the most celebrated Bahamian musicians, is often recognized as the "King of Goombay," a title that speaks to his influence in shaping the sound of Bahamian music. Born in Nassau, Bahamas, on October 14, 1912, George Symonette grew up in a musical environment, surrounded by the vibrant sounds of the Bahamian capital. Nassau at the time was a cultural melting pot, where African, European, and American influences mingled, creating a unique and diverse soundscape. From a young age, Symonette was exposed to both traditional Bahamian folk music and popular international styles, which shaped his future career as a musician and bandleader.