ENTITY · PERSON
Anthony B
Probable
Anthony B (born Keith Anthony Blair, 1976) is a Jamaican Rastafarian deejay who emerged in the mid-1990s conscious-reggae wave from rural Trelawny. Linking with producer Richard "Bello" Bell at Star Trail Records, he became known for militant, socially critical lyrics, most notably the 1996 single "Fire Pon Rome," which was banned from Jamaican radio for targeting the Vatican. He has since maintained a long international touring career.
At a glance
- Type
- person
- Confidence
- Probable
- Era
- Open era →
Connections
Watch & listen
Debate & reception
How people argued about the music — praise, criticism and public debate. See all debate & reception →
commentary
Did the gun-lyric backlash force dancehall's late-1990s conscious turn?
The later 1990s saw dancehall pivot from slackness and gun-talk toward spirituality and social consciousness, as Rastafari-inflected acts like Garnett Silk, Capleton, Luciano and Anthony B rose and even gun-star deejays softened their material. Commentators dispute the cause. One account credits the moral panic and censorship pressure — churches, the press, and broadcast gatekeepers — with shaming and steering the music toward 'culture' lyrics, a reform imposed from outside. The competing account treats the shift as organic and internal: a market swing and a genuine spiritual revival within the artists themselves, not a concession to critics, cautioning that crediting the backlash overstates outsiders' power over a self-directed scene. The disagreement is really about who authors dancehall's moral course.
Stance: conscious turn as a response to the gun-lyric backlash/censorship vs an organic, artist-driven shift
commentary
'Til Shiloh and dancehall's turn to consciousness
Buju Banton, who had ridden slackness and gun-talk hits to stardom, converted to Rastafari and released the roots-inflected 'Til Shiloh in 1995, with 'Untold Stories' drawing frequent comparison to Marley's 'Redemption Song'. Many critics and fans read the record — alongside the parallel rise of Garnett Silk, Capleton and Anthony B — as dancehall redeeming itself and easing the slackness-vs-culture rift, an argument that neo-roots consciousness had matured the genre. Skeptics saw the shift as either a moralistic retreat from dancehall's raw street energy or a shrewd repositioning toward the greater respectability and export market of international roots reggae.
Stance: redemptive maturing of dancehall vs. moralistic retreat or commercial repositioning