STORY · GLOBAL
Women behind the boards and the business
Well supported
Producers, executives and one dancer whose stand-off with a promoter opened a stage to Rastafarian drumming -- the women who ran the business side of Jamaican music.
Sonia Pottinger cut rocksteady and gospel sides from the mixing chair, Patricia Chin built VP Records from a Kingston record shop into a global label, and Cedella Marley now runs Tuff Gong itself -- while decades earlier, dancer Anita Mahfood forced open a stage for Rastafarian musicians.
The dancer who opened a stage
In 1959, Kingston's leading rhumba dancer, Anita Mahfood (billed as Marguerita), demanded that Count Ossie's Rastafarian drummers back her show at the Ward Theatre. Promoter Vere Johns objected on the grounds of Rastafari's outsider status; Mahfood refused to go on without them, and Johns relented. It was Count Ossie's first performance for a mainstream audience -- a single dancer's stand-off that helped legitimise Rastafarian music in Jamaican popular entertainment years before reggae carried it worldwide.
Some of the most consequential decisions in Jamaican music history were made by women who never touched a mixing board.
From the mixing chair to the corner office
A generation later, Sonia Pottinger and Patricia Chin built and ran labels -- Gay Feet, High Note and VP Records among them -- through decades when Jamaican music's business side was almost entirely male. Olivia 'Babsy' Grange moved from artist management into government, eventually shaping national cultural policy.
That executive line continues today: Cedella Marley has run Tuff Gong International -- the label the Wailers founded in 1965 -- since her early twenties, overseeing its studio, pressing plant and distribution arm, while her sister Sharon Marley has led A&R at Ghetto Youths United and curated the Bob Marley Museum. Both got their start recording as two of the four siblings in Ziggy Marley and the Melody Makers before moving to the business side of the family enterprise.
