According to AP, He is William C. Lewis of Henrico, Virginia, USA. He has been charged with aggravated assault and public intoxication. A Richmond jail spokeswoman said on Monday night that Lewis remained in jail on US$3,500 bond.

The band's manager, Mike Cacia, said that Hibbert performed at a concert on Sunday night in Westhampton Beach, New York Cacia said Hibbert only holds the bottle thrower responsible and has no grudges against the community.

Toots and the Maytals was performing at the Dominion Riverrock Outdoor Sports and Music Festival when the incident occurred in the latter stages of Country Road. The band stopped playing after he was hit, and it was reported that Hibbert was disappointed that the concert was interrupted.

Hibbert was treated at the VCU Medical Centre for the cut and released. Sunday's acoustic concert at the Westhampton Beach Performing Arts Centre in New York was part of a stint that continues until Sunday, June 2.

For the acoustic tour, Toots and the Maytals performs with bass (played by Toots Hibbert's son, Hopeton), a pair of backing vocalists, percussions, and Toots on lead vocals and guitar. Andrea Davis, part of the band's Jamaican management team, said the stint to June 2 is part of a two-part acoustic trek, which resumes in the fall with shows in the US and Europe.

The acoustic tours follow the Grammy nomination for Toots and the Maytals' Reggae Got Soul: Unplugged on Strawberry Hill album earlier this year.

"It's not a good sign in the industry and we are sending a different message to the Caribbean. Nowhere else in the Caribbean does hip hop stand out more than dancehall and reggae music. It's like we are trying to compete with America and the DJs don't need to go that route because hip hop was made from Jamaican music. Yu see because the kids are not hearing much from the local talents, dem more drawn to the foreigners. Children live what they learn and if we continue on the same path children won't even know who is an I-Wayne," he said.

Roach continued. "Reggae/dancehall music is a product that people want all over the world and if the Jamaican music factory is not playing the music, we will damage the product from inside the factory. Too much hype nuh good and di only thing rappers a sing about are bling and money. When mi guh Europe mi nuh hear nuh rap. A just straight reggae, no Jay-Z. Dem people deh nuh have nothing on reggae outside of the US market. Yu ever hear a rap artiste buss outside of America? But yu hear bout reggae artiste wey buss all over the world," he said.

He says by 2014 he hopes more reggae will be played.

"Reggae music should be played on every radio station and in every dance. Mi tired fi guh party and hear one hour of rap then one hour of dancehall and no reggae music, it's a shame man. Rap is a masked product of Jamaican music so some selectors must get some vision fi di music. Mi wah hear some I-Wayne and some Capleton, plus some young artiste wey a come up to. Let's take a stance in 2013 and hopefully by 2014 we will see the improvements," he said.

Suncity Radio's DJ Lux also commented.

"I personally don't have a problem with foreign music being aired. But I do have a problem with the amount being played. A lot of radio DJs overshadow reggae music. Now, everyone knows that reggae music plays a very vital role in the Jamaican society. When you feed the people too much of this foreign music, they will automatically gravitate to what they hear. In a nutshell, they will adopt foreign ways via the overwhelming content of foreign music. For example, even our events are now called 'parties', instead of 'dance'," he said.

Minister Crawford with responsibility of entertainment, spoke to the complexity of the potential zoning system he promises to deliver to dancehall enthusiasts.

Mek sure unno read cuz nuff a unno love chat and nuh love read. This is what Minister Crawford said.

"We decided to have four zones, because every area deserves to have an event. In an A Zone, you will not be able to get a time extension. So as it relates to the night noise, you cannot go past 12 a.m. or 2 a.m.," he said.

"The second part is the B Zone, which is a residential zone. This is important because there is a high concentration of people to be disturbed. So we are saying if you are in a B Zone, as a promoter, you have a responsibility to get persons to sign on to say they are in agreement with your event. This allows communities that depend on events to get a break from the noise abatement. So when you look at Rae Town, for example, they depend on events so it is highly likely, even though it's highly residential, that the promoter will get a 65 per cent signature," he said.

Promoters who receive signatures from community members giving their approval to host events beyond the legally stipulated times are then required to take the signatures to the Noise Abatement Appeal Board and the police, who will confer to make a final decision.

Promoters hosting events in the C Zone will only be required to get 35 per cent of the residents' signatures for a time extension, while the D Zone will not have a time limit for hosting events. Therefore, events like Passa Passa and Dutty Fridays could potentially be hosted in a D Zone.

Woman to woman, mi feel it fi Lady Saw when mi read her Twitter account this morning. And look how much good man de a road and she sit down and suffer through this for over 15 years? This is definitely a costly exit, but the entertainment industry hopes it stays that way for yu own good.

People a wah John John have inna him pants so? Di length?

The gal dem say him hood big still, but it mussi sweet too like Hershey's Kisses because why Lady Saw woulda mind all ah him pickney dem, and pay him mortgage pon him apartment and gi him millions just fi some good dick. NO COCKY NO WORTH 20 MILLION DOLLARS.

Lady Sawy, yuh nuh deserve dem treatment de, John John, yu caan come and go round and breed gyal close to her, yu fi respect yu neighborhood, respect yu hood. Jamaica ah 146 square miles, why yu breed gal inna Chancery Hall mek the woman fraid fi drive past the house??

John John, call me!!

The gal dem say him hood big still, but it mussi sweet too like Hershey's Kisses because why Lady Saw woulda mind all ah him pickney dem, and pay him mortgage pon him apartment and gi him millions just fi some good dick. Better she did go down a Coronation and get one ah dem green plaintain de. NO COCKY NO WORTH 20 MILLION DOLLARS.

Mi know say every story have bout three sides, fi her side, fi him side and the BLOODCLAAT TRUTH. But it look like John John was all about him pocket and him cocky, that's all him business bout, him did have a full time job ah fuck Saw and him handle him business well. It look like him have a platinum tip pon him cocky, but true mi never get none yet mi nuh know wah fi say. Lady Sawy, yuh nuh deserve dem treatment de, John John, yu caan come and go round and breed gyal close to her, yu fi respect yu neighbourhood, respect yu hood. Jamaica ah 146 square miles, why yu breed gal inna Chancery Hall mek the woman fraid fi drive past the house??

Can't a world famous dance simply be a rhythmic celebration of joy and fun without getting mired in litigation and lawsuits? No.

Before we get into the fairly confusing legal history of the most famous line dance in the world, let's look at what we know for sure. The Electric Slide is a four wall line dance performed to the song "Electric Boogie" by Jamaican singer Marcia Griffiths. Choreographer Ric Silver claims to have invented the 22-step dance in 1976 (although anecdotal evidence suggests he simply added a step or two to a dance known in Jamaican clubs), and from there it became a worldwide phenomenon at weddings, bar mitzvahs and every other event where people are socially pressured to dance in order to make a party feel like a success.  All's well that ends well, and everyone deserves a good time, right? Wrong.

Citing the Digital Millennium Copyright Act, Ric Silver started serving takedown notices to YouTube videos of partygoers performing the Electric Slide which he had copyrighted (yes, you can copyright a dance). Silver's initial irritation seemed to be that people were improperly performing his dance. The official Electric Slide has 22 steps, but Silver saw most people only doing 18 (and of course, there are those of us who do about 3, spin around awkwardly and occasionally clap until the song ends). After Silver filed dozens of takedown notices, the Electronic Frontier Foundation filed suit against him in order to protect videographers' freedom of speech (and dance!).

Eventually Silver and the EFF settled an agreement to file the dance under Creative Commons, and in turn all publishers of content featuring the Electric Slide must name Silver as creator and copyright holder which is why the headline of this post says what it does.

Jamaican dancers recently argued that they wanted to get their dance moves copy written. According to the dancers they are tired of being exploited by foreigners who steal their moves and don't even have the respect to call it dancehall, instead they are calling dancehall moves Ragga Jam. In the same way in which the Puerto Ricans stole dancehall and now call it Reggaeton using the dancehall Bam Bam rhythm in thousands of remakes.

So like Ric Sliver did to protect his dance, so will Jamaican dancers. Tweet us your comments.

The Cranberry rhythm only had one hit song, hence a single, Baby Cham's Whine, Tun Up, were on juggling rhythms, yet was the only songs to hit among others.

Chimney Records and UIM records did make some well played juggling rhythms, however none came close to the impact of Overproof and One Day rhythms.

Cashflow Record's Xtreme, responsible for the production of the single Kotch,  believes DJs find it easier to play singles.

"Juggling rhythms brought about some hits, but it's not popular right now. Maybe it's easier for DJs to play singles than juggling. When you play juggling, you play at least 10 songs from one producer, but when you play singles you end up playing the same number of songs from 10 different producers. You also avoid conflict with artistes because their songs weren't played on the rhythm," he said.

Xtreme says juggling rhythms are better for the preservation of dancehall's culture; however, he did highlight that promoting singles was more economically feasible, citing the promotional strategy he used for Kotch as an example.

"All I did was produce the song, blast it and shoot a viral YouTube video and it got over a million views. But if it was a juggling, it would take more effort to do several videos and get radio play for all of them," he said.

Patrick 'Roach' Samuels is one-half of the JA productions duo responsible for the Overproof Rhythm. He, shares the same views as Xtreme, as it relates to the feasibility of promoting singles over juggling. He however, believes a properly produced juggling rhythm with good-quality songs is just as effective as any single.

According to Roach, some singles would be more successful if they were transformed into juggling. With making reference to JA production's Afterlife rhythm, Roach revealed that their intention was to release a single with Konshens. But upon hearing the song, they decided that the rhythm would become more eminent as a juggling. JA productions later recorded songs with Assassin, Romain Virgo, Mavado, among others, on the Afterlife rhythm, the end result seeing the rhythm become a popular pick for selectors on local radio.

Roach also said that juggling rhythms give more variety to music listeners and acts as an agent of artiste development.

"If I put out a single it only benefits one artiste. But if I put out a juggling it can benefit up to 20 different artistes and expose young talents. Some man a worry about big-name artistes, but it's about song quality, and any young artiste can give you a good song. Look pan the Applause rhythm with so much big artiste and a Shane-O tek it. So give di young artiste dem a chance on di juggling," Roach said.

He also added that the success of a single is largely dependent on the popularity of the artiste, unlike juggling that introduces artistes to different audiences.

"When you have nuff artiste on a rhythm every man have dem own fanbase. Some artiste might be popular inna Jamaica and nobody don't know them in the rest of the world. Then suppose yu put a man like Luciano that big worldwide on the juggling wid dem artiste deh? Yu a guh find that people listen the Luciano and take the time to listen and perhaps buy the songs from the unpopular artistes as well," Roach explained.

Last year's Producer of the Year, Markus Myrie, says producers have been looking to shift from juggling to singles for a long time. He also believes juggling will return to prominence when singles are no longer popular.

"Our music work offa trend, so if people making money from singles they will produce singles, and if they are making money from juggling, then they will do juggling. At the end of the day you are running a business and it depends on the demand of the people," he said.

Nevertheless, all three producers are promoting both singles and juggling rhythms for this summer.

Street dancing has long been an informal profession taken on by inner-city youth. Using the dancehall stage as their training and promotional ground as well as performance platform, several dancers have managed to cement themselves as international celebrities in their own right.

However, videos from street dances which brought many dancers to fame, are back to haunt them, this, as foreigners have now begun to capture dancehall choreography, rebrand and redistribute them as theirs.

WORLD DANCE

Since 2011, several Europe-based dance videos have been uploaded on social networks, displaying foreign dancers using Jamaican dance moves on tours and hosting dance workshops. Interestingly, the originators of the various dances are not credited, nor is the dance move regarded as dancehall.

With a decline in local street dances and a significant reduction in the capacity for local dancers to market themselves internationally, they can hold their peace no longer.

Street dancers are, therefore, demanding that the existing local music copyright societies protect their intellectual property from the exploitation of the international community.

According to Maria Hitchins, dancer/choreographer, Jamaican street dancers are hungry for the spotlight. However, they should be mindful that the avenues which they choose to promote themselves are not always reliable in protecting their intellectual property.

"They have this yearn to be the next Bogle and they are not seeing the repercussions and the flaws with the Internet. A lot of people have access to it, and you upload something this minute and somebody from Russia takes the entire routine in less than seconds. They, in turn, perform it, video and repost it on YouTube as their own. That's how brave they are," Hitchins said.

The choreographer says dancers must make every attempt to copyright their dances because it could be a financial generator if the right channels are used. She also believes Europeans are better able to benefit from dancehall because European governments are more supportive of culture.

"They have more access to money than us, plus the majority of our local dancers are semi-literate, we don't really have business ideas, professionalism is lacking, and we don't have assistance from government to get work permits. European countries are geared towards culture, so they pay attention to their people. Right now, we as Jamaicans are being told that they don't need us to teach dancehall because they are teaching themselves from YouTube," she said.

Attorney-at-law Marissa Longsworth, who also operates as the manager of copyrights and related rights director, The Jamaica Intellectual Property Office (JIPO) says, street dancers do have the right to copyright their choreography, however, JIPO is yet to fully facilitate that arm of the copyright act.

She says when JIPO has successfully amended the copyright registration system, then choreography will be included in that which is able to be registered.

"Once they are on the registration system they will be issued a certificate of ownership, and it can be used in the court to prove ownership or can be challenged. It can account for the distribution of royalties or can be assigned or transferred to others for work or for a price by the owner. Choreography is the bastard child of copyright in Jamaica, it does exist but remains unknown to many," she said.

The manager says she hopes by the end of 2013, JIPO will be able to actively accommodate choreography under the copyright laws. However, until then, she advises street dancers to use the Poor Man's Copyright method.

With this method, dancers can shoot a video of themselves doing the choreography, place the DVD in an envelope and post it to him or herself. In this case, the registered stamp will serve as proof of ownership.

She also highlighted that dancers can opt to sign up with international collecting agencies that are already accommodating choreography under their copyright roster.

However, Hitchins feels Jamaica has, for too long, been straggling behind other countries in terms of copyright laws. She also said it might be expensive to join international collecting agencies.

Among other things, Hitchins blasted Edna Manley College of the Visual and Performing Arts for not teaching dancehall as an accredited course. She also believes the Jamaica Cultural Development Commission or the Government should consider certification of local dancers as a move to make them legally eligible to teach dancing lessons globally.

Dancehall artiste Macka Diamond has released a steamy and explicit music video for her latest hit single Dye Dye.

Directed by Truck Back Films, the video sees Macka Diamond scantily dressed in a bedroom setting with a male partner. The couple exchange several sexual positions meanwhile Macka Diamond makes multiple facial expressions while been humped by the man.

In some instances Macka takes the driving seat in the bedroom and rides the man, while he puts in a few strokes of his own. Dye Dye is one of the most popular songs in Jamaica right now garnering thousands of views on social networks in just a few weeks.

Only last weekend it was reported that a female dancer was stabbed by a jealous female for the promoter. The injured woman was said to be in serious condition and was staying at an undisclosed Kingston hospital, however further investigations into the matter by Yardflex unearthed that she was safe at home and was recovering from the stab wound.

The Kingston and St Andrew police are investigating the matter.

Dancehall artiste Baby Tash has stepped out in militant style on Ja Productions AfterLife rhythm with her new single Step To Me.

"The minute I heard the rhythm I knew I wanted to hit hard and attack it like a militant girl. That's the character I wanted to take on because the rhythm rough," Baby Tash said.

Since the release of the song, Baby Tash said the feedback has been great.

"People have been letting me know that mi song a guh hard. They have been telling me how much mi lyrics a chop as a female and they love how mi jus a bad-up the rhythm," she said.

She explained that fans and followers of her music have been speculating that the song was written by producer, Roach. However, Baby Tash said that the song was written in its entirety by her.

"The song is lyrically loaded, with tight rhymes, flows and melodies, so much that people started speculating if is Roach wrote it. Even comments online, saying is must Roach write it. To me, this is a compliment because Roach is very creative with lyrics and he has written for many artistes. But, I wrote so much lyrics I could voice three songs," she said.

The song is currently getting rotation on FM radio and Baby Tash is grateful for the love it is receiving. "Crazy pull-ups it getting when it playing and I want to big all disc jockeys and selectors who support female artistes especially. Nuff DJs rate the song," she said.