flee for their lives. In 2000, Morse stated in an interview that "The precedent has been set that if you want to be involved in politics in this country, you've got to get your guns together... Nothing's changed, the teams have changed but not the modus operandi." When not touring elsewhere in Haiti or abroad, RAM continued to play its regular weekly concerts at the Hotel Oloffson throughout the 2000s. In 2002, the band released a third album, Kite Yo Pale, whose title translates to "Let Them Talk" in English. A 2003 release, MadiGra, was a "greatest hits" compilation of songs from the three previous albums. A fifth album, with a French language title, Le Jardin ("The Garden" in English), also released in 2003, contains mostly new material, some of which is considered critical of Jean-Bertrand Aristide and Fanmi Lavalas. Aristide departed the country on February 29, 2004, after months of protest and political violence. Despite Morse's comments to the press and the band's famous rivalry with Manno Charlemagne, RAM was nevertheless still associated with its past support for Aristide and Lavalas and its opposition to the previous military junta. On November 4, 2004, three members of the band were illegally detained by uniformed Haitian police during RAM's weekly Thursday night performance. The three band members all lived in a Port-au-Prince neighborhood where support for Aristide was reportedly strong. Caught in the middle, RAM continues to draw the ire of both Aristide supporters and the supporters of past military governments. RAM was expected to release a sixth album in the summer of 2006, which was reported to include a single entitled "Jamaican Vacation", a song about Jean-Bertrand Aristide's 2004 exile from Haiti that included a stop in Jamaica. Musical style Richard Morse describes the band's musical style as "Vodou rock and roots". The mizik rasin movement began soon after the exile of dictator Jean-Claude Duvalier in 1987. Under the regimes of Jean-Claude and his father, François Duvalier, the government appropriated for itself the authority of the Vodou religious traditions and made extensive use of religious leaders and traditions to assert its brutal authority and impose order over the population. When Jean-Claude Duvalier fled the country, a widespread dechoukaj uprooted the most oppressive elements of the former regime and liberated the Vodou religion from its entanglements with the government. Unable to do so under the Duvaliers, musicians were eager to adopt