Reggae Festival Guide 2011

Reggae Music Culture R o g e r S t e f f e n s H o n o r s P e t e r To s h

ReggaeFestivalGuide.com

Reggae Festival guide 2011

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M A G A z I N E

FEATURED FESTIVALS ............................................................. 9

Reggaelections ...................................................................... 32 Reggae Stage Names ........................................................... 36 Family Ties: Photo Match-Up ............................................... 42 Culture in the Dance: The Roots and Dub Sound System Movement... 54 Can Loud Music Hurt My Ears? ............................................ 62 Readings for Reasonings: Book and DVD Reviews ........... 64 Roger Steffens’ Induction Speech of Peter Tosh ................... 68 Reggae Lovers Unite: The CPR Story ......................................... 76 RASword Puzzle .................................................................... 80 Reggae on the Rise at SXSW ............................................... 82 Festival Runnins .................................................................... 88 Reggae Radio Listings .......................................................... 90

to not cover passings in our annual Several years ago we made the tough decision timeliness that as a once-yearly in-print magazine, as true tributes deserve space and g justice. But alas, as we pass the 30-yearpublication, we are not best-suited to do the lovin having lost reggae luminaries Gregory mark of Bob Marley’s passing; and over the year tt, and most recently Lloyd Knibb (original “The Cool Ruler” Isaacs, Lincoln “Sugar” Mino ut recognizing the lasting importance and Skatalites drummer); we cannot continue witho ae music, and music in general. impact – and legacy – these giants made on regg works, creating endless volumes of All of these figures threw themselves into their leaving their signature through instantly conscious and socially relevant music, each They helped create a standard and tradition recognizable voices, production and playing. the ranks, feeding into this present time: that brought younger generations up through knowledge, the heart and soul of reggae! preservation and propagation of the music, the nue to inspire countless musicians, The sound, the depth, the grooves they left conti any musical genre imaginable. The musical and the reggae beat finds its way into almost n to the four corners of the earth. As we community that they fed in Jamaica has now grow ed onto Zion, we can look forward to see look back to remember The Greats that have pass next roots (and lover’s, and deejay, and reggae’s survival ensured through the rise of the c treasures left by Bob, Gregory, Sugar, and ska) generations. Give thanks to the great musi is a reggae beat.

Lloyd; their memories will live on as long as there , As Bob said more than 30 years ago this in still ringing true today, “We forward generation, Triumphantly.”

Kaati, Publisher & Anthony, Editor Kaati

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Reggae Festival guide 2011

Anthony

dba REGGAE FESTIVAL GUIDE P.O. Box 50635 Reno, NV 89513 Phone: 775/337-8344 Fax: 775/337-6499 www.ReggaeFestivalGuide.com www.facebook.com/reggaefestivalguide www.myspace.com/reggaefestivalguide www.twitter.com/reggaefestguide To have a copy mailed to you send $7 ($12 overseas) PUBLISHER Kaati: Kaati@ReggaeFestivalGuide.com EDITOR Anthony Postman: Editor@ReggaeFestivalGuide.com EDITORIAL SUPPORT Irene Weaver EDITORIAL CONTRIBUTORS Jesse Dawn, Chuck Foster, Sharon Gordon, Diane Issachar, Ran Klarin, Peter Lionheart, Carlyle McKetty, Shelah Moody, Tracy “Too Dread” Moore, Nemours Foundation/ KidsHealth, Sarah Scott, DJ SOE, Roger Steffens PHOTO & ART CONTRIBUTORS Empress Abi, Andrew Baker, Sharon Bennett, Jesse Dawn, Catherine Gillis, Dolwain Green, “The Humble Lion” & Falasha Recordings, Roland Hyde, Allyson Ione, Sista Irie, Diane Issachar, JB, Peter Lionheart, Natalya Madolora, Shelah Moody, Tracy “Too Dread” Moore, Ital Productions, Rachel Samuel, Jamie Soja, Mary Steffens, Roger Steffens, Ras Elijah Tafari. Courtesies: CPR, Black Ghandi, Jatta Records, Ran Klarin, Nemours Foundation/KidsHealth, Summit Dub Squad ADVERTISING SALES Sue Hackshaw, Laura Haykel, Shari Nightingale, Cheryl O’Grady, Robyn O’Grady, Amy Shapas, Terry Walsh, Jeremey Winkler ADVERTISING TRAFFIC/ADMINISTRATION Tracey Freeman, Robyn O’Grady, Florencia Raynor DESIGN AND PRODUCTION Doris Walker/Comp Graphic, Goran Petko/Aqua Design ACCOUNTING Dorie Starich, Robbin Stull E-GUIDE EDITOR Yvonne Varner SOCIAL NETWORK MANAGER Stephanie Bravo The opinions of the contributors are not necessarily the views of RBA Publishing Inc. FRONT COVER “The Color of Sound,” by Ras Elijah Tafari Sound and music dance around many an artist’s mind.

Can art dance in the mind and feel as sound? I-n-I have attempted to create the color of music, a silent band of indigenous voices in tune with Earth and the Triune. With Man, Woman and Child in harmony, We as instruments are the essence of the Symbols We use.

Contact: LionArtProductions@gmail.com. See more Ras Elijah @ www.myspace.com/lionartproductions/photos.

Festivals are listed here in alphabetical order with their page number.

On the following pages they appear in date order, so you can easily plan your summer.

FeatuRed Festivals

Throw out all your ideas of what a harpist is – Senegalese Youssoupha Sidibe is a kora (West African harp) player carrying forward a hundreds-year old tradition while blending aspects of reggae and western music to create an entirely new style. The Grammynominated artist has collaborated with Midnite, Matisyahu, Michael Franti, and India Arie, to name just a few. Watch out for Youssoupha this summer, touring with Charles Neville and Mystic Rhythms Band.

Photo by Jamie Soja; www.sojaphotography.com.

The publisher, the venues, the promoters and the musicians are not responsible for any changes or cancellation of events.

SO CALL BEFORE YOU GO & HAVE AN IRIE TIME!

Bayfront Reggae & World Music Festival ................. 17 Bob Fest Ag Fair 2012 ................................................ 31 California Worldfest ................................................... 16 Caribbean Afr’Am Festival......................................... 21 Dayton Reggae Fest .................................................... 26 Earthdance................................................................... 29 Four Seasons Party Cruise ......................................... 30 Gaia Festival................................................................ 20 Hempstalk 2011 ......................................................... 28 Hempstead World Music Festival .............................. 13 Hollywood Bowl Reggae Night X ............................. 17 Inland Empire Reggae Festival 2012 ........................ 31 Irie Reggae Festival .................................................... 23 Jefferson State Music & Hemp Expo ......................... 27 Lafayette Reggae & Cultural Festival ........................ 25 Midwest Reggae Fest.................................................. 21 Monterey Bay ReggaeFest ......................................... 19 Northwest World Reggae Festival ............................ 23 One Love - One Heart Reggae Festival ..................... 26 Rastafest ...................................................................... 22 Reggae Culture Salute ................................................ 70 Reggae in the Redwoods ........................................... 24 Reggae on the River ................................................... 15 Reggae on the Rocks .................................................. 22 Reggae ‘Pon The Mountain ........................................ 14 ReggaeSoulJahs Camouflage Tour ............................ 10 Santa Cruz Mtn Full Moon Music Festival ................. 16 SEEN Festival 2011 ..................................................... 11 Sierra Nevada World Music Festival ......................... 10 Soul Rebel Festival ...................................................... 12 Summerjam Festival – Stand up for Love ................. 12 Tayberry Jam – Reggae on the Mountain................. 18 Wild Mountain Faire ................................................... 11 For

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reggae Festivals

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reggaeFestivalguide.com Reggae Festival guide 2011

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June 16 - July 3

ReggaeSoulJahs Camouflage Tour Various cities

June 17 - 19 Sierra Nevada World Music Festival

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Reggae Festival Guide 2011

Boonville, CA

June 24 - 26

Wild Mountain Faire

Concow, CA

June 25 SEEN Festival 2011

Berkeley, CA

The SEEN Festival 2011 World Reggae Soul Music Event & Canned Foods Drive NO CAMERAS - BRING A CAN! - VENDOR SPACE AVAILABLE Artist line-up

Trmendoeslapp ● Mista Talent ● Oonka Symeon ● Beezly Macaphee The Reazon, Rashell ● Jah Krean ● CRG ● Chunky Baby The Incredible Sly Fox ● other acts TBA...

MC: S. Tyrone Ingram - co-MC: Spitt Jagga - DJ: The AntiDope - sound by: Jah Krean Intl. Hi Fi On facebook search: S. Tyrone Ingram OonkaSymeon facebook Website: www.blackplanet.com/oonkasymeon Event hotline: (510) 830-6356 email: foxingramenterprise@yahoo.com The SEEN Festival is a 501(c)3 event.

Part of the proceeds will go to: Square Meals Project Make all checks payable to: S. Tyrone Ingram c/o The SEEN Music Series

Date: Saturday June 25th Time: 12noon - 5pm place: People’s Park Berkeley, California Admission: FREE ! (a $7 contribution is suggested) Reggae Festival Guide 2011

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July 1 - 3 Summerjam Festival – Stand up for Love Cologne, Germany

July 9 Soul Rebel Festival

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Boulder, CO

July 2 - 4 Hempstead World Music Festival Eugene, Bend, Portland, OR

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July 9

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Reggae ‘Pon The Mountain Topanga, CA

July 16 - 17

Reggae on the River

southern Humboldt County, Ca

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July 14 - 17

California Worldfest Grass Valley, CA

July 16 - 17 Santa Cruz Mtn Full Moon Music Festival Los Gatos, CA

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Reggae Festival Guide 2011

July 16 - 17

Bayfront Reggae & World Music Festival Duluth, MN

July 31

Hollywood Bowl Reggae Night X Los Angeles, CA

&

Salute Legends of Reggae with special guests

I-Threes featuring Rita Marley, Marcia Griffiths, Judy Mowatt Toots Hibbert • Mighty Diamonds • Ras Michael Jeremy Sole, host

Jul 31

HOLLYWOOD BOWL On Sale Now! HollywoodBowl.com/Reggae • 323.850.2000 800.745.3000 • Groups (10+) 323.850.2050 Programs, artists, prices and dates subject to change. KCRW’s World Festival

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July 15 - 17 Tayberry Jam - Reggae on the Mountain Saginaw, OR

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July 29 - 31

Monterey Bay ReggaeFest

Monterey, CA

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Aug 5 - 7 Gaia Festival Laytonville, CA

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Aug 6

Aug 12 - 14

Caribbean Afr’Am Festival

Killeen, TX

Midwest Reggae Fest Garrettsville, OH

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Aug 13

Aug 27

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Rastafest Toronto, ON

Reggae on the Rocks

Morrison, CO

Aug 12 - 14

Northwest World Reggae Festival

Marcola, OR

Aug 28 Irie Reggae Festival Long Beach, CA

12:00 Noon Til 10:00 Pm Sunday, August 28th, 2011 Queen Mary Events Park 1126 Queens Highway Long Beach, California 90802

ARTISTS TO BE ANNOUNCED

Produced by: Seabreeze Entertainment Booth/Contact Info: 661-718-5566 www.iriefest.net Reggae Festival Guide 2011

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Aug 20

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Reggae in the Redwoods Aptos, CA

Aug 27 - 28 Lafayette Reggae & Cultural Festival

Carencro, LA

vent E l a u n n 22nd A

Pelican Park, Carencro, LA Aug 27 & 28, 2011

Gates Op en@ Noon Music Sta rts@ 3 pm festival e nds @mid nig festival h otline 337 ht -886-0572 rain or sh ine the sh ow goes on

Acts & Performers TBA INT’L ARTS & CRAFTS • FOOD • KIDS ZONE SPONSORS: Visions Bar & Grill 4263 Moss Street, Lafayette, Louisiana REGGAE FESTIVAL GUIDE KFXZ 105.9 REGGAE RAINBOW SHOW EVERY SATURDAY 8-10 PM

Pre-Festival Celebration

Friday August 26, 2011 Visions Bar & Grill 4263 Moss Street Lafayette, LA Get festival updates ON FACEBOOK like us at LAFAYETTE REGGAE FESTIVAL on facebook Seeking vendors & performers for this year And future festival & club dates: EMAIL CONTACT INFO TO lafayettereggaefestival@yahoo.com Past performers: Yellowman • Lucky Dube • Third World • Culture Fiona • Meditations The Itals • Burning Spear • U Roy • Sister Carol • Frankie Paul Reggae Festival Guide 2011

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Sept 3 - 4

One Love - One Heart Reggae Festival Sacramento, CA

Sept 4 Dayton Reggae Fest Dayton, OH

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Aug 26 - 27

Jefferson State Music & Hemp Expo

Cave Junction, OR

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Sep 10 - 11

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Hempstalk 2011

Portland, OR

Sep 23 - 25 Earthdance Vallejo, CA

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Oct 31 - Nov 4

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Four Seasons Party Cruise

Reggae Festival Guide 2011

Miami to Jamaica, GA

Feb 12, 2012

Bob Fest Ag Fair 2012

Hilo, HI

May 7 2012 Inland Empire Reggae Festival 2012 San Bernardino, CA

INLAND EMPIRE REGGAE FESTIVAL

Mark your Calendars for May 12th, 2012!

FOLLOW US at www.InlandEmpireReggaeFestival.com for updates of 2012 Lineup and Surprise Guest appearances by some of Reggaes Biggest Stars

Native Wayne (special guest MC from Indie 103.1)

2012 tickets, date, time and talent http://www.fla.vor.us/IEReggaefestival The National Orange Show Events Center, in San Bernardino, California is located on over 120 acres between “E” Street, Mill Street, and Arrowhead Ave., just a few blocks north of Interstate 10 and a few blocks east of Interstate 215.

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ReggaeLections

“Red Butte Havasupai Gathering”

by dj SOE of Summit Dub Squad (www.summitdubsquad.com) We had the opportunity to perform at an event near the South Rim of the Grand Canyon in the summer of 2009 – it was a massive gathering to share knowledge about, and protest, the reopening of a uranium mine on what the indigenous Havasupai people consider sacred land - at the foot of Red Butte, an aptly named sentinel rising from the Kaibab forest.

The vibe was high, with several hundred people in attendance. Environmental activists, concerned citizens and native peoples from as far away as Hawaii were present, including most of the Havasupai tribe! The day started with stories from people whose families had been affected by past uranium mining practices on reservations elsewhere throughout the Southwest. Many stories were told in native languages but I could tell that most were terribly tragic, and there was a lot of emotions swirling amongst the surrounding juniper and sagebrush.

Afternoon was full of traditional dances and while the sun set, the Supai offered up an incredible feast for their guests – as they’ve surely done for millennia. Day turned to night and a grand monsoonal thunderstorm rose up out of the high desert, and a beautifully intense rain fell upon the land – there is nothing

Havasupai Ram Dancers at Red Butte by Andrew Baker

sweeter than sage-filled desert after a rain. A Navajo duo, Burning Sky, was joined by drummer John Densmore (of rock legends The Doors) on doumbek for a nice uplifting set, then Diné (Navajo) folk artist Clarence Clearwater entertained as the tent full of onlookers finished filling their bellies. We were the after dinner party-starter, to be followed by Hopi reggae singjay Casper [Lomayesva] and The Mighty 602 Band.

We started our set with a Native flute drenched in reverb and delay, didgeridoo and hand drums, building up into the driving steppers riddim of “My Mountain Speaks,” a narrative from the Summit Dub Squad at Grand Canyon’s N. Rim

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courtesy of Summit Dub

Squad

Sacred Mountain rising above our nearby town of Flagstaff, Irie-Zona. We received applause after the outro licks, but the dirt dance floor was still empty as the crowd digested their food and our style. Our next tune was “One Love” – and for those who don’t know, the Havasupai and many Native Americans, generally speaking, LOVE REGGAE! It didn’t take more than a few chops of the rhythm guitar before an elder Havasupai woman – I’m guessing by the time woven into her beautifully wrinkled face she was nearly 90! – slowly rose and worked her way to the center of the dance area. She picked up her wooden cane and began stomping her feet and shucking her shoulders back and forth. As the dust rose up around her, so did the people. It was an official dance party now! And by the end of our set, John Densmore had come up to the stage to sit in with us! On tambourine! I laughed whole-heartedly as I looked over to see him grooving along, thinking I couldn’t wait to tell my Dad! It was a completely elevated evening, and we all danced in the summer night’s cool breezes. ONE LOVE!

Klarin Ran in JA courtesy of Ran

“The Cool Ruler in the Jungle in Negril”

by Ran Klarin author of Expression Is Liberation Stepping through the overgrown vines and trees, I spied the concrete slab being poured at noon. I had just had one of those serendipitous days and nights in JA. I flew in without reservations and listening to Bob Marley’s rub-adub style on the massive sound system, I found my way to the perfect room (at Xtabi) in the cliffs in Negril. It was the summer of 1980 and Bob’s ultimately fatal illness had not been announced yet, American tourists were staying away in droves due to the heavy manners in Jamaica, and I was a young, American hippie seeking soul and justice in the post-‘70s political hangover. There was still the feeling of adventure in back-country Jamaica.

After perusing the construction, I strolled down the cliff road on the way to the famous Rick’s Café at the western tip of JA. I saw a handbill announcing a revue that very evening.

It was starring Gregory Isaacs with a host of current chart toppers at the site mentioned above. I smiled to myself and said to no one in particular, “Yes I.” In the flow of the positive vibes, I planned to return that evening for the festival. Handbill of Negril reggae sho w, 1980 Sure enough, the concrete courtesy of Ran Klarin stage had dried and around 10pm the locals and tourists from all over converged on this isolated spot in the jungle. The only markings from outside were a single bare lightbulb and a bamboo screen surrounding the property. Scattered around the outside were the usual collection of Jamaican vendors with patties, cold drinks, gambling and Red Stripe. Paying my $5 U.S. I stepped into the most authentic reggae scene of my life. In classic style, a solid studio band played behind a string of singers who each did two to three songs. Who knows, it may have been Sly and Robbie. The band was not announced.

Sometime after midnight the Cool Ruler himself strolls to the stage. Resplendent in yellow three-piece polyester suit and matching hat, the incongruity seemed appropriate for Isaacs.

His voice was in fine fettle, the crowd was friendly and happy, and I had found my roots reggae ... I went back to that spot over 30 years later and the whole area had been built up with small inns and guesthouses and there was no sign of that soulful rumble in the jungle.

“Bob Day Divines East Hawaii Sunshine”

by reggae producer/songwriter/historian Jesse Dawn (www.hawaiireggae.com) As I look back at my 14 years of hosting my annual earlyFebruary Bob Marley Day festivals, I remain amazed at how they seemed to effect East Hawaii’s weather – an area that (between November through February), is one of the rainiest places on Earth.

Thus, to make these annual concerts gather the huge crowds that they did – especially the 12 that were held outside in the open air, free-of-charge – it not only required booking great reggae bands, but also a lot of praying for the precious gift of sunshine.

As for each and every outdoor Bob Day event, I evoked a daily ritual of sincere prayers to Bob Marley’s great Spirit – pleading for Him to PLEASE keep this free-for-all event SUNNY!

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SUDDENLY the sun came out and STAYED out – all the way through the event!

And this sudden “miraculous” turn-around of East Hawaii’s, ever-rainy, winter sky happened for 12 of those annual Bob’s Birthday Celebrations in a row!

But surely the most amazingly (rain-clearing) Bob Day was my final one in 2006, when my Jesse Dawn and Jah Kine band, played a set backing the uniquely energetic, Jamaican superstar Anthony B. Thoroughly practicing Anthony’s music, we did him proud, backing the icon with tight rhythms from my wizard drummer (who did a tour with JA’s Eek-a-Mouse), plus the Kine’s beautiful back-up singers, who blended with Anthony’s voice like angels. e Dawn Kine in Hawaii by Jess Anthony B with Jah

PLEASE oh holy Spirit of Bob, don’t let winter storms prevail and make this birthday festival fail!

And lo and behold, believe it or not, it appears that my prayers (plus of course, the prayers of many others) had an effect. Because during the dozen times that I held that event outside – although the usual, week-after-week, winter rain kept falling – when it came to Bob Marley Day SHOWTIME,

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As yet another magical Bob Day of fun evoked the blessing of mid-winter sun even though this one was on a mountainside where winter storms almost NEVER subside but again after WEEKS of everyday rain when the show began there was sunshine AGAIN. ...But the truly divine cause of Bob’s birthday good-time is His Spiritual GIVING from a source that’s ever-LIVING…

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Reggae Stage Names

Rocky Dawuni by Rachel Samuel

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Reggae Festival Guide 2011

by Shelah Moody What’s in a stage name? A stage name is an identity that artists, musicians, radio and television personalities use as a brand to market themselves and generate interest and excitement. Some of the most interesting and creative stage names can be found in the world of reggae.

When Marion Hall performed tracks from her upcoming release at last year’s Air Jamaica Jazz and Blues Festival, a lot of people did not know who she was. People kept asking, “Marion Hall – who’s that?”

After several songs, some people said, “Take a good look.”

“A lot of people didn’t recognize me by my real name; they didn’t know it was me until I said, ‘Ok, I’m gonna give you a touch of LADY SAW, and I threw down ‘Sycamore Tree,’” said the Grammy-winning DJ/singer. “I blew their minds.”

Lady Saw took her stage name from veteran artist Tenor Saw, because people told her she sounded like him. As a youth, she would often watch him perform in the dancehall from the zinc fence, because she could not afford to go inside. Nowadays people call her Muma Saw or Muma, because many see her as the queen of all female dancehall artists. Lady Saw considers Marion Hall (the title of her upcoming album) her alter ego. She joked that even her man does not call her Marion unless he is upset with her.

The Cinderella story is often used as a metaphor for someone who has ascended from humble beginnings to prosperity. Upon Sister Carol by Dolwain Green first hearing Errol Dunkley’s song “Black Cinderella,” veteran DJ Sister Carol East said “that’s me!” and adopted it as one of her stage names. Black Cinderella is also the name of Sister Carol’s record label and clothing line.

Because he often wrapped shirts around his head in the style of an Egyptian pharaoh, Windel Beneto Edwards earned the nickname Gyptian, which later became his stage name. According to his label, VP Records, the dancehall superstar was raised in the rural King Weston district in the parish of St. Andrew by his Christian mother

and his Rastafarian father.

Young Windel sang at his mother’s Sunday morning church services and at the Saturday night dances promoted by his father who owned the Sugar Stone Sound System.

Last year Gyptian gained validation from the African American community when he received the prestigious 2010 Soul Train Award for Best Reggae Artist, and recorded and toured with R&B superstar Mary J. Blige. Just as DJ Moses Davis (aka Beenie Man) Gyptian, The Sexy Rasta by Shelah Moody was dubbed “The Girls Dem Suga,” Gyptian earned a new stage moniker, “The Sexy Rasta,” because of his romantic vocals and his massive appeal to women. His “Beautiful Lady” video, shot by famed Jamaican cinematographer, Ras Kassa, helped promote his heartthrob image. Gyptian is also known for a little trick he does with his tongue. OK, for those of you with dirty minds, Gyptian creates an erotic vocal riff similar to a feline purr, which can be heard on many of his tracks.

“The title Sexy Rasta is more for the ladies,” said Gyptian during an interview in the 2010 Monterey Bay Reggae Festival Press Tent. “Since they are feeling it, I am endorsing it. It’s just one dose of sexiness.”

At press time, the wildly popular singjay I-Octane had the number one song, “Nuh Love Inna Dem” on Richie B’s Roots Reggae Airplay Charts (Hot Mix on Hot 102 FM in Jamaica, and also on the 1xtra Dancehall Charts, Britain).

Hailing from Sandy Bay, Clarendon, Jamaica, Byiome Muir began performing under the stage name Richie Rich.

According to his bio, Muir wanted to change his name to something marketable that suited his high-energy stage persona. Since high octane gas is known for its energy and performance, Muir substituted the word “high” with “I,” hence: I-Octane.

Tilman Otto, a reggae/ dancehall artist who hails from Cologne, Germany, earned his stage name, I-Octane by Dolwain Green

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Gentleman, in Jamaica because of his chivalry. For example, he was the man who would always open doors for women. The son of a pastor, Gentleman, who is known for his string of dancehall hits including “Superior,” believes that kindness goes a long way.

In creating his moniker, he simply put the “Gen” in front Gentleman by Dolwain Green of “Tilman” and it stuck.

Now, here’s an interesting fact: David, an ancient Hebrew name meaning “beloved” is a common first name for reggae artists, for example, David “Ziggy” Marley, David “Rocky” Dawuni (Ghanaian reggae superstar) and David Brooks (otherwise known as dancehall superstar Mavado). The Biblical David was a righteous king, although not without fault, as well as an acclaimed warrior, musician and poet, and traditionally credited for composing many of the psalms contained in the Book of Psalms.

David “Dread” Hinds, lead singer, rhythm guitarist and songwriter for the Grammy-winning reggae band Steel Pulse, earned his stage name because of his towering dreadlock and his revolutionary stance.

“In the earlier years of Handsworth Revolution, the name given to me by the band members was Goose Neck,” said Hinds. “This was due to my extremely slender frame and neck, especially when I wore my baseball cap that had an exceptionally long brim. By now you should be able to imagine what a silhouette of me would look like back then.

“Once we started touring David “Dread” Hinds by Shelah Moody internationally, the entire band took on a different persona. By then, my dreadlocks that were literally growing upwards into one piece became a major conversational point, especially to our newly introduced American fans. At that time so many different names were thrown in my direction; names like: King Dread, Lionheart, Congo Knots, Natty and The Pulse, just to name a few.

“With the exchange of different band members, Goose Neck quickly became a blast from the past and in passing conversations I was often referred to as The Dread,” said Hinds, “and so because of that, and not having the need to change my first name (because it was already a biblical name), I just continued to refer to myself as David Dread.”

David “Rocky” Dawuni, who has been referred to as the

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Bob Marley of Ghana, also gained validation in the AfricanAmerican community this year when his latest CD Hymns for the Rebel Soul was nominated for a prestigious NAACP (National Association for the Advancement of Colored People) Image Award for Best World Music Album. Dawuni, whose late father was a chief, comes from the Konkomba tribe of Ghana’s northern region, and his surname translates to “son of God.” “My name Rocky was adopted along the way,” said Dawuni.

“To me, it depicts a rock, something that abides forever, something enduring, immovable, non-changing. I have always strived to use my music as a means to spread awareness of God; awareness of consciousness. I’ve also strive to use it as a means to spread peace and togetherness among people.”

Reggae/soul singer Makedah Levi aka Queen Makedah is originally from Kansas City, and moving to Israel contributed to her spiritual growth. Queen Makedah is promoting her new collection of songs, Spiritual Healing. Her stage name is derived from an ancient queen.

“I took on the name of Queen Makedah after an elder and prophet (Nabi Melchizedek) in Israel shared a spiritual revelation with me, saying I had the spirit of the ancient Queen of Sheba, whose spirit was prophesied about in the New Covenant to rise again in the last days,” said Levi.

“The name Makedah (or Makeda, also known as Bilqis) was the name of the famed Queen of Sheba, written about in the

Bible, Kebra Negast, Quran and Book of Josephus, to name a few. Makedah, born to a Yemenite father and an Ethiopian mother, was chosen above her brothers to rule over the Kingdom of Sheba (Saba), which spanned Ethiopia, Yemen and Egypt.”

DJ/singer/songwriter/ producer Prezident Brown was born Fitz Albert Cotterell in the Queen Makedah by Shelah Moody hills of Clarendon, Jamaica.

His mother called him Junior Ranking because he would grab the microphone and chant at schoolyard and country dances.

“Veteran DJ Nicodemus (R.I.P) called me Slim Brown because as a teenager I looked and sounded very much like U Brown,” he said. “Producer and sound system owner Jack Ruby gave the title Prezident in Ocho Rios when I worked as resident emcee around his sound.”

If you mentioned the name Orville Richard Burrell, most likely, people would not know who you were talking about.

Grammy-winning reggae-crossover sensation Shaggy took his stage name from a shaggy-haired character on the TV cartoon series Scooby Doo.

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However, when Shaggy, who rose to fame with hits such as “Oh Carolina,” “Mr. Boombastic,” “It Wasn’t Me” and “Mr. Lova” (featuring Janet Jackson), went to Europe, he found that the term “shag” is a British term for having sex, which fit perfectly with Shaggy’s appeal to women and teasing stage persona.

Orville – now that’s a name you don’t expect to hear twice on the reggae scene. Da’Ville aka Orville Thomas is a smooth romantic vocalist who is known for hits such as “Can’t Get Over You,” “On My Mind” (featuring Sean Paul) and “All My Life” (featuring Marcia Griffiths). Da’Ville is currently working on a new album on his record label, Fashozy, Inc. His latest single is the dancehall/lover’s rock flavored “Dem Would a Love It” and the soulful “When I’m Shaggy by Dolwain Green With You.” “I had just gotten out of a group called ARP (A Raw Perspective), and about to start my solo career,” said Da’Ville. “Finding a new stage name was so difficult and I must have written down so many and just couldn’t choose. I needed a name that fit my style of music and catchy, easy to remember. I eventually gave up and just decided to use something close to my first name, and that’s how I came up with D’Ville. You would not believe that after I released my first song under that name, I found out that most European women pronounced my name real sexy but it sounded like DeVil. I had to change it quick and added an ’a’ to make it what it is today – Da’Ville.”

Fitzroy “Bunny” Simpson, Donald “Tabby Shaw” and Lloyd “Judge” Ferguson – the legendary harmony trio known as the Mighty Diamonds, have been singing together for more Mighty Diamonds by Dolwain Green than 40 years, churning out reggae classics such as “Right Time,” “Pass the Kutchie,” “Shame and Pride,” “Africa,” “I Need a Roof,” to name a few. As the story goes, the group’s name, Diamonds, was given to them by Tabby’s mother, Gloria.

They earned the qualifier “Mighty” in the studio while recording with Jamaica’s top producers. The members often use their stage names, Bunny Diamond, Tabby Diamond and Judge Diamond, when con­d ucting interviews and signing autographs.

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As a child, Tabby Diamond, known for his trademark ebullient tenor, was often left in the care of his aunt, who was a dressmaker.

His family gave him the name Tabby because the toddler seemed to move with catlike grace and speed, always showing up in unexpected places.

Lloyd “Judge” Ferguson could have taken the stage name Fergie, like the female singer with the Black Eyed Peas. Judge was a nickname he got as a kid because he rarely smiled; people would always tell him he was a serious as a judge. As the lead songwriter of the Mighty Diamonds, Judge is used as a term of respect, because he wrote many of the Diamonds’s classics “Them Never Love Poor Marcus,” “Natural Natty,” “Africa,” “4000 Years” and more. He and Bunny Diamond are also known for taking charge of the group’s business affairs. And yes, he still looks serious on stage, but off stage he is jovial and a gentleman.

Bunny was a pet name Fitzroy Simpson’s mother gave him during his kindergarten years. He probably got it because he is compact and agile, like a bunny – even on stage today, like when he does his deejay rap on one of the Diamond’s most famous songs, “Pass the Kutchie.” Bunny is also a chief songwriter for the Mighty Diamonds. The Mighty Diamonds are excited about their summer tour and their new single, “Back A Wall,” recorded in Kingston.

The Mighty Diamonds’ music has influenced a generation of reggae artists including Tabby’s nephew, Wilburn “Squidly” Cole, an established drummer who has toured with Mutabaruka, Sizzla, Ziggy and Stephen Marley, and Rootz Underground, to name a few. Cole is establishing himself as a top producer with the release of his latest album, Blood Kube. As a child prodigy on the drums, he earned his nickname and stage name from veteran reggae artist Tristan Palmer.

“Because I played drums as an 11-year-old, I was mimicked Prezident Brown by Shelah Moody as the cartoon octopus called Squiddly Diddlly,” said Cole. “They claim I played like I had four arms, four legs.”

The origins of a name can tell us so much about an artist’s personality and mission. We hope you’ve enjoyed these accounts, and maybe learned something new about some of your favorite performers. Perhaps this has uncovered some of “what’s in a name.”

Shelah Moody is an award-winning writer living in San Francisco. She can be reached at: afrosolopublicity@gmail.com.

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Family Ties

P hoto Match-Up

MatchUp puzzle & photos by Diane Issachar Once you have matched these artist photos with the song-title hints (listed in quotes), step back and check out the family ties in this year’s photo match-up. Sons and Daughters on the rise!

1. This captain tells you “I Was Born a Winner” while he sails the Big Ship.

Photo:____/Artist’s Name:_____________________________ 2. ______ tells you “I’ll Never Change” while listening to his father Freddie tell you “To Be Poor Is a Crime.” His mother says not to put a woman “Pon Your Head.”

Photo:____/Artist’s Name:_____________________________ 3. ______ knew he had “Rare Gems,” his daughter one of “Jah Jah Children,” with a true Pashon for life and music.

Photo:____/Artist’s Name:_____________________________ 4. While listening to her father sing about “Ghettology,” ______ knew she would “Mek It Inna Life.”

Photo:____/Artist’s Name:_____________________________ 5. Knowing her son would be a Protege, and “Dread” from birth, ______ asks “How U Like It.” Photo:____/Artist’s Name:_____________________________ 6. This artist tells you about “Rasta Love” while his mother Lorna sings about “Breakfast in Bed.” Photo:____/Artist’s Name:_____________________________ 7. ______ talks about the “Soul Rebel” “Inside My Heart.” He “Caan cool.”

Photo:____/Artist’s Name:_____________________________ 8. While working and touring with Capleton he thinks of his father’s song “Cover Me.” Photo:____/Artist’s Name:_____________________________ 9. This artist says ”Wish It Would Rain” so that you will “Give Me Your Love,” and if not, he will say ”I’m Gonna Make You Love Me.” Photo:____/Artist’s Name:_____________________________ 10. He’ll tell you about “Good Girls Gone Bad” but of his empress, he knows “She’s Royal.”

Photo:____/Artist’s Name:_____________________________ 11. While singing “Ghetto Peoples’ Song” he might also tell you to “Lift Up Your Head.”

Photo:____/Artist’s Name:_____________________________ 12. When ______ was a child her father would tell her “Blow Your Nose” and not your mind. She will tell you about “Simple Things.”

Photo:____/Artist’s Name:_________________________ Answers on Page 92

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a

D

B

C

F E

I H G

K

L

J

Diane Issachar started answering phones for Reggae Beat with Roger Steffens, Hank Holmes and Chuck Foster on KCRW. She also worked on some of the bigger productions in reggae, but when she picked up a camera and started taking pictures, she found her passion. Diane moved to Florida about 17 years ago and got involved shooting for Reggae Vibes magazine. She is now working as art and photography director for Ajang Music Production in Jamaica. Contact: dianeissa@aol.com.

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BOB MARLEY’S LAST RECORDED CONCERT Recorded 30 years ago while Bob Marley was touring in support of his last studio album UPRISING, this never before released audio collection offers an incredible snapshot of one of music’s most influential performers.

Features 19 unforgettable performances including “No Woman No Cry,” “Jamming,” “Is This Love, “Redemption Song,” “Could You Be Loved” and many more!

COLLECTOR’S BOX SET EXCLUSIVES: full concert on three 180-gram audiophile LPs, reproduction of the rare UPRISING tour program, photos and liner notes.

LIMITED EDITION BOX 2CD+3LP 2 ALBUM SET WITH EXCLUSIVE BONUS MATERIAL

iz / C 2011 The Island Def Jam Music Group / Axiom Zion Records. C 2011 Axiom Zion Records.

WWW.BOBMARLEY.COM WWW.FACEBOOK.COM/BOBMARLEY

AVAILABLE NOW

CATCH A FIRE

LIVE!

The legend of The Harder They Come in the flesh and the blaze is set.

“Stir It Up,” “Concrete Jungle,” “Stop That Train,” “Kinky Reggae,” “Slave Driver,” “400 Years.”

The Wailers command the stage and bring rock fans into the fold.

“No Woman No Cry,” “I Shot The Sheriff,” “Trenchtown Rock,” “Get Up Stand Up.”

EXODUS UPRISING

The final studio album featuring Bob Marley & the Wailers to be released during Marley’s lifetime.

Featuring the signature songs “Redemption Song” and “Could You Be Loved.”

LEGEND The defining summation of Bob Marley’s epochal career. 14 touchstone recordings that continue to inspire.

“I Shot The Sheriff,” “No Woman No Cry,” “Buffalo Soldier,” “Stir It Up,” “One Love / People Get Ready”

The Album Of The Century.

Last and this. “Exodus,” “Jamming,” “One Love / People Get Ready,” “Three Little Birds,” “Natural Mystic.”

B IS FOR BOB Original Bob Marley songs re-imagined for fans of all ages. Includes new mixes of: “Stir It Up,” “Three Little Birds,” “Jamming” and more!

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Culture In The Dance THE ROOTS AND DUB SOUND SYSTEM MOVEMENT

by Peter Lionheart, Lionheart Sounds As I step into London’s legendary Southall Community Center, the first thing I feel is the bass. Pouring out of the scoop-bins on the far side of the room, it hits me in the chest, enveloping me with a warm and deep feeling. I continue into the hall, finding a sweet spot in front of the 10’ by 10’ speaker stack, and move to the side where the selector is playing records, controlling the amps, EQ and sound effects. I look around at a diverse crowd of people: Indians, Africans and Europeans; baldheads, dreadlocks and turbans – all enjoying the music.

Top: Jah Observer selecting tunes at Dub Station Garance 2010 by JB, Dub Livity Sound System Left: Channel One stack and crowd at Southall Community Center March 2010 by Peter Lionheart, Lionheart Sounds

Below: Aba Shanti-I in Caen, France w/Dub Livity Sound by JB, Dub Livity Sound System

As the first tune ends and the selector, Mikey Dread, pulls the needle off the record, the void of sound after the full immersion is striking. Immediately voices call out, “Gwaan Mikey,” and “Yes Channel One,” encouraging him to continue. The anticipation grows as the needle hits the wax, and the warm distinctive hiss of a well-played record fills the space. A drum roll rings out and the riddim comes alive in the air, and in all those present. As the sweet voice of Rod Taylor cries out, “Jah Jah see / and knowing / every little thing…” the omniscient presence of the Most High is brought into conscious focus.

As the night progresses, tune after tune of heavyweight roots and culture music comes to life through Channel One’s mighty speaker stack. The energy continues to flow and buildup, with the packed room jumping and skanking to the music. Before I know it, it is 3:30am, and after a few more signature tunes, the session is done. I am exhausted, yet energized, with the vibrations still very alive in me. I have finally experienced reggae music the way it is meant to be experienced – through a custom heavyweight roots reggae sound system.

Sound System Equipment

What is it about a reggae sound system (“Sounds” or “sets”) that is so special and

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Ital Sounds stack at Rototom Sunsplash, Spain 2010 by Peter Lionheart, Lionheart Sounds

particular? It is the sheer force of the sound, the ability to precisely control that sound, and the use of effects to expand the experience; and to project the spiritual depth, historical clarification, and deeply rooted consciousness within the music. As said by Humble Tafari of Wildfiyah Rootical Sound, “The focus is on the drumbeat.

And the melody is in the bass line…It is the bass that drives the soul and the spirit.” With the bass having the lead role in the music, the speakers and amps must be able to carry that force. Most Sounds have at least four 18” subwoofers, often powered by heavy-duty amplifiers with up to 10,000 watts, carrying a heavy force that one can feel as movement in the air.

Left: King Alpha Sound control tower - Ras Joseph on preamp, Ras Peter on mic - Dub School March 2010 by Peter Lionheart, Lionheart Sounds Right: Sati, Zee and Jags of APS US w/stack by Empress Abi, Livity Productions

Most sets are built to play bass, low-mids, mids and highs separately amped and controlled, with all groups of speakers working together to play the music in its full audio spectrum. Specialized preamps allow the operator (engineer) to split the frequencies, to discretely boost or kill bass, mids or highs specifically. Effect units like echos, delays and sirens are used to add to the ambiance, expanding and dubbing the music to new levels. Traditionally

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Sounds played vinyl on a single turntable, although nowadays many Sounds play CDs or directly from a computer.

Even with the best equipment, a Sound comes down to the people controlling it. The operator is essential to finesse a warm rounded sound out of the equipment; the selector to collect and choose powerful tunes; the mic-man to introduce music and communicate with the crowd; and the dedicated souls who arrive early and stay late to string up and take down the heavy speakers and equipment. These people, their hard work, message and selections, define the Sound’s unique character.

History of Reggae Sound Systems

While most people know reggae from live band performances, it was initially studio-produced music, created to play on sound systems. There were many Sounds in Jamaica playing R&B in outdoor neighborhood venues before the local recording industry developed. In the ‘60s, Coxsone Dodd’s Downbeat Sound System and Duke Reid began to produce ska and rocksteady music, which they tested on their Sound’s local crowds, cultivating unique styles.

(This practice continues today, with Sounds like King Alpha who only play their own productions.) When reggae was born, the sound systems played a crucial role in exposing the new music, which was not accepted by radio or general society. As noted by I Warriyah, recording artist and mic-man from King Alpha Sound and Fasimbas Afrikon Blood Sound, “Sound systems give local up-and-coming recording artists the opportunity and a medium to be heard loud and clear by the masses.”

This showcasing opportunity was crucial for the messagebased roots music that became dominant in the ‘70s. Roots music was booming out of sound systems all over the island, creating places to celebrate the joys of life despite ghetto tribulations, and cultivating a spiritually and politically minded generation.

While there were many big roots Sounds including U-Roy’s King Sturgav, Augustus Pablo’s Rockers and The Twelve Tribe’s Jah Love Muzik, one of the best known was run by producer and technical wiz Osbourne “King Tubby” Ruddock. Tubby basically invented dub music, soon to be a sound system staple, creating wild instrumental mixes of the era’s Rasta music, much of which he recorded. Similarly his Sound, Tubby’s Hometown Hi-Fi, stood out with custom-built amps, speakers, reverbs and delays, as well as extensive “dubplates” (exclusive mixes of songs).

Meanwhile, sound systems were gaining momentum and playing a similar role in Britain, where many disenfranchised Jamaican immigrants were trying to make their way in the heart of “Babylon.” Speaking on his adolescence growing up in the U.K., Humble Tafari noted, “The Sound was used during a time when black youths were unemployed, and had nowhere to go to…The Sound played a story of black awareness and black pride...It was like a church, and a political rally gathering, all rolled into one. For one would leave the dance feeling blessed, and also inspired and motivated to better themselves.” In the ‘70s and ‘80s there were many big and popular Sounds in the U.K. including Sir Coxsone, Fatman, & Jah Tubby’s, but none would have as big of an impact on the modern day scene as Jah Shaka…

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Jah Shaka – “The Mighty Zulu Warrior”

Jah Shaka made cultural music and dub his primary focus (continuing to this day). According to Shaka, “The Sound came out of the struggle in the ‘70s which black people were going through in this country – we got together and decided that the Sound should play a main part in black people’s rights and we would work hard at it and promote some better mental purpose.”

Fasimbas Afrikon Blood Sound’s Ceska Sankare reflected on his first Jah Shaka experience: “...Shaka was actually projecting the Afrikan banner of liberation with precise science...I [became] aware of my musical and cultural position within myself and my community.”

But Shaka’s message was not only a consolation to the African community, as it resonated with Jah Shaka and crowd at Rototom Dubstation 2010 by JB, Dub Livity Sound System

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all people facing inequity and striving for better. Jags of A.P.S. U.S. Sound recalled, “A lot of Indian youths go to the dances… because them and their parents went through the racial struggles of the U.K., victimization, police brutality, racism…there was always something about listening to Jah Shaka play; everything just seemed to be better when you came out of the dance.”

Well-known for his intense heavy sound and driving feel, Shaka also produced a lot of music, and had a plethora of exclusive dubplate mixes from the premier studios of the day. As the dancehall style with its sexual and materialistic focus became the dominant force in the music, most Sounds stopped playing roots music. Shaka, however, “almost single-handedly carried the roots sound system torch through a period of very low popularity in the ‘80s and provided a model/blueprint/inspiration for many who became active in the ‘90s, ‘00s and beyond...”

(Ryan Moore - Twilight Circus Dub Sound System).

In the late ‘80s a new generation of Shaka-inspired reggae producers started making music in a distinctly U.K. style. While sticking to the roots formula, they incorporated modern production techniques, creating a heavy digital sound, emphasizing the fouron-the-floor steppers beat. Ras Muffet, Nomadix, Blakamix and Keety Roots all contributed new styles, independently releasing sound-system-geared dub productions. Producers of European background, like Disciples, Manasseh and Jah Warrior, who also ran their own Sounds, further developed the diversity of the

Notting Hill Ca

scene. “In the ‘70s and ‘80s it was predominantly black people that would go to these sort of gatherings still. But now the message is bigger… you find that who wants to hear the message will come…It’s open to all people that are conscious and are seeking truth and right in this time...” (Aba Shanti-I)

The Global Sound System Scene in 2011

While the U.K. still has many of the top Sounds and producers, the biggest dances are now in Europe, with healthy scenes in Italy, Sweden, Switzerland, Holland, Germany and especially France. France’s Dub Station events have been an inspiring testament to the popularity and potential of sound systems. The Musical Riot crew successfully stages Dub Station and other sound system events throughout France (including the Garance Reggae Festival), as well as events in Barcelona, and the Rototom Sunsplash in Spain. They have hosted many Sounds and artists including King Shiloh, King Earthquake, Iration Steppas, OBF, Jonah Dan, Jacin, Dubkasm, Gussie P, Alpha & Omega, Tena Stelin and Afrikan Simba. (www.musicalriot.org) The movement continues to spread globally with Sounds like Kebra Ethiopia in South Africa, Dig-ItalDubs in Brazil, and Tribe Works in Japan. The Internet

rnival Beginning in 1964 as a cultural celebration of London’s AfroCaribbean communities, the Notting Hill Carni val is now the largest street festival in Europe, taking place the last weekend in August. While it still inc ludes traditional carniv al elements such as masquerades and many parades, the 40+ sound systems that string up every year have becom e the main attraction. W hile many musical styles are represented including soca, R&B, hip -ho p, ska, jungle, soul, etc., reggae continu es to be one of the key ge nres. Many of the U.K.’s premier Sounds have played there over the years including Sir Coxsone, Jah Shaka , Java and Small Axe. No wadays the three roots and dub Sounds tha t have been maintainin g a strong presence an d crowd are Jah Obser ver (with a strong vintag e roots selection), Channel One (playing roots an d heavy U.K. steppers), an d Aba Shanti-I (presentin g a distinct spiritual sty le with many of their ow n Stryda & Digistep of Dubkasm and crowd productions). Naturally at Aba Shanti-I, Notting Hill Carniv al 2010 it has become one of the by “The Humble Lion” & Falasha Recordsings most anticipated roots an d culture sound system eve nts in the world, with dub pilgrims travel ing from far and wide to feel the vibes. (www.thenottinghillcarniv al.com)

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ots Reggae Dub Expo fari The 2011 U.S.A. Ro a showcase of Rasta ots Reggae Dub Expo is

The U.S.A. Ro Sounds string up, tem culture. U.S.-based sys nd sou b du d an ts roo rticipating Sounds ning until morning. Pa eve m fro es tun y pla d an , Fasimbas, A.P.S. rriors, Wildfyah Rootikal Wa rt ea ckh Bla e lud inc producers Brizion demption, Mike B, and Re ck Bla , stic My ., U.S ional sound system ipants hold firm to tradit rtic Pa . tali ph Na s Kri d an aining livicated to n custom sets, and rem ow ir the ing ild bu e, tur cul . roots music, old and new , MD and San nual events in Baltimore an t In 2010, the firs expo organizer, g success. For Mike B an kin stri a re we CA , go Die “The U.S.A. RRDE 2010 San Diego was a life changing experience… the strong feeling of unity in the dance, the d oneness of purpose, an the the uplifting vibes in place showed me what h is really possible wit phtali at the s Mike B on the mic and Kris Naltimore 2010 Thi sound systems.”

DE Ba RR .A. U.S er, tow l contro year the expo will have by Empress Abi, Livity Productions in nt an East Coast eve event held in San st 6th, and a West Coast gu Au on MD , ore ltim Ba ggaedubexpo.com) 27th. (www.usarootsre Diego, CA on August bexpo.blogspot.com) (www.usarootsreggaedu

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and social media have helped by making information accessible and connections easier. Check the site www.talawa.fr, for an online community sharing sound system recordings, studio productions and radio programs.

Reggae Sound Systems in the U.S.

In the U.S. there were sound system dances in the late ‘70s and early ‘80s, but they were largely limited to pockets on the East Coast. More recently, a scene dedicated to roots and dub sound system has been developing. Probably most well-known is Ras Kush of Black Redemption Sound and label. Since the late ‘90s he has put on many dances in New York, released wellreceived productions, and toured extensively in Japan and Europe. Other well-established U.S. Sounds include: Aba Shaka’s Musical Ark of Jah Covenant (Atlanta), Humble Tafari’s Wildfiyah Rootical (D.C.), and Ceska Sankare’s Fasimbas Afrikon Blood Sound (Baltimore).

In the past few years there have been some newcomers on the West Coast, including San Diego’s Foreign Love Hi-Power and Blackheart Warriors HiFi (with Orthodox Reuben & Ras Zahir), Sonoma County’s Comanche High Power (with Daddy Stevo), and A.P.S. U.S., based in L.A. Also, dub producers BriZion based in San Diego, McPullish in Texas, and Kris Naphtali in

Connecticut, have been building highly sought-after dubplates, and New York-based Taitu records have been releasing many powerful tunes. Where the scene in Europe has moved away from message towards emphasis on hardcore dub, the U.S. scene is more rooted in a cultural foundation. In the words of Ras Zahir, “A Rastafari Sound System’s role is to be a positive voice for the people who don’t have the means or way to

Bredren skanking in front of King Alpha’s stack at Dub School March 2010 by Peter Lionheart, Lionheart Sounds

speak out against injustices, poverty, brutality, etc. Its role also includes doing works...speaking out is only one step – there must also be action.”

Experience Reggae Sound System Yourself!!!

As a lover, collector, and promoter of roots music and its deep spirituality, when I observe the current roots and dub sound system scene, I see reggae music thriving with a bright future ahead. The U.S. scene is small and just starting to build, but the potential here is great. Ultimately it is awareness of the distinct power and vibe that sound systems bring to the music. I hope that more people will look into it, take a trip over to Europe, and make it to one of the U.S.A. Roots Reggae Dub Expo events, where they can feel the power of the Sound and embrace the dread consciousness of the vibrations. In the words of Andy G, Oakland-based selector, “It really has to be experienced, and once it has, there is no going back.”

Peter Lionheart of Lionheart Sounds has been deeply engaged with reggae music and its message of upliftment since the late ‘90s. Beginning on KZSC in 2001, over the past ten years, Lionheart Sounds has played and promoted numerous shows and put out 20 sought-after modern roots mixtapes with a distinct musical flow and message. Look out in the future for a series of vintage roots mixtapes, some heavy productions, and a custom sound system being built to share the sonic and spiritual power of roots music with the Bay Area and Northern California… www.lionheartsounds.com

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Editor’s note: while moving back-and-forth in the photo pit (where volume levels can be mega-intense) some of us noticed young families with school-aged kids, toddlers and even new-born babies, almost as close to the speaker stacks as we were – with no form of hearing protection. High volume can cause kids lifelong hearing damage. Most on-site festival first-aid sites offer simple earplugs, however kids may greatly prefer an over-the-ear/earmuff style. Here’s one with the youth in mind:

The Nemours Foundation/KidsHealth®.

Reprinted with permission.

Huh? Can you speak up? Oh! You want to know if loud music can hurt your ears. Are you asking because you like to put on your headphones and crank up the volume of your favorite CD? Maybe your mom or dad has told you, “Turn that down before you go deaf!”

Well, they have a point. Loud noise (from music or other sources such as machinery or jet engines) can cause both temporary and permanent hearing loss.

Hearing loss means someone can’t hear as well as other people do. For some people, that means not being able to hear at all.

If the noise around you is so loud that you have to shout to be heard, there is a chance that the mechanism inside your ear can be injured.

Temporary hearing loss can happen after you’ve been exposed to loud noise for any duration. If you have temporary hearing loss, you won’t be able to hear as well as you normally do for a while.

You also could have tinnitus (say: tih-neye-tus), which is a medical term for ringing in the ears. Your ears can feel “full,” too. Although your hearing frequently returns to normal, the dangerous part is that you can lose it permanently if you listen to loud noise or music over and over again.

If someone is exposed to loud noise over a long period of time, like every day, permanent hearing loss can occur. This means the person’s hearing won’t ever be as good as it once was. That’s why construction workers and factory workers need to wear ear protection. Lawn mowers and power tools, like chainsaws, also can be loud enough to affect someone’s ability to hear high-pitched noises. This kind of noise also can cause a person to have tinnitus all the time.

Listening to loud music a lot can cause the same kind of damage, especially if headphones are used. Some famous musicians have suffered hearing loss and developed tinnitus – a real problem for someone who needs to hear to make and enjoy music. That’s why

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now you might notice that some of your favorite musicians wear hearing protection while they’re playing.

You too can help keep your hearing in tip-top shape.

Protect your ears by wearing ear protection when you’re using machinery, like in metal shop at school. Also remember to turn down the volume, especially when you’re wearing headphones or in the car. You also might want to give your ears a rest once in a while if you like wearing headphones.

And if you’re going to a concert, consider wearing earplugs to protect your ears from the boom, boom, boom! In fact, special earplugs can be made for you if you’re going to concerts a lot or if you’re a musician yourself. Take these steps now and you won’t be saying “What?” later on.

This information was provided by KidsHealth®, one of the largest resources online for medically reviewed health information written for parents, kids, and teens. For more articles like this, visit KidsHealth.org or TeensHealth.org. © 1995- 2011. The Nemours Foundation/KidsHealth®. All rights reserved.

Iyla sporting cushy ear protection by Tracy “Too Dread” Moore

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Readings foR Reasonings

Book & dVd Reviews

by Chuck Foster

Ska: An Oral History

by Heather Augustyn (McFarland, 2010) ••• Ska was the first of Jamaica’s enduring musical genres to register internationally and Heather Augustyn has done an admirable job of laying out a history of the style from its inception in Jamaica in the early ‘60s through the ‘80s U.K. revival and beyond. Insightful interviews with founding fathers as well as revivalists take you through the fascinating twists and turns of a music that refused to die. More than just a dance or a style, ska morphed into a bonafide movement that has reasserted itself in the musical landscape time and time again.

In the early part of the book, a series of interviews with singers Derrick Morgan, Doreen Schaeffer, Millicent Todd, Laurel Aitken and Toots Hibbert, as well as musicians Lloyd Knibbs, Lloyd Brevett, Lester Sterling, Roland Alphonso and Lyn Taitt – some of whom are no longer with us – shed light on original Jamaican ska. But those who grew up in the time of Two-Tone or the ska revival will also be fascinated by the later interviews with Judge Dread and members of The Specials, The Beat,

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Selector, Madness and Bad Manners. The author is clearly a fan and in this case that’s a good thing, as she communicates her own excitement about the music.

A persistent thread running through the interviews with first-generation principals is the lack of recompense the originators of the style have enjoyed. The author paints a vivid picture of the way the music business worked in Jamaica in the ‘60s, in England in the ‘80s, and around the world today. But most of all it celebrates a music so exuberant, so full of life and so engaging that it simply could not be held down. This book will serve both as an introduction for the uninitiated and a refresher course (with tantalizing tidbits the author has uncovered along the way) on why ska has become an enduring and recurring element in the history of Jamaican and world music. www.mcfarlandpub.com Bob Marley: The Untold Story

by Chris Salewicz (NY: Faber & Faber, 2010) ••• Chris Salewicz was among the first wave of rock journalists to detail the impact of reggae music and among those who actually had a chance to spend some time with Bob Marley. He went on to a respectable writing career that includes the definitive biography of Joe Strummer

of The Clash, and here returns to the reggae field offering his own version of the life of the reggae artist who made the greatest impact internationally. In this book he peels back the myth a bit to expose the sometimes vulnerable, always captivating individual at the core.

Chock-full of material gleaned from interviews with the principals as well as published sources, his book sketches Marley’s early life and his growing commitment to Rastafari; and details the early Wailers at Studio One, their work with Leslie Kong and Lee Perry, the associations with Danny Simms and Johnny Nash that led to the JAD recordings, and their eventual link with Chris Blackwell of Island Records; the changes in the group as the ambitious and talented singer/ songwriter pushed to the fore; and his eventual acceptance on the international playing field. www.fsgbooks.com Unlike some of the ‘Books On Bob’ that have appeared over the years, Salewicz’s work treats the careers of Peter Tosh and Bunny Wailer, draws a realistic picture of Jamaican music before, during and after Bob’s rise, and places his life in the context of what was happening in Jamaica and the world – including the world of music – during his life. Salewicz’s balanced presentation helps to place the legend in the context of the man. A careful reading will leave the reader with a better understanding of the artist who made the music that has reached hearts and minds around the world.

Bob Marley and the Golden Age of Reggae

by Kim Gottleib-Walker (Titan, 2010) ••• Not only was Kim Gottleib-Walker in the right place at the right time – Kingston, Jamaica as Island Records launched the

first wave of reggae artists into the pop market – she had an eye for the moment and a documentarian’s sense of the importance of her time. This gorgeous book is filled with breathtakingly great photographs of Bob Marley, Peter Tosh, Bunny Wailer, Toots and the Maytals, Justin Hinds and the Dominoes and other reggae greats who stormed the citadels of rock in the mid-seventies. These iconic images capture a moment in time like no other and capture them in a way few others could have.

Amazingly Kim wasn’t actually on assignment for Island at the time – her first trip to Jamaica was with her husband-tobe, Island promo man Jeff Walker. Clearly Jeff knew what he was doing taking along a photographer who had already taken startlingly revealing photos of Jimi Hendrix and others. Kim’s own text is supplemented with essays from Jeff, Roger Steffens and Cameron Crowe, all of which help to put the photos in perspective. But make no mistake about it, it’s the photos that will make you pick up and return to this book time and time again.

In an interview with me on Reggae Central, Kim laid out her philosophy as a photographer. She sees herself as the opposite of a paparazzi. The paparazzi take photographs of people without their permission but Kim sees her photos as a joint effort between the subjects and herself. The result – a long time coming but finally gathered in this oversized delight – is one of the great reggae books of all time. www.titanbooks.com

The Small Axe Guide To Dub

by Jim Dooley (Muzik Tree/I Am the Gorgon, 2010) ••• In The Small Axe Guide To Dub, aficionado Jim Dooley takes an album-byalbum approach to explicating one of the greatest forms of Jamaican music. Along the way he explores the great variety of approaches and styles grouped together

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under the dub umbrella, treating classics and obscure delights while laying out a framework for understanding this deep roots approach to music. His thorough knowledge of the genre allows him to mix opinion with known fact and legend, and his recommendations will help steer both the neophyte and the would-be expert to albums and tunes they may not know.

In some ways, dub is inseparable from reggae. Without dub there would have been no DJ phenomenon – no dancehall – and less emphasis on the underlying rhythms that make the music so unique.

The art and science of dropping out some (and emphasizing some other) elements in the mix has a history, and as you read through these incisive reviews of individual works, you come to see the broader picture.

Whether in live performances by reggae bands (when the singer shouts “Dub it!” and the bass and drums move to the fore) or in the sound system shows where riddims rule, dub is never far from the foreground in reggae music. This essential work will help to guide you through the album-length releases where dub has taken center stage.

The author takes the unique approach of organizing the releases by (for the most part) producer rather than artist or mixer, offering another perspective on the diversity of the music. The intent is not to review every dub album ever released but (especially in cases like King Tubby, Scientist or Mad Professor where myriad albums exist) to detail representative selections. Of course every dub fan has their favorite dub versions and it’s fascinating to delve into Dooley’s highlights and recommendations.

Illu­strated with photos of classic dub covers and other scarce photos, and including a bibliography for further study, this compact work is a handy guide to the world of dub music.

The Small Axe Guide To Reggae 68-70

by Ray Hurford (Muzik Tree/I Am the Gorgon, 2011) ••• In the same series, Ray Hurford takes a close look at the releases that made up reggae’s earliest incarnation. These are

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the years reggae first made the charts in England and Hurford, whose Small Axe magazine was one of the earliest and best “fanzines” out of the U.K., sorted the artists, labels and producers that made its impact so fascinating.

Filled with period photos and facts only someone who had his finger on the pulse of the music of the day could muster, as well as the pertinent observations and opinions that always made his stuff so much fun to read, this one will help you sort out what reggae was before what we now think of as roots. The Small Axe Guides are available internationally from www.smallaxe.reggae4ever.com.

Rocksteady: The Roots of Reggae (DVD) directed by Stascha Bader (Lightyear Entertainment, 2010) ••• Swiss director Stascha Bader’s dream was to gather surviving musicians and singers of the rocksteady era in a studio in Jamaica and cut an album of classic tunes from that era while documenting the event on film. This movie is sweet and tender, with early players including Gladdy Anderson, Jackie Jackson and Dirty Harry supplemented by the likes of Sly Dunbar on drums and some of the great singers of

the rocksteady era – Stranger Cole, Ken Boothe and Hopeton Lewis among them, offering up mature renditions of music from their youth.

Some of the artists featured, like Derrick Morgan and Stranger and Ken, began their careers in the ska era and went on to great success as reggae singers. But for many fans the rocksteady era was the sweetest time for Jamaican music, with beautiful melodies, crisp harmonies and simple arrangements that had to be recorded on two tracks. Watching players like Glen Dacosta, Ernest Ranglin, Bongo Herman and Scully Simms (along with Canada’s Mossman, who produced the resultant CD with Jamaican engineer Errol Brown) recreate the era with today’s technology – albeit in the same building some of these songs were first recorded in – gives the film a special charm.

I had the joy of attending the Get Ready Rock Steady show in Kingston that closes the film, and seeing these great singer and players in action was a definite high point. Some special moments in this film – watching U-Roy freestyle on an abandoned train with Stranger Cole, whose poignant narration ties it all together, and seeing Judy Mowatt and Marcia Griffiths reminisce as they view old photos, and especially the great music heard throughout the film, as well as the gorgeous photography – all go to make this DVD a treasure. The U.S. release includes over an hour of concert footage from a performance in Canada that gathered the largest audience many of the singers had ever performed for. Highly recommended! www.lightyear.com Wicked Beats: Jamaican Ska, Rocksteady & Reggae Drumming (DVD)

by Gil Sharone (G&D, 2010) ••• Part drum instruction DVD and part historical overview, this “how to” is a drummer’s dream – if the drummer in question wants a full grasp on Jamaican drumming styles. Although the bonus material features interviews with Skatalites drummer Lloyd Knibb, Soul Syndicate’s Continued on page 74

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Roger Steffens’ Induction Speech of

Peter Tosh

into the Counterculture Hall of Fame

by Roger Steffens Back in 1998 the burgeoning annual Amsterdam gathering of herbalists sponsored by High Times, known as the Cannabis Cup, decided to create a Cannabis Hall of Fame. Bob Marley was an obvious choice for its initial member. As a biographer of the Reggae King, I was invited to come help induct him and celebrate his efforts toward the re-legalization of Jah Holy Weed. Part of the award was a nearly two-foot long cola presented to Bob’s delighted widow Rita, who promptly cancelled her flight home.

“How can I leave this behind?” she asked me later in her hotel room, as she rolled a snow cone spliff the size of a small tusk.

Ten years later, the Hall broadened to include other bohemian fellow travelers, and changed its name to the Counterculture Hall of Fame. Championed by the indefatigable pot-prophet, Steve Hager, editor of High Times, they finally agreed with rising grassrootical demands that the Bush Doctor himself, the Minister of Herb, the most militant Wailer, Peter Tosh, be honored at last.

Peter was a forthright opponent who took every opportunity afforded him to rebut the idiocy of outlawing a plant. His anthem “Legalize It” stirs the vibes as vitally as ever today, and it is sung all over the world, giving voice to universal feelings.

And so I was once again summoned to Amsterdam in what now appears to be the final days of its safe-haven for international ganja tourists, a last efflorescence of how it could - and should be – for us all.

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In addition to presenting daily multi-media shows on Peter and Bob, I was invited to The Temple to be a “celebrity judge” of 21 sativas and 63 indicas. Let me state immediately that this is not humanly possible, not even for someone with more than four decades of Saigon-Commie-Weed initiation puffing behind him. But I did give it the old college try, once the afternoon show was concluded. Andrew Tosh was an almost constant visitor to the aerie climes of The Temple – five stories up a terribly narrow staircase whose boards were thin as rulers. Once we were there, surrounded by shelves of jars of strains in contention for the Grand Prize (which could mean for its creator, we were told privately, as much as one million dollars or more in added seed sales because of this “honor”), there seemed no reason to leave.

Roger at Cannabis Cup by Catherine Gillis

Peter Tosh at The Sunset Marquis, Hollywood, 1981 by Roger Steffens

So, after four days and nights of non-judicious “judging,” delivered through every variety of device known to PotWorld, I was called to the stage to induct Peter. If you want to see the whole thing, and son Andrew’s performance following it, go to YouTube and search: High Times Tosh Induction. But please cut me some slack – I was a bit bud-dazzled.

Peter is one of our true martyrs, and deserves never to be forgotten. Here are a few reasons why, as I stated that smoky evening:

It is no longer simply the Cannabis Hall of Fame. It is the Counterculture Hall of Fame. And there is no better person to induct into it this year than the great Bush Doctor himself, Peter Tosh. How many of you remember Peter Tosh? [big applause] You know, I look around this room tonight and on the back of all the official shirts it says those two words that hundreds of millions of people around the world have repeated the past 35 years, that mean so much to all of us in the counterculture, and those words are “Legalize It!” And we will never stop saying them.

Tosh and Roger Steffens, 1979 by Mary Steffens

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A Family Affair!

COALITION TO PRESERVE REGGAE MUSIC

Andrew and David Tosh by Catherine Gillis

It’s a multimedia presentation commemorating the coronation of H.I.M. Emperor Haile Selassie I and Empress Mennen of Ethiopia

• Tributes • ThePinnacle Award

Saturday, November 5, 2011 Nazareth H.S. Performance Ctr 475 East 57th street Brooklyn, New York It’s Another TSO Production 718-421-6927, www.cprreggae.org

But I’d like to take just a couple of minutes to talk about my old dear friend, Peter Tosh, because a lot of you younger people don’t really understand how important Peter Tosh has been to the world. For every one of us who has ever stood on a stage and smoked a joint to show the powers-that-seem what a real world can look like, we owe it to Peter Tosh, the man who said those words, “Legalize It.” He was born on October 19, 1944 in western Jamaica in a little village. Never really knew his father. Came to Kingston as a young man and met a kid called Bob Marley and his friend Bunny Wailer. Along with Junior Braithwaite, they formed a singing group in 1964 called The Wailers. And their instant hit “Simmer Down” went right to number one. And for the next two years they were never off the charts in Jamaica. In fact, in 1965 they had five of the top ten songs at once, and they began to be called the Jamaican Beatles.

Peter Tosh was a revolutionary. When a left-wing man named Walter Rodney came to Jamaica to talk about the philosophy of people like Malcolm X in the late ‘60s, the Jamaican government refused him entry and there were riots in Kingston. And one of the main people involved in them was Peter Tosh himself, who stole a huge kind of Greyhound Bus and drove it through the window of the biggest department store in downtown Kingston. And everyone in the bus from Trench Town looted the store to the ground. And Peter drove them back with everything they had looted to Trench Town that night.

Roger inducting Peter Tosh into Counterculture Hall of Fame

by Catherine Gillis

Big Youth

Ancient Vibrations

Dubtonic Kru More artists to be announced...

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Andrew Tosh performing at induction ceremony by Roger Steffens

Peter Tosh made some of the great anthems of reggae music.

Of course we know “Legalize It,” “Bush Doctor,” “Me Nah Goa Jail (fe ganja no more),” and oh, oh, “What You Gonna Do” when the downpressors come and throw you in jail for using herb.

Peter used herb. He smoked it in front of policemen on the streets of New York. He smoked it on airplanes. He said: “It is against my religion not to smoke herb.” Peter checked into a hotel once in New York City and went out for lunch and when he came back he found that his stash was missing, so he called the cops to report a robbery. His publicist had to run downstairs to hold the cops off.

One of the great moments in the history of popular music took place on April 21 and 22 in 1978: The One Love Peace Concert – Bob’s return from exile after being shot in an assassination attempt. And prior to Bob Marley’s performance, Peter Tosh came on stage and he addressed what he referred to as “the Crime Minister who shit in the House of Represent-a-T’ief.” And he said, “Mr. Prime Minister you won’t let me come and talk to you any more so I’ve got to take this opportunity to tell you what I’m thinking,” and he talked about how all the white man’s vices, alcohol, tobacco, sugar, are legal.

“But the one thing that the black man all over the world loves and needs and understands the true value of, the use of the herb is illegal, and so Mr. Prime Minister you are just doing the work of the white downpressor by keeping it illegal.” He lighted Cannabis Cup opening day by Roger Steffens

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Bob Marley by Roger Steffens

spliffs and blew the smoke into the faces of policemen at the foot of the stage. And a few months later seven cops arrested him, took him to a jail cell and beat him for an hour and a half until it looked as if he were dead.

And they left him there. He told me it was because he knew how to roll his eyes up into

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the top of his head and appear to be dead, that they stopped beating him.

Peter Tosh understood language better than almost anyone else. There was a very dirty word in Jamaica called bumba-claat. It basically means the cloth you wear around your butt, but it’s a very filthy word. And he wanted to do an investigation into why this was called indecent language. And the best definition he gave of bumbaclaat, came to my friend and writing partner now (we just did a book together called Reggae Scrapbook), Peter Simon. He said, “One day I found myself held down by some spiritual vampires so that my mouth couldn’t move and my tongue couldn’t speak and the only thing that could make me move was to say “Move your BUMBACLAAT!! and me free. And from that day on me never stop say bumbaclaat.”

Of course you couldn’t even play that on the radio in Jamaica, you’d be arrested for saying that. Peter Tosh pulled the language apart, and showed it for what it really was, showed the words for what their subtext was. He called the judge the grudge; he called his manager his damager; he called his producer his reducer. He talked about playing in Follywood and Hellay. He said he played in San Frandisco, Collie-for-Nyah, United States of Asadica; because there’s nothing merry about A-merry-ca – it’s Asadica.

He was able to make us see words in new and really deep, deep ways. He was an intellectual. He said a lot of people don’t know where the world “education” comes from.

The Rastaman has the inspiration directly from Jah Almighty, that is what I&I means: I&I, You and I, I in I, God in I, God and I, Selassie I. Peter Tosh said education came from the Latin word “educo,” which means to bring forth from, so who teach the first teacher?

Peter was ridiculed during his own time by his own people, to this day he is almost forgotten in Jamaica. We must not let that happen! He was one of the most powerful champions for human rights we’ve ever had. In his song “Equal Rights” is a phrase uttered by those who revolted in the Rodney King so-called riots in Los

Angeles, when they said, “no justice, no peace.” That’s just like Peter Tosh’s words, “I don’t want no peace I want equal rights and justice.” Peter Tosh was a hero of freedom.

He was also a great dresser, and those of us in the counterculture, at least the older ones, have a tremendous colorful group of outfits that we wear at various times. Peter Tosh could be an Arab one night, he could be in his karate outfit another night.

In the Greek Theater in 1983 he was an Ethiopian priest. But all the time, behind all of that, was the philosophy of Rastafari, the philosophy of one love, one heart. Reggae music and the use of herb as its holy sacrament are indivisible, and that is why we are such a danger to the world. Bob Marley said it best at the Amandla Concert in Harvard Stadium on the 21st of July, 1979.

He said, “We smoke the herb so we can get one meditation.

You see, if we all smoke herb we would think the same way, and if we think the same way we would be in unity. And they don’t want to see us in unity. So get this thing together children.” And of course when he says children he means all of us as children of Jah, children of God. So it is with a tremendous sense of pride tonight that I have the great honor of welcoming Winston Hubert McIntosh, Peter Tosh, the Bush Doctor himself, into the Cannabis and the Counterculture Hall of Fame.

Roger Steffens’ website is at www.rogersteffens.com. His multi-media show The Life of Bob Marley commemorates the 30th anniversary of Bob’s passing (May 11th, 1981) at the Grammy Museum in Los Angeles.

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Readings foR Reasonings Continued from page 66

Santa Davis and No Doubt’s Andrew Young, the drumming for the most part is provided by Gil Sharone, who demonstrates seemingly endless variations on the foundation drum patterns of reggae.

Sharone knows his stuff and features not only styles like roots, rockers and steppers, but brings in individual instruments such as the hi-hat and timbale with an in-depth commentary to guide you through the various permutations of Jamaican drumming styles. Aimed specifically at drummers who want a deeper understanding of the fundamentals of Jamaican music, this DVD offers 2½ hours of concentrated exploration of rhythms from Nyahbingi to dancehall. www.GilOnDrums.com.

For bookings or other inquiries please contact Dan Sheehan at shows@goodvibezpresents.com 74

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The Return of the Rub-A-Dub Style (DVD) directed by Steve Hanft, produced by Tom Chasteen (Echodelic, 2011) ••• I love a success story and L.A.’s Dub Club is certainly that. Over the course of the last ten years, the club has established itself as THE place in Southern California to see roots and rub-a-dub artists and hear DJs spinning vinyl. This CD/DVD set contains a documentary on the club and the music that inspired it with footage

of performers including Sister Nancy, Ranking Joe and the late Sugar Minott.

The companion CD is worth the price of entry alone. It’s a fresh set of music produced by Dub Club’s Tom Chasteen featuring Jamaican artists like Tristan Palma, Lloyd Hemmings, Natty King, Tappa Zukie and Jimmy Riley, as well as performers who have emerged from the L.A. scene (some with international roots) including Dylan Judah, Ras Benji and Jah Faith.

U-Roy, Scientist and King Stitt are among the artists interviewed on the DVD and blistering performances abound. The CD also features Future Pigeon, Ras Congo, Welton Irie, Kojak, Prince Jazzbo, Lone Ranger and others.

The L.A. reggae scene is jumping right now with great new releases from bands like The Aggrolites, The Expanders, Arise Roots and others, and The Dub Club is one of the reasons why. The documentary focuses on the turntable culture that began in Jamaica and has spread throughout the world. www.dubclubla.com Chuck Foster hosts Reggae Central on KPFK-LA, 90.7 FM Sunday 2-4 PM. The show streams live and is archived for two weeks via KPFK.ORG. Photos and videos of live in-studio guests are posted at www.myspace.com/reggaecnetralkpfk and www.facebook.com/reggaecentralkpfk.

Chuck can be contacted by email at cfoster907@yahoo.com.

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e a g Reg

s R e v Lo e t i Un ORY T S R P THE C

As told to RFG

by Sharon Gordon and Carlyle McKetty With the passing of Bob Marley in May 1981, two questions dominated the minds of his bewildered fans: Who would replace Bob as the King of Reggae? and What indeed would become of reggae music itself? As we mark the 30th anniversary of his passing, Marley remains the King of Reggae, his family is a dynasty, and reggae continues to rock as artists and advocates continue to uphold the message of roots rock reggae. Over the past seven years, the New York-based Coalition to Preserve Reggae Music, Inc. (CPR) has emerged as a vital force in the movement to preserve the art form’s traditional message of healing and unity.

“CPR is a non-profit organization on a mission to raise the bar in the creation, development, promotion and presentation of reggae music,” says Sharon Gordon, chairperson of CPR. “Our coalition continues to grow as more individuals who sincerely want the music to grow find that CPR is a viable vehicle for their aspirations. CPR is striving to elevate the profile of reggae music and reggae artists; we research, codify and share information about the genre, its development, its significance to social, economic and political development in Jamaica and its influence around the world,” says the Jamaica native, who has made New York her home for more than 30 years.

“As we rolled into 2005, [CPR co-founder] Carlyle McKetty and I had a desire to mark the 75th anniversary of the coronation of Emperor Haile Selassie I and Empress Mennen of Ethiopia with a commemorative event highlighting the unique relationship between reggae, Rasta, Selassie and Jamaica, and went about mobilizing friends and colleagues to join us in this venture. The event was named Reggae Culture Salute and the collaborators became the Coalition to Preserve Reggae Music,” she explains about the origin of CPR. “Although the friends and colleagues were in most cases affiliated with one organized entity or another (media house, band, community organization, etc.), we came together as individuals, friends of roots reggae, seeking to enjoy and preserve the essence, and we continue until this day to function in that way,” adds Carlyle, who has had a long history of organizing.

Luciano at Reggae Culture Salute by Allyson Ione

Above: Order of Nyahbinghi by Roland Hyde Below: Nyahbinghi drumming Photo courtesy of CPR

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The first Reggae Culture Salute on November 3rd, 2005 featured Morgan Heritage, Third World and Luciano, and was such a resounding success that a New York Times preview of the following year’s show called it “the big show for the fall,” telling readers to expect “reggae’s traditional values” in an event free of homophobia as the event moved from the Roxy to the Manhattan Center. Like the initial year, each subsequent staging has been a multimedia presentation with veteran, cutting edge and emerging artists, Nyahbinghi drumming and chanting, video presentation and authentic Jamaican food.

Other past performers include: Kenyatta Hill and Meta, who made their New York debuts at Reggae Culture Salute; in 2006, Nahki, Mikey Jarrett and Tony Tuff (who also performed a special tribute to Sugar Minott in 2010); as well as Steel Pulse, Etana, Capleton, Anthony B, Mighty Diamonds, Ranking Trevor, Big Youth, Ernie Smith, Warrior King, Everton Blender and Junior Wedderburn with his group Ancient Vibrations. CPR looks with enthusiasm toward its seventh staging of Reggae Culture Salute, scheduled for Brooklyn on November 5th, 2011.

CPR is governed by a seven-member volunteer board with day-to-day operations administered by TSO Productions (a boutique company specializing in niche marketing and public relations, which Sharon cofounded with Carlyle in 2003) mobilizing members and volunteers to get the work done.

“We operate under the slogan ‘working together to make

Above: Community Conversation panelists engaged by Sharon Bennett Below: Forum audience at attention by Sharon Bennett

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things work,’ which is inspired by the lyrics of Bob Marley’s song ‘Work,’ saying ‘We Jah people can make it work, come together, and make it work,’” sings Sharon.

Over the course of its seven years, the organization has broadened its base and expanded its scope in constant pursuit of innovations to elevate reggae music and culture – most notably: The Community Conversation Series, The Pinnacle Award and the Congressional Proclamation honor awarded to veteran reggae performers/cultural ambassadors.

The Community Conversation Series are dialogues which focus on a variety of issues within the reggae community. The series of highly anticipated free community forums is now in its third year, and always open to the public.

“We do six or more each year, and passions always run high as presenters and community members each speak their unique version of the truth about sensitive and often controversial matters regarding the music and the state of the industry,” says Sharon.

“We usually do our forums in three-part harmony. The first part is a panel discussion, the second is commentary by special guests, and the third is the Q and A, which always dominates the forum,” beams Sharon with excitement. “The Community Conversation Series has been extremely successful in raising the bar in the way we engage each other in the community.”

Despite the raging fervor at the forums, Reggae Culture Salute remains CPR’s most significant gathering. Two years ago, this hallmark event grew in significance with the addition of The CPR Pinnacle Award for Excellence, honoring exemplary contribution to the development of reggae music. The Pinnacle Award is named for a resolute self-sufficient Rastafarian community in St.Catherine Jamaica that repeatedly endured extreme persecution by the Jamaican authorities until it was eventually burnt to the ground in 1957, dispersing the residents throughout the island.

CPR selects Pinnacle Award recipients based on the artist’s contribution to the music and the community, and also the degree to which their practice reflects reggae’s traditional values.

(Suggestions are welcome - see contact information at end.)

Mighty Diamonds receiving Pinnacle Award Photo courtesy of CPR

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Ernie Smith and Big Youth holding Congressional Proclamations with N.Y. Congresswoman Yvette Clarke by Allyson Ione

“In 2009, the Mighty Diamonds were celebrating 40 years of being together, the same three brethren singing sweet reggae music and never wavering. It was only fitting that we consider them, and after a careful and thorough examination of their life and times, we selected them to be the first recipients of the award,” offers Sharon.

The Coalition approached Congresswoman Yvette Clarke with the initiative to honor artists with Congressional Proclamations – the highest honor the US Congress can bestow upon a person or group. In 2010, Pinnacle Award recipient Ernie Smith and headliner Big Youth both received Congressional Proclamations.

Ernie Smith is a cornerstone in Jamaican music. In 1972, from a field of more than 4,000 worldwide contestants, Smith won the Yamaha Music Contest in Tokyo, Japan, bringing Jamaica’s musical flavor to that nation, and paving the way for others.

His music continues to provide social commentary. His charity underwrites training for emerging talent at the Edna Manley College in Jamaica.

Big Youth was the first deejay to take his Rastafarian sensibilities into the music, and did so long before the Rastafari movement was deemed acceptable. His music consistently spoke out against oppression and disrespect of females and offered social commentary that not only earned him the name the “Human Gleaner,” (a reference to the Jamaican newspaper), but also proved a detriment to his career – a circumstance that propelled him to become the first deejay to own his own record label, Negus Negast.

The awards came full-circle when in 2010, the New York organization Reggae AMPPS (Reggae Artists, Musicians, Producers, Promoters and Songwriters) chose Sharon and Carlyle to receive their Making a Difference Award. In addition, “in recognition of outstanding and invaluable service to the community,” Carlyle was honored by Congresswoman Yvette D. Clarke in February, 2011 with a Certificate of Special Congressional Recognition.

CPRreggae.org provides a wealth of information about the organization’s history and current initiatives, the ”Reggae Reader” blog, and links to two CPR-produced radio shows: Real Talk, a reasoning and talk program hosted by Carlyle and Sharon (Thursdays, 7pm) and Sharon’s Reggae Calling (Saturdays, 6pm), bringing forward the best in reggae selections and interviews. Both shows are broadcast on Ustream.com, which allow audiences to interact with show hosts and guests, via the chat rooms.

In February, CPR received a $10,000 challenge grant from the MariMax Charities Foundation to establish the Ustream channel CPR Live™.

“With our own channel, CPR can archive programs and replay them at a more convenient time for our international audience,” says Carlyle. “We now do a live broadcast of each [Community Conversation] forum and are able to engage members and friends from far and wide in these events, through the chat room and over the telephone.”

Completion of the challenge will see CPR assembling a mobile studio unit, which will allow programs to routinely originate from events, schools, businesses and other locations. Towards that end, The Coalition is driving to expand its membership and to secure donations and materials from the community at large.

As always, CPR is on the move. A principal goal for 2011 is to significantly increase its hours of live broadcasting, but

there is more. The Coalition will also expand its recognition of the pioneers of reggae music with a project it calls The Legacy Project™. Meanwhile Sharon and Carlyle are busy preparing an October presentation for the Rex Nettleford Arts Conference in Jamaica at the Edna Manley College.

For more information on CPR or to become a member, visit their website at www.cprreggae.org.

Contact (718) 421-6927 or info@cprreggae.org.

A niece of Beres Hammond, Sharon Gordon grew up across the street from Carlton and Aston “Familyman” Barrett, and has been a reggaephile all of her life. In the ‘90s she marketed extensively for Buju Banton and Capleton. Gordon has spearheaded many events, including Reggae Gold Series at Brooklyn Academy of Music, Reggae Culturama, and the New York Reggae Music Festivals. Sharon has worked as publicist, event coordinator, M.C. and radio host for programs on several New York stations, and has contributed to several publications including Dub Missive and VIBE magazines, Jamaican Gleaner and Jamaican Star newspapers.

Besides being president of CPR, Brother Carlyle as he is popularly known, is a keyboardist whose engagement with reggae dates back to his teenage years when he first played in a band back in Jamaica.

He has worked with artists such as Max Romeo, Ras Carby, the Skatalites and Reggaelution. His experience as a community organizer and training as an urban planner serve well in the staging of Reggae Culture Salute and CPR’s development.

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RAS

WORD Puzzle

by Too Dread KTHX Reggae Shack Host, Reno/Lake Tahoe, NV Although dreadlocks did not originate in Jamaica with the advent of Rastafarianism and are are actually a part of a number of different spiritual and cultural traditions, nothing says reggae and Rastafarian culture like the unique look of dreadlocks crowning a human head, especially if properly accented with some red gold and green... Be it an admirable mane of dreads flowing from the head of a spiritually, mentally and physically healthy Rasta bredren or sistren, or a few scraggly dreads from an American “Rasta admirer” with male pattern baldness who just wants to fly his flag of “steppin’ out of Babyon,” the dreadlock is an unmistakable social symbol inna dese here serious times.

Right now, explore your knowledge of the dreads, and discover a few informative tidbits you can share the next time someone queries you about your locks…

Too Dread got the reggae radio ball rolling in Reno with KUNR’s Kingston Jam back in the ‘80s and ‘90s, during which time he made several visits to Jamaica where he drank in the cultural and musical vibes of the island. These days he hosts The Reggae Shack on KTHX 100.1 FM on Sunday nights in Reno and gigs locally on keys and vocals with Jahzilla. Reggae Shack streams live Sundays 8 to 10 pm pacific time @ www.myradiox.com, Facebook: Reno Jahzilla, zenboy27@hotmail.com

ACROSS 3. In the book of Numbers, chapter 6 verse 5, part of the vow of the _____________ is described, by which no razor shall come upon the head, and the locks of the head shall be allowed to grow. Thus does one separate oneself unto the Lord.

5. For many, wearing dreads represents their nonidentification with __________.

8. Lee Perry sang, “Dreadlocks in __________, baldhead at sunrise.”

10. The lion association with dreadlocks can be traced not only to the mane-like look of a head of dreads, but also to the Book of ___________ reference to the “lion of the tribe of Judah.”

12. The late great Joseph Hill of Culture sang, “I’m not ________ to shake up my knots.”

14. Someone who wears dreads but is up to unrighteous pursuits is often said to be not a Rasta but a __________.

17. _____________ lamented that “Dreadlocks can’t live in a tenement yard.”

18. Dreadlocks acquired through completely natural and nonartificial means are often described as ________.

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19. Many Jamaicans I have spoken to identify themselves as __________ despite the fact that they don’t wear dreadlocks.

20. Someone without dreadlocks is often referred to in Rasta culture as a ________, but it doesn’t mean that person has no hair at all.

DOWN 1. Peter Tosh’s mother Elvira Coke once remarked that when she asked her son why he was growing dreadlocks as a young man, he responded that he didn’t want to _____________ (two words).

2. Egyptian _______________have been discovered sporting dreadlocks.

4. Reggae vocalist Charlie Chaplin once sang that “Rasta is not a bag of locks,” meaning that one is not automatically __________ just by virtue of having dreads.

6. One Rasta term for allowing dreadlocks to form on one’s head is to “________” up.

7. Although he is the icon of the Rastafarian faith, ________did not have dreadlocks.

9. Some say the _________ warriors of Kenya, who fought to overthrow the British colonizers there in the 1950’s and who would hide for months at a time in the Kenyan forests, where their hair would dread, inspired Jamaican Rastas to start wearing dreadlocks.

11. Dreadlocked Rastas have often been spoken of in reggae lyrics as ones who avoid the __________ shop.

13. Serious times or serious intentions are often referred to as __________ times in Rasta culture.

15. Dreadlocks can be cleaned just as you would clean a __________, by soaking them and squeezing the water through.

16. Most agree that dreadlocks originated in eastern __________ most likely among the Massai tribe, who still tint their dreads with red soil.

Answers on Page 92

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Andrew has one gold and one double-platinum album to his credit... ...the next could be yours!

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Reggae

on the Rise at

SXSW

Taj Weekes courtesy of Jatta Records

by Sarah Scott Labeled the largest music-industry event in the United States, South by Southwest (SXSW®) Music and Media Conference celebrated its 25th Anniversary. This year, Austin, Texas’ premier reggae venue, Flamingo Cantina, hosted the official International Reggae Showcase on the Saturday night of the conference, March 19. It featured St. Lucia’s Taj Weekes & Adowa, Bermuda’s Collie Buddz, South Africa’s Tidal Waves, Spain’s Black Gandhi; and U.S.-based bands Lynval Golding and Contra Coup from Seattle, and Mau Mau Chaplains from Austin.

What does this mean for proponents of reggae music? Is reggae rising within the mainstream music industry, as evidenced by greater recognition of the genre at what has been historically a rock-oriented event?

The all-reggae showcase heartens many who have worked hard to keep reggae growing as a genre. Angela Tharp, owner of Flamingo Cantina, says, “This year’s lineup is outstanding and

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I am pleased to have more of a reggae presence at SXSW. In years past, the genre hasn’t had as much participation from strictly reggae artists and I feel that can be improved upon.”

St. Lucian artist Taj Weekes comments, “It’s great to see other reggae artists in this showcase from distant places. It shows the worldwide appeal of reggae as a genre and it’s inspiring to see what other cultures bring to the mix.”

Despite the optimism, others are questioning the significance.

“Most people will never dig deeper than Marley for whatever reason, which is such a shame. It’s like stopping at The Beatles when digging in to rock music,” says Selector J, host of When Roots Attack on Austin’s KVRX. Some may point out a direct correlation to the rise of reggae at SXSW and its increasing acceptance as a viable genre of music made by serious musicians all around the world. Showcasing artist Jacob “Boogie Zakes” Wulana of South Africa’s Tidal Waves remarks, “We think that reggae has a place in the mainstream

Black Ghandi courtesy of Black Ghandi

music industry, without having to lose its integrity as a unique musical expression.

The good news is that the reggae category has just been reinstated at the South African Music Awards (SAMAs), which we are very pleased about.”

The six reggae bands coming from three different continents can count on exposure to professionals involved in every aspect of the music industry: agents, managers, record labels, manufacturers, media giants, publishers, writers, bloggers and fans. On top of that, there are also two other conferences happening side-byside with the Music and Media Conference: SXSW Interactive [emerging technology] and SXSW Film. Registrants who purchase a Platinum Pass have access to all three conferences.

“SXSW is a world marketplace.

It’s a melting pot for the music industry. It’s a place where you can meet like-minded music professionals from around the world, learn about the business and hear some great music.”

“The number of reggae acts goes up and down but is never totally big. As SXSW is a promotional event, it’s sometimes Mau Mau Chaplains by Natalya Madolora

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Tidal Waves backstage at SXSW by Sista Irie

hard to get the artists from other countries to come to the festival. But we have hosted many greats including Lee ’Scratch’ Perry, Easy Star All-Stars, and more. Generally the labels are not willing to support getting the artists to SXSW because it is not seen as a reggae-specific event.

But most who have come have enjoyed it and found benefits from being here,” says Matt Sonzala, SXSW Music Festival Coordinator.

One question that comes to mind is whether or not being part of a genre-specific showcase is a plus at

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SXSW? There is no doubt that the audience is there. The count of showcasing bands numbers into the thousands, with performances on over 80 stages in downtown Austin.

Conference registrations are in the tens-of-thousands with several thousand being members of the international music media. “We have acts from 55 countries represented at SXSW this year. And we try to grow that every year as well,” remarks Sonzala.

What will this melting pot of music offered up by SXSW do for reggae? It just may be one of the factors slowly helping audiences realize that there is exceptional reggae music being produced all over the world, having already broken down not only the geographic boundaries, but those of a strictly defined genre as well.

The perspective of this year’s reggae showcase artists seems to be aligned with this cross-cultural exchange. Weekes contends, “Reggae is music that can’t be contained in one geographical area as it’s written from the heart, from issues that speak to you. I always compare reggae to a mango tree whose roots originated in Jamaica but the branches have grown wide and strong, dropping fruits into many other territories. The freedom of expression found through reggae is universal.”

Wulana adds, “Growing up in the township, we were surrounded by a range of languages, cultures and music – Zulu, Xhosa, Setswana, Tshivenda, Afrikaans – as well as by the music of Bob Marley, Sly and Robbie, and Curtis Mayfield. Our culturally

rich reality continues to shape our distinctive take on reggae, an approach steeped in South African sen­ sibility and sounds.”

JB from Spain’s Black Gandhi ex­ plains, “The Barcelona and Spanish scene is filled with what they call ‘Mestizaje’ which is a mix of reggae, Latin, rumba, African and Balkan music. So in a way everybody hears reggae.”

Tharp adds, “With so many Jake from Tidal Waves by Sista Irie artists incorporating reggae into their music, I think it will become more difficult to pigeonhole artists into one specific category … which keeps the genre growing.”

Tharp observes, “Our audience [Flamingo Cantina and Austin Reggae Festival] has grown as reggae becomes more mainstream. The cool thing about our shows is that you may have folks in the audience who are in their 20s, spanning all the way into their 70s … they all are there for the music. People from all walks love reggae music and our crowd tends to be very diverse.” Sonzala agrees, “I think reggae is the type of music that any real music lover can get into. I know people from all across the spectrum who love reggae. And the sound has gone off into so many directions that there’s something for everyone.”

Despite this legacy and the changing economics in the industry, reggae continues to grow as it benefits from direct connection with fans through social media and the Internet and, perhaps most importantly, a new generation of reggae groups hailing from around the world. Weekes notes, “The Internet has made it more of an open playing field where we all can throw something in the pot and see what bubbles to the top. It allows for greater individuality and really interesting blends of cultural influences.”

Reggae’s worldwide influences allow it to cross social, national and cultural boundaries. The reggae showcase at SXSW reflects reggae’s growing popularity nationally and globally, as well as the growth of reggae’s reach into other musical genres. As Moe Monsarrat of Mau Mau Chaplains (and Stop The Truck, their country-western band alter-ego) concludes, “I am deeply involved in both the country and reggae music scenes here in Austin and can truly say that diversity is alive and well here. One love & ya’ll come back now, ya heah?”

Sarah Scott is the Director of Marketing, Media and Artist Relations for Jatta Records, founded by St. Lucian roots reggae artist Taj Weekes.

Aside from the rare freelance pieces, her other credits include two esoteric screenplays set in far-flung lands and a new book project is in the works. Sarah dreams of writing meaningful children’s stories in the vein of her favorite childhood book, Lion Blue by Fleur Cowles.

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Unity Works and Explosive Records Present

www.lionfox.com

JAH EYE * RASTA MUSIC

Brand new CD/digital release available at: www.unityworksmusic.com & www.explosiverecords.com featuring guest artsts: U Roy, Chinna Smith, Santa Davis, Haile Maskel, Ronnie “Stepper� McQueen, Lesterfari, Shakaman, and Mikey Banton For more info: www.reverbnation.com/jaheye www.myspace.com/jaheyeroots Phone: (323) 935-2331 Email: jahi77@ca.rr.com

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Reggae Festival Guide 2011

Album now Available on iTunes and CDBaby.com

1(404) 932-9092 1(876) 474-3445 Lyvestonemusic@yahoo.com www.CenCLoveMusic.com

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Reggae Festival Guide 2011

You

Tube

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Festival Runnins The publisher, the venues, the promoters and the musicians are not responsible for any changes or cancellation of events.

So check before you go & have aN IrIe TIme!

JUNE 6/1/11 Int’l reggae Day festival 2011 Kingston, Kingston, Jamaica internationalreggaeday.net 6/2-5/2011 Wakarusa music & camping festival Ozark, Arkansas, United States wakarusa.com 6/3-5/2011 mystic mountain reggae bash St-Damien, Quebec, Canada myspace.com/ mysticmountainreggaebash 6/3-5/2011 Treating yourself expo Toronto, Ontario, Canada treatingyourselfexpo.com 6/4/11 Irie vibes Eibergen, Gelderland, Netherlands irie-vibes.nl 6/9/11 Sherwin gardner, christafari in concert!

Amsterdam, Noord-Holland, Netherlands queenhadassaexplosions.com 6/9/11 Stephen marley San Diego, California, United States worldbeatcenter.org 6/10-11/2011 conscious culture festival at Tonasket barter faire Site Tonasket, Washington , United States consciousculturefestival.com 6/11/11 burlington Waterfront World Tent Burlington, Vermont, United States discoverjazz.com 6/11/11 reggae In The Desert Las Vegas, Nevada, United States reggaeinthedesert.com 6/11/11 reggae Train Sunfest Catanzaro, Calabria, Italy calabriareggae.com 6/11-12/2011 Simssee reggae festival Simssee, Bavaria, Germany simssee-reggae.de 6/11/11 Spring gathering San Bernadino, California, United States springgathering.com

6/14/11 big head Todd and the monsters/Toots and the maytals Reno, Nevada, United States ticketfly.com/purchase/ event/39691?utm_medium=api 6/16/11 Dennis alcapone with Winston reedy San Diego, California, United States worldbeatcenter.org 6/16-18/2011 Island festival Kalamazoo, Michigan, United States islandfestkalamazoo.com 6/16-7/3/2011 reggae SoulJahs camouflage Houston, Texas, United States reverbnation.com/ reggaesouljahsworldwide 6/17/11 reggae SoulJahs camouflage Dallas, Texas, United States reverbnation.com/ reggaesouljahsworldwide 6/17-18/2011 Satta music festival Schönberg, Bavaria, Germany satta-musikbar.de 6/17-19/2011 Sierra Nevada World music festival Boonville, California, United States snwmf.com 6/17-19/2011 Ziontific Summer Solstice music festival Stockbridge, Vermont, United States ziontificproductions.com 6/18/11 marley’s green reggae festival Manchester, Follow Field, United Kingdom urbanpromotions.org 6/18/11 upper Park festival Bologna, Bologna, Italy facebook.com/pages/Upper-ParkReggae-Festival/143753439019971 6/20/11 reggae SoulJahs camouflage Taos, New Mexico, United States reverbnation.com/ reggaesouljahsworldwide 6/22/11 reggae SoulJahs camouflage Lincoln, Nebraska, United States reverbnation.com/ reggaesouljahsworldwide 6/23-25/2011 St. kitts music festival Warner Park , Basseterre, St Kitts stkittsmusicfestival.net 6/24-26/2011 Dmb caravan band festival Atlantic City, New Jersey, United States dmbnews.net/2011/03/dmb-caravanatlantic-city-lineup.html

6/24/11 reggae SoulJahs camouflage Neenah, Wisconsin, United States reverbnation.com/ reggaesouljahsworldwide 6/24-26/2011 Wild mountain faire Concow, California, United States wildmountainfaire.com 6/25/11 16th annual Seen festival Berkeley, California, United States blackplanet.com/oonkasymeon2 6/25-26/2011 39th annual Woodbury reggae festival Woodbruy, Connecticut, United States woodburyskiarea.com/summer/ concerts.html 6/26/11 festival afrique-carib Almere, Province Flevoland, Netherlands afrique-carib.nl 6/26/11 The PomeDy Show Santa Cruz, St Elizabeth, Jamaica facebook/The POMEDY Show 6/29/11 reggae SoulJahs camouflage Cleveland , Ohio, United States reverbnation.com/ reggaesouljahsworldwide 6/30-7/3/2011 21st annual high Sierra music festival Quincy, California, United States highsierramusic.com

JULY 7/1-3/2011 26th SummerJam feSTIvaL Cologne , Fuehlinger See, Germany summerjam.de 7/1/11 Int’l reggae Day festival Kingston , St Andrew, Jamaica ireggaeday.com 7/1/11 mc yogi - Live in concert San Diego, California, United States worldbeatcenter.org 7/1/11 reggae SoulJahs camouflage Cambridge, Massachusetts, United States reverbnation.com/ reggaesouljahsworldwide 7/1-3/2011 Summerjam festival 2011 Stand up for Love Koln, Stuttgart, Germany summerjam.de 7/1-2/2011 Sunsplash gh Accra, Accra, Ghana

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7/1/11 ultimate Louisiana Party Ogden, Utah, United States hitcitylouisiana.info 7/2-4/2011 hempstead World music festival Eugene, Redmond/Bend, Portland, Oregon, United States hempsteadprojectheart.com 7/5-9/2011 victoria’s 12th annual Ska festival Victoria, British Columbia, Canada victoriaskafest.ca 7/8-10/2011 annual Soca reggae festival Winnipeg, Manitoba, Canada socareggaefestival.com/ 7/8-10/2011 venice Sunsplash Chioggia (VE), Venezia, Italy rastasnob.it 7/9/11 10th annual Soul rebel festival Lakewood, Colorado, United States soulrebelfestival.com 7/9-10/2011 maple ridge caribbean festival Maple Ridge, British Columbia, Canada caribbeanfest.ca 7/9/11 reggae ‘Pon The mountain Topanga Canyon, California, United States reggaeponthemountain.com 7/10/11 Jamaica Day reggae festival Crownsville, Maryland, United States jamaicadayreggaefestival.com 7/14-17/2011 all good music festival & camp out Masontown, West Virginia, United States allgoodfestival.com 7/14-17/2011 15th annual california Worldfest 2011 Grass Valley, California, United States worldfest.net 7/15-16/2011 Öland roots Stora Frö, Mörbylånga, Öland, Sweden olandroots.com 7/15-17/2011 Tayberry Jam reggae on the mountain Saginaw, Washington, United States tayberryjam.com 7/15-17/2011 Sunrise reggae und Ska festival 2011 Burtenbach, Bavarian, Germany sunrisefestival.de 7/16-17/2011 27th annual reggae on The river Benbow, California, United States reggaeontheriver.com

for more information about a festival, simply go to our website at www.reggaefestivalguide.com 88

Reggae Festival guide 2011

Festival Runnins 7/16-17/2011 6th Annual Bayfront Reggae/ World Music Festival Duluth, Minnesota, United States bayfrontreggae.com 7/16-17/2011 The Santa Cruz Mountain Full Moon Music Festival Los Gatos, California, United States fullmoonmusicfest.com 7/22-23/2011 Irie Vibes Roots Festival Handzame, West-Vlaanderen, Belgium greenforward.be 7/22-23/2011 Manifestivus Cabot, Vermont, United States manifestivus.com 7/23/11 Toronto International Jamaica Day Festival Brampton, Ontario, Canada jamaicaday.com 7/27-30/2011 Garance Reggae Festival Bagnols-sur-Cèze, Gard, France garancereggaefestival.com 7/27-31/2011 LB27 Reggae Camp Monorierdo, NO, Hungary reggaecamp.com 7/29-31/2011 16th Annual Monterey Bay Reggaefest Monterey, California, United States mbayreggaefest.net 7/29-30/2011 Reggae Gorzów Wielkopolski, Lubuskie, Poland reggaenadwarta.eu 7/29-31/2011 Sun Flower Festival Freiberg, Saxony, Germany sunflowerfestival.de 7/30/11 17th Annual Peoples’ Festival Wilmington, Delaware, United States peoplesfestival.com 7/31/11 One Love Peace Festival London, London, United Kingdom originalonelove.com 7/31/11 Reggae Night X Los Angeles, California, United States HollywoodBowl.com

AUGUST 8/2-9/5/2011 The Gathering of the Peacemakers Ashland, Oregon, United States RastaHeart.com

8/4-6/2011 Uppsala Reggae Festival Uppsala, Uppland, Sweden uppsalareggaefestival.se

8/14/11 Jamaica Poetry Festival Kingston, Kingston, Jamaica facebook.com/Jamaica Poetry Festival

8/5-7/2011 Reggae Sun Ska Festival Pauillac, Aquitaine, France reggaesunska.com

8/15/11 Norwalk Reggae & Blues Festival Norwalk, Connecticut, United States reggaebluesfest.com

8/5-7/2011 The Gaia Festival Laytonville, California, United States thegaiafestival.com

8/18-27/2011 Rototom Sunsplash - European Reggae Festival Benicassim, Castellon, Spain rototomsunsplash.com

8/5-8/2011 The Gathering of the Peacemakers Asheville, North Carolina, United States RastaHeart.com 8/6/11 2nd Annual Caribbean Afr’am Festival Killeen, Texas, United States sbrca.org 8/6-7/2011 USA Roots Reggae Dub Expo 2011 Baltimore, Maryland, United States usarootsreggaedubexpo.com/ 8/12-14/2011 20th Annual Mid West Reggae Fest Garrettsville, Ohio, United States MidWestReggaeFest.com 8/12-14/2011 Northwest World Reggae Festival Marcola, Oregon, United States nwwrf.com 8/12/11 The Wailers - Uprising Tour Benefit Concert San Diego, California, United States worldbeatcenter.org 8/13/11 Caribbean Summer Concert Series at Six Flags Great Adventure Jackson, New Jersey , United States SixFlagsReggae.com TriniFlyPromotions.com 8/13/11 Int’l Reggae Wine Festival Rose Hall, Montego Bay, Jamaica internationalreggaewinefestival.com 8/13/11 Newport Waterfront Reggae Festival Newport, Rhode Island, United States newportwaterfrontevents.com 8/13/11 Rastafest Toronto, Canada, Canada rastafest.com 8/13/11 South Bend Reggae Festival South Bend, Indiana, United States michianareggae.com

8/18-20/2011 Calgary International Reggae Festival/ReggaeFest Calgary, Alberta, Canada ReggaeFest.ca 8/19-21/2011 One Love Festival London, London, United Kingdom onelovefestival.co.uk 8/20/11 Ottawa Reggae Festival Ottawa, Ontario, Canada ottawareggaefestival.com 8/20/11 Reggae In The Redwoods Aptos, California, United States reggaeintheredwoods.org 8/26-27/2011 Jefferson State Hemp Expo Takilma, Oregon, United States jeffersonstatehempexpo.com 8/26-27/2011 Uprising Reggae Festival Bratislava, Slovakia, Slovenia uprising.sk 8/26-27/2011 USA Roots Reggae Dub Expo 2011 San Diego, California, United States usarootsreggaedubexpo.com/ 8/27-28/2011 City of Trees Reggae Music Festival Sacramento, California, United States cityoftreesmusicfestival.com 8/27-28/2011 Lafayette Reggae & Cultural Festival Carencro, Louisiana, United States lafayettereggaefest.com 8/27/11 Reggae on the Rocks Morrison, Colorado, United States ticketmaster.com/Reggae-On-the-Rockstickets/artist/821368 8/28/2011 3rd Annual Irie Reggae Festival Long Beach, California www.iriefest.net 8/30/11 Vermont Reggae Festival Rochester, New Hampshire, United States vtreggaerockfest.com

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SEPTEMBER 9/2-4/2011 XI Foundation Reggae Festival O Burgo - Culleredo, A Coruña, Spain foundationreggaefestival.org 9/3-4/2011 3rd Annual One Love, One Heart Sacramento River, Sacramento CA USA kinghopeton.com 9/4/11 24th Annual Michelob Dayton Reggae Festival Dayton, Ohio, United States seefari.com/daytonreggaefest.htm 9/4/11 3rd Annual Reggae Fest Mountain, Wisconsin, United States normantyndale.com/ 9/10-11/2011 Hempstalk 2011 Portland, Oregon, United States hempstalk.org 9/24-26/2011 Earthdance Vallejo, California, United States earthdancelive.org

OCTOBER 10/31-11/4/2011 Four Seasons Annual Party Cruise Miami, Florida, United States fourseasonspartycruise.com

nOvEMBER 11/10-19/2011 Transamazoniennes St Laurent du Maroni & St Georges de l’Oyapock, Guyane, French Guiana transamazoniennes.org 11/19/11 Bayside Rocks Miami, Florida, United States baysiderocksfestival.com

dECEMBER 12/9-11/2011 Reggae in the Rift Valley Shashemane, Oromia, Ethiopia safarilodgeethiopia.com 12/17-23/2011 Gathering of the Peacemakers Santiago Atitlan, Lake Atitlan, Chile RastaHeart.com

2012 2/12/12 Bob Fest Ag Fair Hilo, Hawaii, United States myspace.com/bobfestagfair 5/12/2012 Inland Empire San Bernardino CA USA www.inlandempirereggaefestival.com

For more information about a festival, simply go to our website at www.ReggaeFestivalGuide.com Reggae Festival guide 2011

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R Eggae R a d i o HERE IS A LIST OF some of OUR FAVORITE REGGAE RADIO DJs Compiled by Irene Weaver Artists: Send them your latest releases for airplay.

Promoters: Send them your event info and they will get the word out. Fans: Tune in and enjoy!

INTERNET INDIE 103.1 www.indie1031.com “ALTER-NATIVE” Sun. 4pm – 6pm DJ NATIVE WAYNE JOBSON 5700 Wilshire Blvd #250 Los Angeles, CA 90036 323/900-6100 (office) waynejobson@aol.com TAKILMA FM www.takilmafm.com “ROOTS ROCK REGGAE” Sat. Noon – 4pm DJ SISTA MONA LISA PO Box 627 Cave Junction, OR 97523 541/592-6227 (office) 541/592-4799 (on air) sistamonalisa@hotmail.com WPMD www.wpmd.org “IRIE FEMIND” Thurs. 9am – 11am DJ MJ aka MARY JANE 11110 Alondra Blvd.

Norwalk, CA 90650 562/208-5161 (office) 562/467-5034 (on air) iriefemind@hotmail.com

CALIFORNIA LOS ANGELES KPFK-LA 90.7 FM “REGGAE CENTRAL” Sun. 2pm – 4pm DJ CHUCK FOSTER 22003 Salmon Ave Long Beach, CA 90810 818/985-5735 (on air) cfoster907@yahoo.com Streaming live www.kpfk.org MAMMOTH LAKES KMMT 106.5 FM “ALTER-NATIVE” Sat. 4pm – 6pm Also on: KRHV 93.3 FM:

Mon. 6pm – 8pm DJ NATIVE WAYNE JOBSON PO Box 1284 94 Laurel Mountain Rd Mammoth Lakes, CA 93546 waynejobson@aol.com www.kmmtradio.com MISSION VIEJO KSBR 88.5 FM “REGGAE SHOWCASE” Sun. 3pm – 6pm DJ JIM OTTO and DJ TOM-I 28000 Marguerite Parkway Mission Viejo, CA 92692 949/582-4714 (office) 949/582-5727 (on air) twedel@saddleback.edu www.ksbr.org NEVADA CITY KVMR 89.5 FM & 105.1 FM in Truckee/Tahoe “ITAL CULTURE” Fri. 8pm – 10pm DJ CHRISTOPHER REDLOCKS 401 Spring St Nevada City, CA 95959 530/292-1049 (office) 530/265-9555 (on air) redlocks@kvmr.org www.kvmr.org SANTA CRUZ KZSC 88.1 FM “JOY IN THE MORNING” Thurs. 9am – Noon DJ TIFFANY HARMON 1156 High St. Santa Cruz, CA 95062 831/459-2811 (office) 831/459-4036 (on air) djtiffany@hotmail.com djtiffany@gmail.com (MP3s only) www.kzsc.org VALLEJO OZCAT RADIO KZCT 89.5 FM 1104 Georgia St Vallejo, CA 94590 707/652-5775 (office) 707/652-5772 (on air) www.ozcatradio.com

“THE ROOTSY AFTERNOON MIX” Mon. 12pm – 3pm DJ KAMEL DORJAN mkdwskw@yahoo.com “PACIFIC VIBES” (Jawaiian) Tues. 9pm – Midnight DJ GEORGE DA PLUMMA pacificvibes707@gmail.com “COOKING CURRY” Wed. 9am – Noon DJ CHEF MARK djchefmark@gmail.com “ROCKAS INNA SELEKTA STYLEE” Wed. 6pm – 9pm DJ RAS KOLA FARI kolafari@gmail.com “ISLAND FETE” Wed. 9pm – Midnight DJ GOLDEN LADY pineapplelady707@gmail.com “DUB AND COFFEE” Thurs. 6am – 9am DJ RAS BOBBY comeinwiththebeat@gmail.com “PACIFIC VIBES ALOHA FRIDAY” (Jawaiian) Fri. 6am – 9am DJ GEORGE DA PLUMMA pacificvibes707@gmail.com “COME IN WITH THE BEAT” Fri. Noon – 3pm DJ RAS BOBBY comeinwiththebeat@gmail.com “THE IRIE RADIO SHOW” Fri. 6pm – 9pm DJ BIG O rastaman3@sbcglobal.net

COLORADO BOULDER KGNU 88.5 FM “REGGAE BLOODLINES” Sat. 1pm – 4pm DJ POSTMAN ROGER DREAD 1132 North Cedar Brook Rd. Boulder, CO 80304 303/442-6319 (office) www.kgnu.org VAIL KLNX 107.9 FM “REGGAE REMEDY” Fri. 6pm – 8pm DJ LOYAL T & DJ D LIGHT PO Box 1102 Minturn, CO 81645 970/827-9079 (on air) djloyalt@yahoo.com www.minturnradio.org

hawaii MAUI Q103: KNUQ 103.3 FM & 103.7 FM “ALTER-NATIVE” Sun. 7pm – 9pm DJ NATIVE WAYNE JOBSON waynejobson@aol.com www.Q103maui.com

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Reggae Festival Guide 2011

INDIANA SOUTH BEND WSND 88.9 FM “REGGAE STREET” Sat. 10pm – Midnight DJ DAVE ALERT aka “THE ORIGINATOR” DJ JOHN PANGANI aka “THE AFRICAN TEACHER” 26405 Riding Trail South Bend, IN 46619 574/289-5541 (office) 574/631-7342 (on air) dalert@comcast.net jjpangani@yahoo.com www.southbendreggae.com

LOUISIANA LAFAYETTE KFXZ 105.9 FM “REGGAE RAINBOW” Sat. 8pm – 10pm DJ CHIEF CHRIS OMIGIE DJ MAMA NITE NURSE STEPHANIE OMIGIE 206 Morelan Dr. Lafayette, LA 70507 337/886-0572 (office) 337/314-1520 (on air) omigiebso@yahoo.com www.lafayettereggaefest.com

MICHIGAN LANSING WLNZ 89.7 FM Sun. 6pm – 9pm EST “THE NATTY DREADLOCK ROCK SHOW” DJ ROOTSMON BIRD PO Box 875 East Lansing, MI 48826 517/281-0733 (office) 517/483-1000 (on air) rootsmonbird@yahoo.com www.wlnz.org

Nevada Reno KTHX 100.1 FM “REGGAE SHACK” Sun. 8pm - 10pm DJ TRACY “TOO DREAD” MOORE 1665 Elmcrest Drive Reno, NV 89503 775/233-9649 775/333-0123 (office) 775/852-5849 (on air) zenboy27@hotmail.com www.myradiox.com

NEW JERSEY HACKETTSTOWN WNTI 91.9 FM “GLOBAL MIX” Sun. 2am – 6am DJ LLOYD JONES 400 Jefferson St.

Hackettstown, NJ 07840 570/982-3948 (office) 908/852-4545 (on air) globalbeatshow@hotmail.com Listen live www.wnti.org

NEW MEXICO GALLUP KGLP 91.7 FM “TROPICAL REGGAE SHOW” Fri. 9pm – Midnight DJ “TROPICAL STEVE” BUGGIE 200 College Rd. Gallup, NM 87301 505/863-2390 (office) 505/863-7504 (cell) 505/863-7625 (on air) buggie@unm.edu www.kglp.org

NEW YORK BUFFALO WUFO 1080 AM “ACCESS TO AFREEKA” Sun. 3pm – 6pm DJ RAS JOMO & DJ RAS MUATA 709 Sycamore St. Buffalo, NY 14212 716/834-1080 (office) 716/837-1112 (on air) accesstoafreeka@hotmail.com ITHACA WICB 91.7 FM “FRESH ROOTS RADIO” First Thurs of month, 10am – Noon DJ SOLID GOULD 326 Park Hall Ithaca, NY 14850 607/274-3142 (office) 607/274-3217 (on air) freshroots@gmail.com www.wicb.org/listenlive.php

TEXAS HOUSTON KTRU 90.1 FM HD2 “RICE RADIO REGGAE” Wed. 5pm – 7pm DJ SCOTTIE MCDONALD MS 506, Rice University, PO Box 1892 Houston, TX 77251 713/348-3367 (office) reggae@ktru.org www.ktru.org

GUAM MANIGLAO KPRG 89.3 FM “RAW REGGAE” Wed. 9pm – Midnight DJ THE REGGAE AMBASSADOR DJ DREAD WORD DJ MYSTERY 911 N. Marine Corps Dr. Tumon Bay, Guam 96913 671/734-9830 (on air) jahson@guam.net

Go to www.ReggaeFestivalGuide.com for more listings

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Reggae Festival guide 2011

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