L3 Magazine ft. Chin of Irish and Chin - October, 2016 by L3 Magazine

L3 Magazine | Life. Love. Lyrics.| October, 2016 ft. Chin

M A G A Z I N E

World Clash

Chin with

www.L3Magazine.com

of Irish and Chin Promotions Life: The Opening of the National Museum of African American History Love: UK’s Top MC Tippa Irie Jah Cure Dials In “Telephone Love”

Music Charts Video Charts Music News New on iTunes The Jamaica Music Conference 2016 Purple’s Urban - Punk - Reggae Ziggy Marley New Album & World Tour

Throwback to CARIBANA in #The6ix Carnival Costumes!

L3 Magazine | October | 2016 | No. 41 CEO and Editor-in-Chief

Natasha Von Castle – natashavoncastle@gmail.com

Chief Creative Officer

L3 Group of Companies – L3Magazine@hotmail.com

Operations and Distribution Directors Christopher Miller and Rohan Beckford

Publisher

L3 Group of Companies

Director of Caribbean Promotions Keisha Pinnock

Contributing Editor and Caribbean Affairs Editor Tricia ‘ZJ Sparks’ Spence

Contributing Editor and Music Editor Tre Carn

Travel Editor Stacia Von Castle

Music Review Editor Jennifer Menster

Beauty Editor Kay Cunningham

UK Editor Evelyn Germain

Political Editor: Maxine Tomlinson Senior Writers

Song River | Marcus Weller | Joah Baston | Zakada Milton Fashion Contributor

Editors Heart... It’s funny to listen to people offer their opinion of me! I hear some say ‘Natasha is a real party girl,’ while others say ‘NVC nah leff har Reggae and Lover’s Rock!’ Both opinions are true-ish, but if you really want to know, Dancehall is where it all began! My Love affair with Dancehall began in the late 80’s in Scarborough where every weekend, a basement house party was going on in the Morningside and Finch neighborhood, and lovers like me packed in a small space to hear a top quality Sound play music we couldn’t hear on the radio. In those days, when the Selector fired HOTTT chunes, we beat the furnace to let him know he had to pull up the chune … wheel and come again Selectah! Sounds like King Turbo, Red Flame and Spragga Roots (playing as Heat Wave) made sure I came back every weekend to get another fix. In those days we didn’t see this as entertainment, we saw it as life. In order to get through the hardships of the week, we needed something to look forward to. Artists like Super Cat, Nicodemus and Shabba beat lyrics I wanted to hear and my favorite Sound Systems bought their records from the record shop like The Record Factory on Eglinton Ave. West. Years later I haven’t changed! I’m that same girl who loves Dancehall, and loves many genres of music; the only difference is the basement has transformed to the boardroom, and the boardroom is anywhere in the world! I didn’t know that my love for Dancehall back then would be my calling card in the future. I say that to say, pay attention to what organically inspires you; the thing that you most look forward to doing or being around is probably your future you speaking to your present you!

Agree or disagree via Twitter @NatashaVonC

October

2016 | Volume 41 | Number 6 Features

Pg. 11 The National Museum of African American History & Culture is! Documenting the African American experience, the Museum has artifacts from shackles to music; from icons to history makers. Pg. 14 The Jamaica Music Conference is the one-stop hub for artists, managers and industry personel to find out everything happening in the industry! Pg. 26 One of the UK’s top MC’s is Tippa Irie. His rise to fame makes for an interesting read so we have it! Pg. 55 CARIBANA 2016 has come and long gone, and we have a Tabanca (depression)! Take a look at some of the vibrant costumes that made headlines as we count down to T&T Carnival 2017! Pg. 67 Speaking to Chin of Irish and Chin Promotions is like going to Sound System University. He’s built an empire around Dancehall, and has now changed the rules when it comes to Sound Clash. Pg. 79 Purple is an Urban - Punk - Reggae band from Texas. Hanna, the bands front woman, is incredible and tells it like it is! Pg. 86 Ziggy Marley is on a world tour to promote a new album. The GRAMMY Award winner shares that ,aking an album has several moving parts, forcing him to re-learn the meaning of patience.

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On The Cover: Chin

Photography: Marlon ‘Ajamu’ Myrie L3 Magazine | October, 2016 ft. Chin - Pg. 7

LIFE

National Muse

American History & Culture Contributed

The National Museum of African American History and Culture was created in 2003 by an Act of Congress. Located between the Washington Monument and the Smithsonian’s National Museum of American History, the new museum is the only national museum devoted exclusively to the documentation of African American life, art, history and culture. Housing collections designed to illustrate the major periods of African American history beginning with the origins in Africa and continuing through slavery, reconstruction, the civil rights era, the Harlem Renaissance and into the 21st century, highlights include: The Harriet Tubman collection, including her hymnal (c. 1876); lace shawl (c. 1897), given to her by Queen Victoria; and family photographs from her funeral, the Jim Crow Railroad car (c. 1920), Chuck Berry’s red Cadillac convertible (c. 1973) and the Black Fashion Museum Collection which contains approximately 1,000 items. Additional items such as the Tuskegee Airmen Trainer Plane, an open-cockpit PT-13 Stearman (c. 1942) used to prepare Tuskegee Airmen for World War II combat duty, works of art by Charles Alston, John Biggers, Elizabeth Catlett, Jacob Lawrence, Lorna Simpson, Romare Bearden, Archibald John Motley Jr., Henry O. Tanner and Frederick C. Flemister, Emmett Till’s casket (c. 1955)—the glass-topped coffin that held the body of 14-year-old Emmett Till whose murder in Mississippi helped galvanize the civil rights movement, and Slave cabin from Edisto Island, S.C. (c. 1800–1850). Housing these momentous exhibits is just as important as the exhibits themselves, so in April 2009, a design competition jury selected Freelon Adjaye Bond/SmithGroup as the museum’s architectural and engineering team. The team consists of four firms brought together for this unique project: The Freelon Group, Adjaye Associates, Davis Brody Bond and SmithGroup. The Freelon Group is the architect of record, and Philip G. Freelon, FAIA, will served as the design guarantor, making sure the design reflects the values and priorities of the museum and the Smithsonian. The Ghanaian-born architect David Adjaye, with offices in Berlin, London and New York, is the lead designer. Construction by Clark/Smoot/Russell construction team began in February 2012 with a ceremonial groundbreaking, featuring remarks by President Barack Obama; Former First Lady of the United States, Mrs. Laura W. Bush; and the cosponsors of the museum’s enabling legislation, former U.S. Sen. Sam Brownback (R-Kan.) and Rep. John Lewis (D-Ga.).

eum of African

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Black Men - R The Narrative By: Maxine Tomlinson - Political Editor

In a world increasingly dominated by politics in its many guises, the dehumanisation and decimation of Black lives has been at the forefront of our consciousness, our thought processes and indeed our awareness. The fallout from recent global events such as the UK/EU Referendum and the ramifications of Brexit; the “terrorist” attacks on an unprecedented global scale, and the ongoing Presidential campaigning in the US, has highlighted the need for an intelligent, strategic and collective response to the emotional, physical and economic well-being of the Black community - in particular Black males. This is where SoapBox enters the stage - and quite powerfully so. Established a year ago, SoapBox was co-created and masterminded by Paul McKenzie and his wife, Teri. Their aim is to provide an opportunity for individuals to express their brilliance, speak their truth and encourage others to empower their communities. A motivational platform designed to build a movement of positive, inspirational and thought-provoking programmes to galvanise the community into action, SoapBox’s core function is to allow the voices of the people to be heard. Speaking of the intended impact of SoapBox, Paul McKenzie says: “To best describe our roles in all of this, you should really ask the observers of the finished product(s). Whilst we could easily blow our own trumpets, we cannot determine the way those notes are played or perceived...” As observers, we can safely say that SoapBox’s work is on point, and provides a certain stimulus for change. In the elucidating video-clip below, Dean Okai - father, business entrepreneur, and teacher from London, UK - delivers an inspirational message charged with knowledge, experience, wisdom and forward thinking. Dean’s message is clear: “We are in a time of new solutions based on functional Garveyism. Young Black Men need to see Grown Black Men act as Role Models and Advocates for the future”. He further asserts:

Reframing Click image to play video

“Girls invariably learn from their Mothers - so as Fathers, we need to ensure that Boys learn from us...” What power! What wisdom! But don’t just take our word for it - take a look and listen for yourself... L3 is continually shifting paradigms, recognising the complex mix of Music, Art, Beauty, Creativity and Politics. These essential components are all intertwined, and we will continue to deliver topical content covering such issues on a global scale. Watch this space for further provocative pieces from SoapBox. As for Dean, rest assured that he will continue to shine his light and influence communities - especially the youths - wherever he goes.

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Jamaica Musi (JMC)

By: Howard Campbell | Photo Credit: Kwasi Bansu The fourth annual Jamaica Music Conference runs November 10th to 13th in Kingston. The three day conference hosts seminars, presentations and panel discussions by industry insiders who are experts in all aspects of the music industry within Jamaica and abroad. Kwasi Bansu, CEO of the event, said participation has grown since the conference debuted. “The response is growing every year. Our first year, 2013, we were at Edna Manley and had an audience of little over 100 people. Last year we had close to 300 people over two days. However, we recognize that more efforts are necessary and so we have partnered with publicists and grass roots organisations on the ground to increase awareness,” Bansu told the Jamaica Observer. An interesting aspect of the conference takes place on opening day with ‘The Foundation: The Role of Education in Creating Independent Music Professionals And a Sustainable Music Industry’ which focuses on youth involvement. Recognizing that the youth are a driving factor in new music being created, and acknowledging the newly emerging category of Reggae Revival, contributors to this years conference are determined to make sure the roots of the youth remain strong. “We have created a youth component as we realize more must be done to create a culture of education within the creative industries for artists and musicians. The most effective way to accomplish this necessary goal is to start with the youth,” Bansu explained. “By exposing young people to the realities of the music industry early they will better be able to prepare to operate a business within the music industry.” ‘The Institutions. Music Industry Institutions: How Jamaica’s Music related institutions serve Jamaica’s Independent Music Professional; the Women of the Jamaica Music Industry, Music and Social Change, Reaching the People: The Direct to Consumer Relationship and Navigating Prime Time, complete the list of seminars.

ic Conference

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Central Music Nominations Open Contributed

CandyMania Entertainment, organisers of the Central Music Awards “CMA,” have opened nominations for the 2016 edition of the Awards. Songs or works originally mastered, released and promoted within the period of October 2015 to October 2016 will be considered. Industry personnel can nominate their favorite artists online via www.aacehypez.net or they can pick up a nomination form in person at Sompa FM in Cape Coast. Artists and Managers can nominate artists from Saturday October 1 to Friday October 14, 2016. Completed forms and copies of CD’s and videos should be submitted to the offices of Sompa FM not later than Friday October 14th, when all nominations close. CMA will honour and celebrate well deserving hardworking musicians in the Central Region. Chosen by a jury of industry professionals and the general public, potential nominees will be eligible for awards in 18 categories including the newly added Female Artist of the Year, Female Vocalist of the Year, Male Artist of the Year, Male Vocalist of the Year, and the coveted Song of the Year. “Over the years, CMA has grown to become one of the biggest platforms for musicians to connect with their fans and industry players in the Central Region.” It embraces, celebrates and rewards musicians from the Central Region and those from other parts of the country who due to work, school or other engagement find themselves in the region. The complete category listing is: Song of the year | Best Male Artist | Best Female Artiste | Best Sound Engineer | Best Male Vocalist Best Female Vocalist | Best Rapper | Best Collaboration | Best Hip life/Hip Hop | Best Reggae/Dancehall song | Best Highlife song | Best New Artist | Best Gospel Song | Best music Video | Best hip gospel song Best Music Promoter | Most Popular Gh. Song in CR | Lifetime Achievement Only the musician, PRO or manager of artiste is allowed to complete the nomination form. For further enquiries visit www.centralmusicawards.com

c Awards

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King Turb

Congratulations t 2016 World Clash

to the Champions

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Image Credit: ctobt.com

The BIG CHUNE!

Click the image to play

L3’s Top Independent Downloads

TOP DOWNLOADS

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20.

Vybz Kartel – Best Place on Earth Konshens – Bruk Off Spice – Indicator Spice – Sight and Wine Christopher Martin – Under The Influence Popcaan – Stay Up Ikaya – Side Chick Mavado – Progress Alkaline – Block & Delete Kranium ft. Tory Lanez – We Can Jah Cure – Telephone Love Romain Virgo – LoveSick Dexta Daps – Mi C Mi Bed n Miss You Busy Signal – Colder Shaggy ft. Jovi Rockwell – I Got You Spice – Needle Eye Alkaline – Conquer The World Verson – Inna Real Life Nesbeth – My Dream Mikey Dangerous – Africa The Beautiful

*Charts are based on radio airplay in Canada / YouTube Views / Live Event Selection Fan Feedback L3 Magazine | October, 2016 ft. Chin - Pg. 25

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Tippa Irie “UK’s Top MC!”

Contributed

e, and we mean anyone from England who they rate as one of the top MC’s on the Reggae side, guaranteed you me Tippa Irie and it’s for good reason!

gan in South London where he began performing on his Father’s Sound System called Musical Messiah. Working ecting his lyrics, timing and delivery, Tippa perfected his sound and was quickly picked up by the LGR record label first single at age 17 called “The Opposite.”

ntion of King Tubby’s, one of the UK’s most respected Sounds, Tippa performed with the Sound for some years e attention of the South London Sound called Saxon. It’s his time with Saxon that solidified Tippa’s reputation as world stage. Some of the most memorable performances with Saxon Sound include Live at The Factory in London rformance at Skateland in Kingston, Jamaica in 1987, and live recordings at the Peckings Record Shop. These opened the door for Tippa to record classic #1 chunes such as “Hello Darling,” “Raggamuffin Girl” featuring Peter uperwoman” featuring Winsome which the world still rocks to today.

ed 15 studio albums, has had several #1 hit records, tours the world, and is a noted producer who has earned a work with The Black Eyed Peas in 2004 for the worldwide smash single “Hey Mama” which Tippa wrote with Willm their album, “Elephunk”). He also worked on the BEP’s follow up album “Monkey Business” on the track “Dum h Bands and Artists such as Maxi Priest, Peter Spence, Pato Banton, Long Beach Dub All-Stars, Jurassic 5, Friendly Posse, Chainska, The Uppercut Band, UB40 (who he supported on their “Labour of Love III” Tour in 2000), Aswad, d (who helped him record his personal favourite album, “Stick To My Roots”, released in 2010) and more recently, Rebel MC to form a group called UK All-Stars with members General Levy, Sweetie Irie, Top Cat, Daddy Freddy, ddy Colonel and countless others.

ond, Tippa enjoys touring the world and performing on Festival stages. From “Reggae Sunsplash” in Jamaica to , 52 States of America, almost every country in Europe, all over Asia including India with Reggae Rajahs, Thailand he Ska Band T-Bone, Vietnam, Philippines, Cambodia, Singapore, Australia and Africa (Gambia, Kenya and Botswapresented the UK as a top MC consistently.

it www.lockdownproductions.com

featuring Tippa Irie >>> https://www.mixcloud.com/muscleheadsaxon/saxon-sound-featuring-musclehead-tip-and-daddy-colonel/ L3 Magazine | October, 2016 ft. Chin - Pg. 27

ubajah’s Voice Contributed

It’s difficult to get the undivided attention of London’s discerning Reggae aficionados, so when such a feat happens, most artists take the attention and run! One of the most sought after voices emerging from London’s rock-solid Reggae scene, is the voice of Subajah! Originally from France, the upcoming artist has made London his home, and uses his passion for singing and music composition as fuel to keep pace while navigating the roads of the music industry. Developing a soulful and poetic deep Roots Reggae sound around original melodies and compositions, the artists soulful voice, and lyrics full of emotion and spiritual energy is commonly described as uplifting. Drawing on a diverse spectrum of styles influenced by the melodies and rhythms of Africa and the Caribbean, Subajah has made this sound the home for his well crafted lyrics. Among Subajah’s most recent projects is his EP entitled Voice of Freedom. The 3 track body of work was pleasantly different as it offered 2 versions of “Free Mindz” and “Voice of Freedom,” and an additional track called “Good Morning.” Released in May 2014, fans took notice of the upcoming artist. The encouragement led to the release of additional tracks “Runaway,” “Suba Meditation” and “Hold You” in 2015 which have become the gateway for what’s to come in the near future. Recognised as a promising artist in the Reggae and World music scene, Subajah brings back the

authenticity of the “deep Roots” sound from the perspective of the younger generation. Subajah’s first album Architect is due this year and many are looking forward to hearing the artists voice. Connect with the artists Sound via SoundCloud.com/Subajah

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Generation to with Meleku and Kareem By: Zakada Milton

Depending on how long you’ve been listening to Reggae, and how long you’ve been following artist – producer relationships, you know that Phillip Fatis Burrell and Sizzla Kalonji created some incredible hit records. Songs like “Babylon ah Listen,” “True God” and “Taking Over” were some of the hits the duo created together. Now that we have the history, let’s look to the future! Meleku, Sizzla’s son, teams with Kareem Burrell, son of Fatis Burrell, and the two have created their own success with the chune “What To Make of This World.” What makes this song so significant is the fact that it is Meleku’s first release, and it represents a continuation of the greatness created by their Father’s. When listening to the track, we relate to the young vocalist because of what he sings “what to make of this world / world leaders nuh care ah damn about the boys and girls.” Establishing his beliefs through song, we can see that young Meleku will use his voice for positive vibrations, and Kareem will help provide the soundtrack so he keeps singing. If this is the duo’s first release, which it is, then I can’t wait for release two, three, four and beyond to reach my ears!

o Generation

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Jah Cure Dials

By: Jennifer Menster

Reggae, Reggae, oh the sweet, sweet sounds of Reggae when it comes from the voice of The Cure! Jah Cure dials in with his new single “Telephone Love” which the artist released at the end of September. Even though the song has the same title as the iconic chune of 1988 by Shabba Ranks and JC Lodge, Jah Cure’s version will easily put a smile on your face and hear it in its’ own right. To be clear, this “Telephone Love” is not the same as that “Telephone Love!” This soon to be certified platinum single by Caribbean standards, combined a few key ingredients to make the song as great as it is. First, Jah Cure teamed with his own Iyah Cure Records family to get the right sound. Second, he consulted with his bag of lyrics to create the right word sequence. Third, he tested the song with a few key DJs and fans, one of which being New York’s infamous Pee-Wee, and voila, we have a hit … which is the first of 3 exclusive singles coming our way! The artist sings: “good morning / if you’re not with me then I’m calling / I need to know where you are / I would go anywhere you are / good morning / you know I’m tired of the calling / baby I need you cause I’m morning / right now I’d travel to the stars….” Family, we have a hit chune. From Jamaica Avenue in Queens, to Flatbush Avenue in Brooklyn, to Eglinton Ave West in Toronto, to Askew Rd in London, to every road and avenue in Jamaica and around the world. Let Jah Cure know what you think on Social Media via @therealjahcure and stream the song on YouTube >>> https://www.youtube.com/watch?v=dO-ETfEPCWk

s In His

“Telephone Love”

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Nicko Rebel M

By: Jennifer Menster

Super Producer Nicko Rebel has been busy this summer. His studio has seen visits from some of the heaviest hitters in the music industry, and his brand new riddim, called Real Badd, helps to explain why. Featuring Sizzla (“Nuh Fraid), Beenie Man (“Badda Dan”), Chevaughn (“Real Badd”), Shaka Pow (“Lockchat”) and Voicemail (“Talk Yuh Have”), the newest Dancehall riddim on the market has many talking, especially the Beenie Man chune called “Badda Dan” in which the artist says “when you hear the thunder roll / the devil dem roll in rat patrol / come bout ya fih thief ah soul / helmet nah guh save yuh mole / yuh face leff wid a thousand hole / yuh madda ah sing like Keisha Cole / yuh sister have fih reach ah holy / it’s hard knocks out ah road / that’s why the yutes dem get so bold / every time we touch inna dih streets ah fih eat dih gold / and anywhere dih yutes hold a vibes ah pure police patrol….” This by far is one of Beenie’s finest performances. His delivery is perfectly timed and connects with what the youth are thinking and feeling … nobody is ‘badda dan!’ All of the artistic performances on the riddim fit, and are hit records. Nicko did a great job bringing authentic Dancehall vibes not only with the musical composition, but guiding artists on their lyrical journey. The newest Dancehall riddim on the market is the Real Badd riddim, and it’s ready for Radio, Mixtape and Live Events! Connect with Nicko on IG / Twitter @nickorebelmusic and tell him what you think!

Music Makes

Real Badd Riddim

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Video PLAY!

Click the image to play

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Mighty Crown: Sound System on the World

Map

From the first day they started playing sound, Masta Simon and SamiT, and other members of Mighty Crown had a bigger aim which was to bust their sound in foreign.

They started living in the United States from the early 90’s and gradually learned the Jamaican language and the Dancehall flex by hanging out in studios, record shops, and in the streets of Brooklyn, NY. Playing at local clubs in Brooklyn and Manhattan in 1992 eventually lead to them holding a spot in World Clash held in Brooklyn, NY in 1999. On their first appearance in World Clash’99, they defeated sounds from Jamaica and the United States and became the first Japanese sound to get the coveted World Clash trophy. Since then, they have been touring major cities in the United States (New York (Tri-State), Miami, Atlanta, Houston, Washington DC, the Caribbean (Jamaica, Antigua, Bermuda, Trinidad and Tobago, St. Lucia, Barbados, St Kitts, etc), and Europe ( England, Germany, Switzerland, and etc.) Today, Mighty Crown has become the household name not only in Japan but throughout the Dancehall scene worldwide. They have been promoting Reggae in Japan in different types of forms. Playing on radio show every Saturday as well as clubs, concerts, and appearing on TV shows. They have also established their own record label named “Lifestyle Records,” promoting major events, and producing a clothing line called “Nine Rulaz.” If that is not enough, Mighty Crown publishes a Japanese Dancehall free paper magazine called, “Strive.” Mighty Crown is one of the sounds who proved to the world that Reggae is an international music; the music for the people worldwide. They are very influential to the Reggae scene due to their talent, ability, love, and devotion to the genre! MightyCrown.com L3 Magazine | October, 2016 ft. Chin - Pg. 41

Black America Rapper Common’s Take on By: Jennifer Menster

The message is in the music, but is the messenger being delivered? I ask the question because even though American Rapper Common comes correct on his new track “Black America Again” featuring Stevie Wonder, I don’t think his message is being delivered to the intended recipients. Common is preaching to the choir. What we really need is for this song to be flooded on every Top 40 radio station. It needs to be front and center on iTunes, Spotify, Tidal, SoundCloud. The song needs to be played on every radio app in North America because if it’s not, the intended audience, the Police who are shooting unarmed Black Men and Women, will never hear it, and THEY are the people we want to change. WE, as in our community, already know what the problem is. Musically, this is Hip Hop in its’ purest form. Stevie Wonder’s “Overjoyed” is sampled over a head nod type beat as the Cello and string section adds riffs to emphasize critical lyrics such as “hot damn lack America Again / think of Sandra Bland as I’m staring in the wind / the color of my skin they comparing it to sin / the darker it gets the less fairer it has been …” Let’s make this record a topic of conversation everywhere. If there is no other way to break the ice, maybe we can start dialog by asking ‘have you heard Black America Again by Common?’ YouTube Link: https://www.youtube.com/watch?v=faf1TiJP208

a Again

the Struggle

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WATCHED VIDE O ’ S

Rico Vibes Top 10 Watched Video’s 1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

Konshens – Bruk Off Christopher Martin – Is It Love Vybz Kartel ft. Demarco & Keda – Miracle Mavado – Progress Shaggy – That Love Morgan Heritage – Selah Hezron – Taxi Driver Jah9 – Humble Mi Machel Montano – I Forget Romain Virgo – Love Sick *Based on recent YouTube views

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Ghanaâ&#x20AC;&#x2122;s Central Music Awards

December 26th, 2016

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New Music Releases on iTunes

<<< Beenie Man – Unstoppable The title of Beenie Man’s newest album tells you the concept that the artist is unstoppable! With a career spanning 3 plus decades in the business of entertainment, and accolades which include performing with Alicia Keys, recording with Janet Jackson and winning a GRAMMY, Beenie Man adds another album to his catalog. With 22 songs, and a list of celebrity vocal appearances from Bounty Killer, Tarrus Riley, Verse Simmonds and more, we don’t think you’ll be able to ‘stop’ this album! Roots By Nature - Revelation Time ^^^ Hailing from Sweden and Ghana, Roots By Nature makes their international debut with the EP Revelation Time. Staying in the lane of Roots Reggae, the group hits all the right notes as they chant about the times we’re living in while calling out the powers that be for denying the youths a proper education. If it’s Roots Reggae you love, it’s Roots By Nature you need!

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47th Floor Riddim The party is officially on the 47th floor and we love it! Super Producer Seanizzle is in the perfect musical gear because of the artists he selected to perform on the riddim, and because of his use of the horn aka Trumpet! If your aim is to have a get together with the coolest people who are chill yet sipping on champagne, this is the riddim to add to your playlist! Snoop Dogg – Coolaid Depending on your age and where you grew up, you know that Kool Aid was always on the menu. Mama made sure that jug of juice was in the fridge at all times and for all occasions. Snoops album Coolaid is kinda like the same thing except that you really want to play it when you’re chill. The Dogg brought a different musical vibe and depending on the mood you’re in, you’ll like it!

New Music Releases on iTunes

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Super Producer

Jay Crazie His Catalog of Hits includes work with Vybz Kartel Demarco Mavado Aidonia and more...

CARIBANA 2016

#Throwback in The 6ix

n L3 Magazine | October, 2016 ft. Chin - Pg. 55

C A R N I V A L

2 0 1 6

C A R N I V A L

2 0 1 6 L3 Magazine | October, 2016 ft. Chin - Pg. 57

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Run the

#LY

YRICS!

World Clash

with Chin of Irish and Chin By: Natasha Von Castle | Photograghy by: Marlon ‘Ajamu’ Myrie | IrishandChin.com

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Chin will tell you that there’s nothing personal in his dealings; it’s all about business … and it is, kind of. What puts the Dancehall powerhouse in an incredible position is that he has taken what he loves and is truly passionate about (Dancehall and Sound Clash) and made it his business. In my estimation, his business is personal. As we sat down to talk about his ‘personal business,’ the reasons for his success in the Sound Clash market and beyond became crystal clear: he is never satisfied and he wants more. He thinks like a consumer, has goals which reflect his natural leadership skills and has built a team so solid, they are ‘sound proof!’ The world’s greatest Clash comes via Irish and Chin…. NVC: Chin! The last time I interviewed you, I asked you if Sound Clash is a Sport or a hobby. At that time you said a Sport. Do you still feel the same way? C:

Yes I do still feel the same way. It’s a sport, and it’s what we do; it’s competitive. Over the years some people have given it a different definition, but I stand firm in saying it’s our sport.

NVC:

Looking at a part of the evolution of Sound Clash; what started as a group of aficionados at the Ark in Brooklyn, evolved in to thousands at Amazura in Queens, and thousands more at the national stadium in Japan, and a quest for the coveted World Clash title. What is your future prediction(s) for the Sport?

The prediction of the future is not something that can be answered in one or two sentences. Instead, I would say that the people who compete and the fans have to open up to change. In order for us to move forward, we have to have change. We have to reinvent the excitement, and we have to invigorate the youth to compete. What I’m aiming for is to have changes that will attract the newer generation of youth to the industry.

Take it a step further, and to give an example, when I was younger (14, 15 and 16), I would sneak to get in to Clashes and take in what was going on. Today’s youth are not doing the same thing. This shows that the formula we’ve been using is not transcend ing to the next generation. That has to be changed.

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NVC: You have an expression called ‘modernized tradition.’ Can you explain what that is where Sound Clash is concerned? C: We grew up with Johnny Bodyguard, Rory from Stone Love, Squingy from Bass Odyssey and Baby Face etc, and we were inspired by them so we wanted to be like them. We wanted to be Soundboys, and we were proud Soundboys. The problem now is the youth are not saying “I want to be like Chin, I want to be like Mighty Crown, Matterhorn and Fire Links. We can’t identify these new generation star selectors. We need to allow things to happen in the arena to attract the youth. Our children were born in the Diaspora (Canada, the US, the UK etc) and 75% of their influence is from their birth country, and 25% from Jamaica. If Sound Clash is still playing Delroy Wilson, Garnett Silk and Alton Ellis on dub, and that is the elite ranking of dub, then how is the youth going to compete? That’s 2 to 3 generations before their time. For this reason, Sound Clash cannot only feature Dancehall when the youth are listening to Rihanna and Drake. We have to incorporate what the youths are listening to otherwise our Sport will die. That’s the modernization! On the other hand, you have the traditionalists who don’t want to let go of the tradition, and by not letting go, we don’t bring new people in. Not bringing new people in means when you and I are too old to go to Clash, the Sport dies and we can’t have that happen. We have to refresh the competition and give it another 15 to 20 years. NVC: What is your take on the future of dubplates within your changed formula? C: We can’t just have dubplates. We have to have 45’s as well. In the 80’s and 90’s, there was a lot of ‘street money’ that was invested into Sound Systems. It was an easier time, and Sounds were based on bragging rights. A man sitting on a good chunk of cash could invest in a Sound and show off. They didn’t care at the time – it wasn’t about a business because they already had money. Now that we’re 2 generations ahead, the youths don’t have street money to invest $1,000 in a Dubplate. When we say dubplates are mandatory, we’re saying ‘no’ to new talent. A kid coming out of College (University) who could be the next Star, doesn’t have $50,000 to invest in dubplates. Sound Clash needs to be judged by excitement. Who motivated the crowd? That’s the person who should take the crown!

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NVC: An artist reading this interview might interpret your words as being ‘anti-artist’ where dubplates are concerned. Less dubplates being played in a Clash means less money for the artist. Your response? C: My allegiance is to my craft. My allegiance is to the industry / Sound System. I love the artists who prepare dubplates for us to compete, but I see the new artists don’t value the craft, nor do they have relations to Sound Systems the way the older artists do. They haven’t picked up a microphone around a Sound System so for them, the thinking is ‘pay me my thousand dollars and fuck off.’ Are we going to be afraid of artists and challenge the income that they make and let the industry die? I’m not anti-artist. Dubplates have become so unaffordable that young Sound Systems can’t afford them. Newbie aka Rebel Tone is so talented. He is one of the most talented selectors we have in the industry. Can you imagine if Newbie had more money behind him – he would be competing on an international level. If Dubplates are running $1,000 each, how is that going to happen? And every round is a Dubplate round … and you’re playing for 15 minutes each round? Common! NVC: Yet still the industry is growing! How would you explain such growth? C: The industry is not growing, it’s becoming overcrowded. We have to be careful how we word this. What’s happening is we have a classroom that can fit 50 students, but now, has 60 students so it’s overcrowded. However, no one is graduating to the next grade. Growth would be to say we’ve identified the next Rory, Matterhorn and Fire Links. We can’t say that. Yes there’s more Sound Systems coming into the industry because it’s an ego thing. We can go to Vybz and get 2 dubs even though he might be in a situation etc. There are ‘big sounds’ who think they’re big even though they don’t play out even 1 time for the year. There are more Sounds in the industry than are active. In your region, there are only a handful who are active. Those inactive sounds are cutting dubs every week. When I come to do Canada Rumble next year, I have a lot of Sounds to choose from in terms of who competes. When I pick Joe Public, other Sounds will look at my choice and say ‘how the fuck did they get in? Dem neva play noweh.’ The last breakout sound in the industry is Mighty Crown. They did it in 1999, and we’re in 2016. The industry has not seen another Mighty Crown, and this is a problem – we’re not growing.

Mighty Crown (l-r): Sami - Ninja - Simon

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NVC: The I&C brand is under intense pressure to bring back World Clash. Why have we not had this annual event for the past 3 years, and when will it officially return? C: There will always be pressure for World Clash because it’s the only competition who has a dream of making it to that stage. All artists want to be nominated for, and win a Grammy; likewise all Sounds want to compete in and win World Clash. That’s where the pressure comes from. When you win the World Clash trophy, your bookings go through the roof over night. The young sounds are having a hard time finding their way in the arena, and the experienced sounds have won multiple WC titles. The experienced sounds want, as an example, $15,000 each to compete – I get it and I understand, but we can’t accommodate that. The trickledown effect goes right to the cost of the dubs. ‘So and so is charging me $1,200 for a chune’ so you paying me this amount to compete means I have to pay more to compete than what I’ll win. We weren’t paying attention to the younger Sound Systems because the formula was working. Eventually, we get to what it is: Rodigan doesn’t want to do World Clash anymore, Skyjuice doesn’t want to come back, Bass Odyssey wants an astronomical number, Mighty Crown doesn’t want to do World Clash anymore, Matterhorn; it depends on what side of the bed he wakes up on that decides if he wants to compete, Panther isn’t playing Black Kat and Ricky Trooper can’t fly to America… these are the obstacles we’re faced with when trying to keep WC consistent with the look it’s had over the years. NVC: A lot of people looking in from the outside don’t understand the inner workings of WC. C: Most people think and say ‘Chin pick who him waan pick. True Chin a pussywhole that’s why it work like dat.’ That is not the reason in most cases. If I have to pay $60,000 in sound system fees, guess who feels it? The patron. The patron feels it when they have to pay $80 to get in. Guess who they’re going to cuss … Chin!

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NVC: Through Mighty Crown, we see that mainstream is watching the Fraternity, and want to work with the fraternity. Deals with Nike (just to name 1), and the sell out of the MC shoe line means we do have numbers. Walk us through the boardroom experience with corporate America. C: The corporate world, and just to let you know the Nike sneaker deal was signed by Nike Japan; the corporate world is doing business. What they saw in MC is a music group that had so much influence on a mass of young people that they could use to sell their products. Someone within Nike was familiar with the culture, and pitched it to Nike with mention of the record label, the numbers at dances etc, so an offer was made, the negotiation done and the rest was history. With the success of the 1st came the 2nd, 3rd and 4th. We rode that opportunity as far as it would go. We did another sneaker deal, and have yet another in the works. We want to see this happen for other Jamaican Sounds, but first, they have to see this as a business instead of seeing it as a hobby. They don’t do enough Publicity, and a team is not centered around them to capitalize and exploit their accomplishments. Top Selectors have merit amongst us, they don’t have the decorations to make them attractive such as making sure stories are placed where they need to be placed so they can be seen in that way. With Mighty Crown, we have lawyers and marketing people on retainer for years, and their job was just to sell the Mighty Crown experience to corporate America and corporate Japan. That’s how Jay-Z and other do it so why not us? I look at the DJ Khaled’s and Funkmaster Flex’s of the world and I see them as Soundboys. They are no different from us. The have offices and Publicists (multiple) and management teams. They have people who represent them. Yes sometimes doors are closed, but there are also people who listen and sign deals. We need to see value in paying someone a monthly salary. Value. Today’s accomplishment has to be tomorrow’s big bucks.

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NVC: You held the 1st ever Sound Fest Vibez in the Park. How much was that like or not like producing World Clash? C: I pride myself on challenging myself. I would never say I’m the pinnacle. When people say ‘Chin man yuh ah dweet,’ I say ‘I’m trying’ because I have a long way to go. I say that because I was getting bored. I fill Amazura (the largest venue in New York catering to a Caribbean audience), and wanted something more. Someone passed by and said I need to do a park show. I had a conversation with a a colleague who presented an opportunity and I took it. I was originally going to do World Clash in the park, but that became Sound System Festival in the park which is a family event. That’s how the idea was born. I don’t know that we’re the first to do it in the US, but I know we were the first to do it with the pioneers of the culture in the park and of this magnitude! I was impressed with how well it was embraced. I sold the most tickets online. I saw faces from Canada and the UK as well as other places around the world. It was the test year and will happen next year. Everyone had a ball including the Sound Systems and the Patrons. NVC: For the past 5 years you’ve added your voice to the radio airwaves. Your show is syndicated to 28 stations. Is it as easy as you make it look? C: Yes this year is the 5th anniversary of Sound Chat radio! We won’t have an anniversary because we are focused on World Clash, and because of that focus, we won’t be able to give the anniversary the attention it deserves. But we are thankful for the support we’ve had from everyone! Five! NVC: The name of the Magazine is L3 and each L has a meaning. The first L is for Life, the second for Love and the third for Lyrics. What general advice can you give us on Life, Love and Lyrics? C: Life, based on my culture of Rastafari, we live a Life to Love. The Lyrics we utter out of our mouth is what we should live by. Everything Irish and Chin is available via irishandchin.com

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Purple’s

Urban – Punk – Reggae By: Song River | Photography By: PurpleTexasMusic.com

The object of Purple comes from the heart of a Texas Hold ‘em ... you’re dealt two cards face down. The round to check, bet or fold comes and somewhere between a fortuitous mission of punk, rock, and filling your ears with the rambunctious sounds of screams, drums, and poker chips flying you find the winning sounds when Purple music begins. Straight up out of Texas, the undeniable female force of who Purple is, leaps its’ uncanny feminine force upon you through vocalist and drummer Hanna Brewer. Purple has brought you their killer urban punk attitude since 2009 and is continuing to get out and support their new album Bodacious. And believe me everything about Purple is... BODACIOUS! SR: Hanna, isn’t it within the American spirit, even the Texas hold-em to not really care if you fit into anybody’s box musically, physically, mentally, spiritually, ecumenically, grammatically, hermetically? HB: Yeah. I would say that is just individual humans spirit. I don’t know how to play Texas Hold Em, but EVERYBODY expects you to fit into some type of box. That’s just how people are especially when it comes to music. SR: The new album Bodacious, really is that ripe juicy cherry about to pop isn’t it? HB: I guess so. That description sounds kind of sexual - I’m digging it! SR: A collection of 12 tracks- each holding their own. Did each song individually come naturally, would you say even organically? HB: Yes, it just comes naturally. We didn’t think too hard about anything when we made this album, so yes… pretty organic. SR: Before I read someone else’s description of you and your band, I immediately felt a connection to early Red Hot Chili Peppers. Sure you can hear someone comparing the vocal sound of Hanna to Gwen Stefani, but hell-a girl you are your own. HB: Yeah! I mean ... I grew up in the 90s and of course that influenced me. People always say I’m ripping off Gwen Stefani but man, she doesn’t play drums or scream her ass off or puke onstage!

Photo Credit: David Morrison

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SR: Would you say your new album Bodacious in some ways is a continuation of 409 (your first album)? HB: I feel like they are two totally separate things. We have a new bass player and producer so I wouldn’t compare the two. I like both! SR: Your style cannot be defined, yet it is distinct. You sense the crazy magnitude of what you bring when you listen to what comes out of a box... what are the elements of kick-ace live, as rumors fly it is intense. HB: Yes, very intense. I usually always feel like I’m gonna throw up because we play as hard as we can, and singing on top of that is a lot. We’re always soaked with sweat after a show. Sorry, if what I just described to you sounds disgusting but that’s real – we really go that hard. SR: Notable or noteworthy antics that are markedly Purple on stage? HB: Oh, of course, a girl drummer that sing, scream, be a tomboy and feminine all at the same time. SR: Hanna, were you the child your parents worried about, or did they pretty much urge you to be you and guide along the way? HB: I’mmmmmm… kinda both. They always encouraged me but I used to get in a lot of trouble as a teenager. I’m lucky I didn’t die. I got in to a lot. SR: Who were some of your heroes in music, literature, fashion, entertainment that you looked up to growing up, Hanna? HB: Music from Jellyfish, Spice Girls, Nirvana, No Doubt, 2pac, RHCP, Kings of Leon and so much more; for literature, any musical biography or autobiography. Fashion: I’ve gone through a lot of phases, sadly Avril Lavigne; I used to wear ties in 6th grade and then I had the whole skater punk ego thing going on for a while. But overall, I don’t really have fashion sense and mostly just wear band t-shirts I get from touring. Entertainment: Dave Chapelle, The Office.

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SR: Has the world of rock been steadily opening itself up to girls being as much a part of the industry and quite capable of holding their own as of recent? We certainly are hearing more and more phenomenal female drummers. HB: I think women are just realizing more and more every day that we can do whatever the hell we want. SR: Bandmate, (guitarist/vocalist) Taylor Busby, certainly brings the Reggae heavy. Now Reggae can be as varied as any other genre. Marked courses fall from the So-Cal to the Marley, over to the UK Jungle... what and where does your sound originate from? HB: Taylor isn’t here right at the moment… but I can tell you he used to be in a Reggae / Punk band called The Shammies. He loves Bob Marley, Alton Ellis, King Tubby… he likes a lot of old school dub. SR:

Are those influences a part of your natural state of being or is it just the music in of itself?

HB: Speaking of Taylor, I think he really feels Reggae and its part of his natural state. SR: Listening to the vocals and guitar style of Taylor he comes across as being very casual and at ease. Is this a misnomer? HB: Taylor is an intense person. He can’t sit still and always has to be working on something or partying. He makes his own guitar pedals. IG is @Busbyelectronics SR: Take the album 409, and your latest Bodacious. Where do they line up in the music store section under? HB: Everybody usually just puts us in “punk rock.” SR: BTW I am thinking your music needs to be heard on vinyl; a music stream may just be too pristine. HB: Hell yeah! We got vinyl. pledgemusic.com/artists/purple SR: Simple songs, simple lyrics, simple titles; you are really just out to create Purple and as much as you can for as long as you can aren’t you? HB: Yeah as long as we are feeling it we will keep writing music. SR: You are handed the proverbial golden pen to create the lineup you want to be a part of playing at a three-day festival. First, who are your bands (you can have up to 15 why not, it’s your world), where would it be held, and what food munchies trucks must be in attendance to eat from? HB: Let’s just say Calliope Musicals to Lochness Mobsters to We Were Wolves and I would want Tacos La Bamba from Beaumont, Texas on Calder to bring a food truck! Connect with Purple >>> Facebook: https://www.facebook.com/purpletexasmusic/

Photo Credit: Tobias Marti

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Ziggy Marley

New Album and World Tour By: Joah Batson | Photograghy by: Richard Boudreau

Ziggy Marley came into Spring 2016 with a new self-titled sixth studio album with Tuff Gong Worldwide. The Reggae icon along with his band have taken the road to present it to fans and new comers to his music around the world! Combining the body of work Ziggy has done with the Melody Makers and for his solo career, it seems like the number of Ziggy Marley aficionados is limitless! It’s growing! With this new album, the seven time Grammy winner musician is addressing issues of the struggles that the ordinary man and woman (including himself, says he) undergo. It’s obviously a more universal Ziggy that one can hear in the lyrics and feel in the music now, as opposed to being more introspective with his last albums. The travelling Rastaman who enjoys family time collaborated with his brother Stephen Marley, who appears on the track Heaven Can’t Take It No More. The First single out, Weekend’s Long and its catchy chorus, as well as titles like Start It Up, Love Is A Rebel and Amen (like many more on this fine opus) reveal again rich arrangements and a universal music made of roots Reggae, folk, pop, blues and rock accents. We caught up with Bob Marley’s eldest son during the Canadian leg of his 2016 Ziggy Marley Tour. JB: As I was preparing for this interview with you, I was reviewing my notes. Here’s how it came out, about you: ‘’Story-teller, Ziggy’s more universal than ever before – as opposed to more introspective for the last albums (Dragonfly, Love Is My Religion, Wild & Free and Fly Rasta)’’. This time, with your new self-titled album, it sounds like you come out as more universa., Did I get you right, Ziggy? ZM: Ya man, that’s right. JB: I also wrote: ‘’Ziggy Marley equals We’’, as we the people. As if you were speaking on behalf of all of us. What would you say about that? ZM: Ya man, I feel like Ziggy Marley’s true inspiration is the higher force. It’s not a Ziggy Marley thing, it’s a higher force thing. It’s for the people, you know.

Photo Credit: Gregory Boquez

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JB: You have invested yourself completely in this beautiful 12-track album. You are fully involved this time, as I understand it. In every step of the way... ZM: Everything I’ve learned throughout my whole life has made me more knowledgeable so that I can be hands on in parts of the work (to be done) on an album, (even if) I had not been hands on before. Just because I want to learn more. Specifically the technical part of it: the mixing and the engineering... On this album, I’ve been involved with all the technical stuff like the mics, etc. I was not (that involved), before. JB: Alright! Was there any challenges in creating this album, as far as instruments, the lyrics, or the choice of songs, maybe? ZM: There are always challenges. You have to write songs and come up with ideas. Because a lot of times, I did many things when I had some time of my own. So, it’s sometimes frustating for me to have to kind of do everything on my own! I did not like that. Because an idea might not come right away. I have to practice a lot of patience... until it finally comes true. Everything that I go through during this exercise (of creating an album), I always learn to be more patient and to have more faith in (knowing) that it will always come true. Patience is very important! JB: Very well said, absolutely! What are you the most proud of, on this new album? You gave it your name, after all! ZM: I feel that the messages on this album are important to the world. The people need to know that there’s music out there that is speaking. It’s about bringing peace, bringing love, bringing people together and awakening up the consciousness because it’s hard to find any music like that, nowadays. I can be the one, or one of the ones who have got this conscious music out there. JB: So, you are proud to sitll maintain that level of consciousness... ZM: I’m proud to be used by the Universe, as per say. I’ve been chosen for this job. JB: Is this how you come up with new albums and songs? Is this a calling? When the time is right, you’re being informed?

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ZM: Yes! This is how it works for me. You know... This is how it works, yeah! (laughter) It’s hard to talk about it, sometimes. It’s not easy to speak about it. JB: Probably because it’s all happening on a metaphysical level, in a spiritual way. You are a very spiritual being. ZM: Ya man, true. JB: Please tell your fans what they can expect from your concerts of this world tour? ZM: Well, they can expect something different every time. Every time, we’ll come in with a new energy and a revised enthusiasm for all the dates! So, they can expect to feel the music and the consciousness, to be energized it and be enlightened by it. That is what music is all about, you now. It’s not just entertainement! There’s energy and enlightment. One can expect to feel that energy. JB: Something nice always happens, that I can say. I’ve been following you and your musicians, going to your concerts, covering at least your last 3 tours. I’m struck every time by the way you get on stage and that you present yourself to the public. In a very simply and humble way, yet assertive. Once you put on your guitar, for example, you’re ready, so the crowd is ready! It’s starts up nice. Do you feel any special way when you come on stage? ZM: I don’t really think about it... This is more than a show, you know. You just come to express yourself truthfully to the peolple without pretending. Different times, we come on different ways. But we don’t want to pretend, We just want to be real and make people feel real feelings. JB: Absolutely! - You have been into organic farming for a while. Funny question: What do you avoid eating before going on stage? ZM: I avoid eating at all! I don’t like eating before I go on stage. At least six hours before I don’t eat anything. I have made the mistake of eating (before a concert). The energy is the the same. I’d rather fasten. It’s kind of spiritual.

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JB: Alright, no filling up the belly before getting on stage! - You took the time recently to launch a cook book titled Ziggy Marley and Family Cookbook (Akashi Book). In this book, we’ll find recipes of delicious meals made with organic ingredients from the Marley Kitchen. You also have your own seeds and have non-GMO, organic coconut oil on the market. Where can the people go to buy the cook book and Ziggy Marley Coconut Oil? ZM: Getting the cook book online is the easiest way. Everything is on the Ziggy Marley Facebook page (Ziggy Marley), Instagram (Ziggy Marley), and all my social media (Twitter: Ziggy Marley). JB: Where is the best place for Ziggy Marley to listen to music? Is it in the car, in the studio, in the bedroom? ZM: Best place? Yeah... The car is the best place, I think. I listen to music everywhere, though. But in the car, sure! JB: I agree! Although my preference is standing right in front of the stage for listening to live music! - One last question. You were born in Kingston, Jamaica. What does Jamaica represent to you? ZM: Jamaica to me is the foundation. I grew up in Jamaica. And everything I’ve learned from growing up there is strong. It has a strong foundation. So, I respect the foundation, that spiritual energy that started me out there. It’s very important, you know. JB: Do you have memories of Kingston back then? ZM: Yeah man, playing in the streets, going to the beach, just being barefoot and fending for yourself, you know. Playing with your little friends... There are so much memories there! Connect with Ziggy online at ziggymarley.com for all the concert dates of the Ziggy Marley Tour 2016.

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#StreamIt!