Music by Arkaingelle: "Eva Reign" from ...And Behold
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Reggae Festival Guide 2019
Reggae Festival Guide 2019
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Published by RBA Publishing & Publicity Inc.
dba REGGAE FESTIVAL GUIDE
P.O. Box 920, Arcata, CA 95518 707.630.3304 /ReggaeFestivalGuide @ReggaeFestivalGuide @ReggaeFestGuide
www.ReggaeFestivalGuide.com PUBLISHER Kaati
Kaati@ReggaeFestivalGuide.com
EDITOR Irene Johnson
Irene@ReggaeFestivalGuide.com
DESIGN AND PRODUCTION/ WEBSITE/E-GUIDE EDITOR Goran Petko/Aqua Design Goran@ReggaeFestivalGuide.com
EDITORIAL CONTRIBUTORS Dan David, Jessica Farthing, Chuck Foster, Matt Jenson, Irene Johnson, Joana LeRoque, Anthony Postman, Carter Van Pelt
Reggae Fest
Publisher
I am a festie. I love festivals and I love reggae music. Twenty-five years ago, I was inspired to publish the Reggae Festival Guide magazine as a tool to promote festivals and further reggae industry and culture. Over the last 25 years, I have watched the landscape of reggae festivals change. There have been challenges – bigger promotional companies buying up smaller mom-and-pop festivals, festivals forced to postpone or cancel due to organizational problems or because they plain old can’t afford it, growing resentment over the success of “non-Jamaican” reggae bands and festivals, Jamaican artists having a harder time getting VISAs to the U.S., the fading away of marijuana-money-fueled
PHOTO AND ART CONTRIBUTORS © Lee Abel Photography, Courtesy California Roots Music & Arts Festival, depositphotos.com, Courtesy Great Blue Heron Music Festival, Courtesy Jamaican Music Conference, Courtesy JazzReggae Fest, Matt Jenson, Courtesy Levitate Music and Arts Festival, Roslyn Parker, Courtesy Sunrise Reggae & Ska Festival, Courtesy Trojan Records, Allison Usavage, Courtesy VP Records, Marcus Wilson
ADVERTISING SALES Joana LeRoque, Tom Andrews, Sean Bookman
ADMINISTRATION/FESTIVAL CALENDAR Heather Penrod-Rudd The opinions of the contributors are not necessarily the views of RBA Publishing & Publicity Inc. 4
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Cham, Warrior King, Big Mountain, Lutan say & sing CONGRATULATIONS to Reggae Check them out on ou
tival Guide
r’s Letter
festivals with legalization – and yet, the reggae festival is still surviving. All over the world, reggae festivals pop up every year. Reggae festivals are a microcosm of the greater reggae community and culture, and will continue to evolve. In this year’s magazine, we reach back to the dawn of reggae with VP Records and Trojan Records, learn about the green initiatives festivals are currently implementing, look forward with the Jamaican Music Conference and more. Join us as we remember the past, live the present and glimpse the future of reggae.
One Love, Kaati, Publisher
Fyah, Safira Mono and many other artists, e Festival Guide on our 25th anniversary! ur YouTube Channel.
FRONT COVER
For our 25th anniversary issue, we wanted to assemble several images of reggae icons through the years, and are thrilled to feature Jah Sunny’s renditions of just a handful of reggae’s powerful artists: Peter Tosh, Rita Marley, Don Carlos, Steel Pulse, Dennis Brown, Joseph Hill, Queen Ifrica and Lee Perry. FRONT COVER artist
Jah Sunny is a Rasta artist from the Detroit area. He is heavily influenced by world travel and living off the beaten path. He seeks to express the beauty in mankind by creating art with soul – the sacred geometry of the human body, the play of light and personality conveyed through the eyes. Find out more about his art at jahsunnyarts.com and connect via Instagram and Facebook.
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In This M Living Legend: Marcia Griffiths
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By Carter Van Pelt Marcia Griffiths is a singular living matriarch of Jamaican popular music. Her longevity is extraordinary, with a career spanning over five decades and including some of reggae’s bestknown recordings. Her collection of work and contributions to reggae prove she is a “living legend” in the truest sense.
VP Records Celebrates 40th Anniversary
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This year marks the 40th Anniversary of VP Records operating within the United States. For the past four decades, VP Records has advocated for reggae’s place on the world stage – bringing Jamaican culture into new spaces and allowing for those unfamiliar with reggae to experience everything it has to offer.
Jamaican Music Conference
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Putting Action Behind Intention There is a sense that Jamaican music has not resonated with the government and business community in its homeland; a feeling that the lack of an interconnected structure at its core has limited its potential. The Jamaica Music Conference was designed as a response to this need, as an effort to create a supporting system behind Jamaica’s sound.
Reggae Festivals Go Green
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By Jessica Farthing and Irene Johnson With thousands of music-lovers attending reggae festivals, activists have long worried about the environmental impact. To shrink their footprint on the environment and educate festival goers, reggae festivals across the globe are increasingly part of the charge to respect the environment and implement a variety of green initiatives.
Overstanding Reggae and the Grammys
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By Joana LeRoque In this deep dive interview with Cristy Barber, we find out more about reggae’s relationship with the Grammy Awards – what goes on behind the scenes, the submission and nomination process, and how reggae artists and music professionals can become voting members of the Recording Academy and impact change for the genre. 6
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Magazine PAGE 76
Inside Reggae By Anthony Postman and Matt Jenson
Former Reggae Festival Guide drEditor Anthony Postman and Matt Jenson give us the inside scoop on Inside Reggae – a Jamaican cultural immersion experience that is part academic musicological study, part socio-political discussion group, part transcendent drumming experience, part jam session and dance party!
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Readings for Reasoning By Chuck Foster
Queue up your summer reading list with Chuck Foster’s latest favorites! This year, his reviews include the story of the first attempt to bring Jamaican music and culture to the U.S., Bob Marley’s 1970s tours to the Netherlands, the history of Trojan Records, a look at the locations where classic reggae album covers were photographed, and a mythopoetically structured reggae-centered novel.
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Rudeboy: The Story of Trojan Records By Dan David
Learn more about the making of this 85-minute documentary detailing the history of Trojan Records, with insights from Director Nicolas Jack Davies. This absorbing documentary is an essential view for anyone with an interest in the history of modern popular music and its impact on society as a whole.
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Festival Runnings
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Festivals are listed here in alphabetical order with their page number. On the following pages they appear in date order, so you can easily make your plans. The publisher, venues, promotors and musicians are not responsible for any changes or cancellation of events. SO CHECK BEFORE YOU GO & HAVE AN IRIE TIME!
Original artwork by Marcus Wilson from St. Croix, US Virgin Islands
Featured Festivals Bayfront Reggae & World Music Festival..........19 California World Fest...............................................14 Coney Island Reggae on the Boardwalk..........13 Festival Salvavidas....................................................12 Gambia Cultural & Reggae Festival....................25 Island Vibe Festival...................................................25 Ithaca Reggae Fest...................................................11 JAM Rock Reggae Cruise.......................................26 Jamming Festival......................................................26 LA Reggae Vegan Fest............................................24 Lakesplash Reggae Openair.................................15 Music in the Park.......................................................18 Northwest World Reggae Festival......................21 Oland Roots................................................................14 Port City Reggae Music & Art Festival...............11 8
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Reggae Donn Sa Festival.......................................23 Reggae in the Sun....................................................27 Reggae on the Rez..................................................... 9 Reggae on the River................................................22 Reggae Sumfest........................................................16 Reggae Sumfest........................................................17 Roots Town.................................................................23 Ruhr Reggae Summer Festival.............................18 San Diego Reggae Vegan Fest.............................20 Seasplash Festival.....................................................15 Seen Festival...............................................................21 Sierra Nevada World Music Festival...................27 Victoria Ska Festival.................................................10 Wadada Festival Music & Colors............................ 9
June 1
June 8 - 9
Reggae on the Rez
Yavapai-Apache Nation Land, AZ, US
Wadada Festival Music & Colors
Ploudalmezeau, France
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June 19 - 23
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Victoria Ska Festival
Victoria, BC, Canada
June 28 - 29
July 6
Ithaca Reggae Fest
Ithaca, NY, US
Port City Reggae Music & Art Festival
Wilmington, NC, US
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June 29 - 30
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Festival Salvavidas
Puntarenas, Costa Rica
July 9 - Sept. 8
Coney Island Reggae on the Boardwalk
Brooklyn, NY, US
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July 10 - 13
Oland Roots
July 11 - 14
California World Fest
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Oland, Sweden
Grass Valley, CA, US
July 12 - 13
Lakesplash Reggae Openair
July 18 - 21
Seasplash Festival
Twann am Bielersee, Switzerland
Martinska-Sibenik, Croatia
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July 14 - 20
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Reggae Sumfest
Montego Bay, Jamaica
July 14 - 20
Reggae Sumfest
Montego Bay, Jamaica
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July 19 - Aug. 23
July 19 - 21
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Music in the Park
Ruhr Reggae Summer Festival
San Jose, CA, US
Mulheim An Der Ruhr, Germany
July 20
Bayfront Reggae & World Music Festival
Duluth, MN, US
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July 21
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San Diego Reggae Vegan Fest
San Diego, CA, US
July 26 - 28
Aug. 17
Northwest World Reggae Festival
Marcola, OR, US
Seen Festival
Berkeley, CA, US
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Aug. 2 - 4
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Reggae on the River
French's Camp, CA, US
Sept. 7
Reggae Donn Sa Festival
Sept. 14
Roots Town
Bamboo, Mauritius
Luxembourg, Germany
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Sept. 15
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LA Reggae Vegan Fest
Los Angeles, CA, US
Oct. 24 - 27
Island Vibe Festival
North Stradbroke Island, Australia
Nov. 23 - 24
Gambia Cultural & Reggae Festival
Medina Salam, Gambia
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Dec. 9 - 14
March 21 - 22, 2020
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JAM Rock Reggae Cruise
Jamming Festival
Fort Lauderdale, FL, US
Ricaurte, Colombia
June 19 - 21, 2020
Series
Sierra Nevada World Music Festival
Boonville, CA, US
Reggae in the Sun
Falmouth, Jamaica
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Photo by © Lee Abel Photography
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CLICK HERE to listen to author Carter Van Pelt's Spotify playlist: Marcia Griffiths: First Lady of Jamaican Music
Living Legend:
Marcia Griffiths By Carter Van Pelt
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M
The popularity of Marcia Griffiths and Bob Andy’s cover of “Young Gifted and Black” helped move reggae into the British mainstream in 1970.
arcia Griffiths is a singular living matriarch of Jamaican popular music. Her longevity is extraordinary, with a career spanning over five decades and including some of reggae’s best-known recordings. From her breakthrough “Feel Like Jumping” in 1968 to her internationally successful combination cover (with Bob Andy) of “Young, Gifted and Black” to
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her version of “Dreamland” and the enduring cultural phenomenon of the “Electric Boogie,” she is a living legend in the truest sense. Like many young Jamaicans who grew up in a singing household with a strong gospel foundation, this native Kingstonian found her way to the recording studios partly through circumstances beyond her control, but guided by an inner sense of confidence.
One spring day in Kingston in 1964, one of the members of Jamaica’s popular Blues Busters group overheard her singing at her house when he was visiting his girlfriend next door. He reported back to bandleader Byron Lee, who initially resisted adding her to his Easter Monday concert at the Carib Theater, but reluctantly agreed after hearing her audition. As if that sequence of events wasn’t unlikely enough, she jumped another hurdle during the actual performance, one which would have torpedoed many aspiring careers, as she recalled in an interview with Angus Taylor for United Reggae in 2017: “When they introduced me, the band decided that they were going to sabotage me, before the whole audience. I am there as a little young girl listening for the intro…nothing was playing…so I was turning around looking at them, you know? Questioning, ‘What’s going
on?’ And a voice said to me, because I know that God is always with me, a voice said to me, ‘Little girl, you’d better start singing,’ because the audience was getting uneasy. And I just started the song all by myself and they had to follow me…And listen to me, if you dropped a pin in that theatre, you could hear it.” The song she chose was a cover of Carla Thomas’ “I’ve Got No Time to Lose.” She explained, “I wanted to sound just like Carla Thomas…so every slur I made, the audience just went up wild. I was anxious [but] I was never nervous. I was just anxious to go and show them what I could do. Because I was positive. And that went down beautifully.” The triumph at the Carib Theater was so profound that famed recording engineer Lynford Anderson (Andy Capp), who was in attendance, took young Marcia to Coxson Dodd’s Studio One
The I Threes trio – Rita Marley, Judy Mowatt and Marcia Griffiths – sang backing vocals for Bob Marley, contributing greatly to his sound. Photo by © Lee Abel Photography
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Photo by © Lee Abel Photography
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the same day, where she bypassed the usual audition process and recorded her first song, a never-released recording called “Wall Of Love.” There was a brief battle between Byron Lee and Dodd to sign her exclusively, from which Dodd emerged victorious. Dodd recorded several songs looking for the right one to release, but nothing appears in Griffiths’ discography before the following year, 1965. The first appears to have been a pair of duets with soulful crooner Tony Gregory, keeping her outside the lane of then-current local ska music. She also recorded a romantic ballad with Bob Marley at the time, called “Oh My Darling.” Griffiths’ early singles show the depth and maturity of her voice as a pre-teen, in contrast to many of her male peers who started in the business at a similar age and whose voices matured later. She briefly touched on ska with a rare side called “Call to Me,” eventually released in 1967, but her recording career really took off in 1968, the dawn of the reggae era. Griffiths has over a dozen documented singles that year, including “Melody Life,” “Feel Like Jumping,” “Truly” and others, which were later included on the popular Marcia Griffiths At Studio One anthology. Griffiths’ duets with singer-songwriter Keith Anderson (Bob Andy) are among her best known, especially in England where her career first blossomed. She had met Bob prior to her stage moment with Byron Lee, but reconnected at Studio One, where he collaborated with Jackie Mittoo in developing many of Griffiths’ first reggae songs. Griffiths and Bob Andy were involved romantically as well, documented in the inspired and masterful Andy composition “I Don’t Want to See You Cry,” recorded by both him and Ken Boothe.
As has often been alleged about Coxson Dodd, Griffiths says a lack of livable compensation prompted her, as well as Bob Andy, to look for other opportunities. They found such opportunities through producer Harry Johnson, emerging on the scene by poaching other frustrated Studio One acts, such as the Heptones, modernizing their sound in a better studio and marking a new chapter for reggae. One of Griffiths’ first efforts for Harry J was the brilliant cover of the Beatles hit “Don’t Let Me Down,” which was transformed into an uptempo reggae “scorcher.” More significantly, it was for Harry Johnson that Griffiths and Bob Andy recorded a cover of Nina Simone and Weldon Irvine’s “Young, Gifted and Black,” which took off in England at the end of 1969. The hit resulted in a trip to London for the famed “Top of the Pops” show, cementing the song’s status in U.K. pop culture and helping move reggae into the British mainstream, even before Bob Marley made a similar impact. Griffiths recalled “divine circumstances” bringing her together with singers Rita Marley and Judy Mowatt to form the I Threes. Both of these women had minor solo careers at the same time as Griffiths. Marley and Mowatt were still for hire for harmony work for Coxson Dodd as late as 1974, according to Griffiths. Dodd brought them together for one of Griffiths’ local club performances during a multi-night run that year. After Dodd pulled the three of them into a recording session, Griffiths invited Marley and Mowatt to perform with her on stage. It was a great success with natural chemistry shared by the three women. Concurrently, the Wailers trio of Bob Marley, Peter Tosh and Bunny Wailer had fractured, and Bob Marley heard about the vibe the female trio had created on stage. This was happening as he embarked on the recording
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Photo by © Lee Abel Photography
sessions for his solo album Natty Dread. The rest, as they say, is history. From 1974 until his death in 1981, Bob Marley always carried the I Threes as his backup singers, lending what would become a signature harmonic response to the Reggae King’s call. While this arrangement allowed Griffiths the comfort of regular singing work, in some ways it eclipsed her identity and stature as a solo artist. Her most notable solo albums of the era were recorded for Sonia Pottinger and anchored by a cover of “My Dream Island” a.k.a. “Dreamland,” first covered in Jamaica by Bunny Wailer (and misappropriated as his own work). The other major success of Griffiths’ time with Sonia Pottinger was “Stepping Out of Babylon,” her most notable original composition. She performed the song live before Bob Marley would take the stage at his latter-day concerts. 38
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While the death of Bob Marley marked a turning point for Jamaican music, reggae and the careers of those close to him, Griffiths still found success and prominence one more time in her career, again through a fortuitous sequence of events. While Griffiths had recorded with Bob Marley at Studio One, she had known Neville Livingston (Bunny Wailer) from earlier school days. After a gig in Toronto in 1982, she was shopping and saw a computer keyboard, which she describes as a “rhythm box” because of its beat-making capability. She recalled for Angus Taylor how she brought it back to Jamaica and showed it to Bunny Wailer. “I showed him the rhythm box and the different sounds, and he just fell in love with [it]. He recorded the repeater sound, the piano ‘Dinganinganinganing!’ He took it to Portland (Eastern Jamaica) [and] came back the following day with the song! Everything was so spontaneous. We didn’t sit on it. When we went
to the studio, Robbie Shakespeare overdubbed the bass; Sly did the drum pattern. I just went in and voiced the song – Bunny taught me the song – ‘Electric Boogie.’ And it was released in December ’82. Straight to the number one spot.” The song’s popularity would peak again and achieve a peculiar pop culture status when a dance, “The Electric Slide,” was created for it in the late 1980s, more than six years after its release. It’s more of a wedding party song than a real reggae hit, but it has helped ensure Griffiths’ legacy doesn’t stop in the niche genre alone. Marcia Griffiths’ status as Jamaican music’s matriarch has not been in any question since the success of the “Electric Boogie” nearly four decades ago. Through the 1990s, Griffiths recorded successful songs for producer Donovan Germain and others, ensuring an active profile in reggae and dancehall through the new millennium.
As one whose career was so closely influenced by and identified with Bob Marley, she keeps his work ethic close to her heart as a source of inspiration. “One of the reasons why I made a turn in my career – to make sure I am sending positive messages to people, to teach, educate and uplift – was because of Bob. When I saw how seriously this man took his music…I had never seen anything like that. It was his life. Nothing came before his music. He never cared about money. His music and the people were the most important things in his life.” In keeping that ethic close to heart over the span of her career, Griffiths has inspired new generations of women to pursue the “melody life,” ensuring her status as one of reggae’s living legends. Carter Van Pelt has been a radio producer and host since 1991 and is founder of Coney Island Reggae On The Boardwalk. For more, visit coneyislandreggae.wordpress.com
Marcia Griffiths and Robbie Shakespeare perform at Reggae on the River in 2017 – 35 years after recording the hit “Electric Boogie” together. Photo by © Lee Abel Photography
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VP Records Celebrates 40th
Anniversary
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his year marks the 40th Anniversary of VP Records operating in the United States, however the story of Vincent and Patricia Chin’s career in reggae music started long before in a small ice creamturned-used-record-shop in Kingston, Jamaica. The founders and collective namesake of VP Records opened Randy’s Record Mart in 1958, selling old records from jukeboxes throughout
Kingston, which they changed out regularly for the jukebox company’s owner. Building upon the foundation established with Randy’s Record Mart, the Chins expanded their enterprise by opening a recording studio and production facility called Studio 17. The address of 17 North Parade in Kingston, the location of Studio 17 and Randy’s Record Mart, became
It all started when Vincent and Patricia Chin opened Randy’s Record Mart in Kingston, Jamaica, in 1958. Photo courtesy of VP Records
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After 40 years as VP Records’ flagship retail store in Queens, NY, the location is one of the oldest record shops in the northeast region. Photo courtesy of VP Records
a cultural hub for reggae music in Jamaica, as legendary artists including Bob Marley, Peter Tosh and Gregory Isaacs frequently recorded there. By the time the Chins moved to New York City in the late 1970s, they had already established deep roots in the Jamaican music scene and played an integral role in introducing the musical talents of the Caribbean to the United States and eventually the world. The Chins purchased the VP Records retail store in Queens in 1979, beginning a new chapter in their business. Developing relationships with record stores throughout North America allowed the Chins to become prominent wholesale distributors of reggae music in the United States. Once firmly entrenched in the U.S. as a force in music distribution, the Chins leveraged their position to promote the VP label as well as 42
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other sub-brands, such as Roots From The Yard, Jah Guidance, Reggae Sound and produceraffiliated labels. VP Records grew to become one of the world’s largest reggae companies over the next 20 years, helping secure Jamaica’s standing in the music world and making reggae a globally accessible genre. The roster of VP Records artists over the past 40 years is a testament to this label’s professionalism and knowledge in producing and selling reggae music. In collaborating with some of the most impactful artists in reggae, VP Records has had direct involvement in many major developments of reggae music in recent history. VP Record’s distribution arm, VPAL, has helped independent artists and producers by giving them better access to a global market. VP Records has played an instrumental role in
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VP Founder Patricia Chin (center) and her sons Randy and Chris Chin (far left, second from the right) celebrate with others at the opening of the display, “A Reggae Music Journey,” featured at Montego Bay’s Sangster International Airport. Photo courtesy of VP Records
the careers of monumental artists such as Sean Paul, Wayne Wonder, Beenie Man, Elephant Man, Lady Saw, Luciano and Beres Hammond, among hundreds of others.
Even in recent years, VP Records has stayed true to its mantra – “Miles Ahead in Reggae” – as the company always looks for opportunities to expand its reach. In 2008, VP Records acquired its former competitor, Greensleeves Records & Publishing, propelling VP into the future as the leading purveyor of reggae and Caribbean culture. In 2012, the VP imprint Dub Rockers was launched as an outlet for non-traditional reggae artists. VP Records continues to build its global presence by placing an emphasis on building contacts and bridges throughout major music markets across the world, with offices in New York City, Miami, London, Kingston, Tokyo and Rio de Janeiro. VP’s international presence has been integral in the blending and development of genres, both inside and outside Jamaican reggae and dancehall, advancing the creation of diverse music.
The Reggae Trail – New York is the first phase of a VP Records initiative to tell the story of the growth of reggae in key cities around the world.
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Currently at the helm of VP Records are the children of Vincent and Patricia Chin: President Randy Chin and Chief Executive Officer Chris Chin. Following their parents’ lead and building upon their legacy, Randy and Chris Chin have secured VP Records’ future by creating one of the most successful independent record labels across all music genres. What started from Vincent and Patricia’s Record Mart in Kingston, has grown into a global enterprise. VP Records’ current roster of artists includes pioneers like Beres Hammond, as well as artists still ascending in the world of reggae and dancehall, such as Busy Signal, Christopher Martin and Jah9. In celebration of the 40th anniversary, VP Records has a big year ahead slated with stellar releases and memorable events. This summer, VP is hosting a concert series in the New York City area, including performances at Central Park’s Summerstage and the Grace Jamaican Jerk Festival at Roy Wilkins Park in Queens. All year, Montego Bay’s Sangster
International Airport will feature the display, “A Reggae Music Journey,” which provides a curated visual and musical journey chronicling VP Records’ history. Additionally, VP will release a 40th Anniversary box set, offering a retrospective look at the vast catalogue of VP’s hits and rarities and showcasing the record label’s contribution to reggae music as a whole. March saw the launch of the Reggae Trail project, an interactive digital experience that features a map of historical locations throughout the five boroughs of New York City, following the growth of the Jamaican community and the music that is so central to the life of the city. For 40 years, VP Records has advocated for reggae’s place on the world stage – bringing Jamaican culture into new spaces and allowing for those unfamiliar with reggae to experience everything it has to offer. For more information, visit www.vprecords.com or connect on Facebook,Twitter,YouTube and Instagram.
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Jamaican Music Conference:
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any working in the Jamaican music scene can attest to a feeling that the industry is fragmented. There is a sense that Jamaican music, recognized and revered worldwide, has not resonated with the government and business community in its homeland; a feeling that the lack of an interconnected structure at its core has limited the potential of this international sound. “Regulating reggae” and its 13 sub-genres is a daunting task, but the Jamaica Music Conference (JMC) was designed as a response to this need, as an effort to create a supporting system behind Jamaica’s sound. In the seven years since its inception, Dejazmatch Kwasi, one of the initial co-founders of the JMC, has nurtured the effort from a carefully planted seed of a three-hour music industry gathering at the Edna Manley College of the Performing Arts, to a well-rooted tree: a four-day multi-pronged immersive experience that is already bearing fruit! The conversations that have taken place over the years have led to action, and connections forged at JMC have already seen attendees secure
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Putting Action Behind Intention new business partners, recording contracts and distribution deals in markets as diverse as China and Canada. The JMC is not your average conference, and that’s a direct result of the intentional efforts of its organizers. It is beyond time for Jamaica to have a clear roadmap on how its people can better develop the business surrounding the several genres it has gifted to the world. Jamaica has not had to orchestrate the demand for the music it makes – at this point in time, Jamaican music is already popular and loved worldwide – so we cannot continue to fail in making those connections that are crucial to moving us past reggae’s roadblocks. This is the main purpose of the JMC: to create a space for the kind of The “Reggae Mekka Jamaica: Vision 2020” JMC conference will be held in Kingston, Jamaica, February 13th-16th, 2020, and will feature increased showcases, new partnerships and contests, and an opportunity for the industry to shape the programming.
The Team JMC Summit Series visited Oakland, CA, in May 2019 as part of its 10-city tour worldwide to connect with the industry. Photo by © Lee Abel Photography
conversations that connect communities and bring meaningful change and results. “Reggae Mekka Jamaica: Vision 2020” is the theme chosen by the JMC organizational team for this year’s preparatory process. The team includes Jamaican-based music industry personnel and aficionados from across the diaspora. Each year, an analysis of what went before, and a focus on the reality the JMC hopes to achieve, spurs the activities forward. Team JMC has convened summits in the USA, Canada and Ghana, and has spent countless hours speaking with Jamaican music industry stalwarts worldwide for advice on its growth and direction. This year’s theme is a nod to the need for national participation in an international strategy. It’s a recognition that out of many, we are one people together on the journey towards reaping rewards from our cultural legacy.
The JMC is not just a lot of talk. The four-day conference offers several opportunities for local and international talent to showcase and network with industry insiders and peers. Music business doesn’t just take place in a boardroom, and the JMC gets that. In 2017, JMC local organizer Joan “Nanook” Webley conceptualized “JMC Beach Day,” making JMC the first conference to utilize the beach as a place of business. This ability to create innovative and engaging experiences has allowed JMC to grow from a grassroots-offering into a force that now reaches thousands of reggae lovers and operators worldwide. In 2018, the JMC Beach Day panels closed with a freestyle segment that was so hot, I’Octane (a first-time JMC attendee who spontaneously joined a panel to share his experiences) had to get involved in the microphone action! This was also the year
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Collaborating at the JMC (l to r): Copeland Forbes (Peter Tosh's road manager, industry consultant), Clyde McKenzie (founder of IRIE FM, former artist manager, consultant) and Winford Williams (founder and CEO of Onstage TV and TV host). Photo courtesy of the Jamaican Music Conference
that Vershon’s Team Dancehall won the Irie Jam-sponsored beach football tournament, Colo Colo led a dancehall Master Dance Class, D’Angel inspired the next generation at the JMC Youth Summit, and Lila Ike and Tifa “shelled” the Jamnesia Showcase. While most come for the business lessons and networking prospects, everyone attends the live music showcase. JMC is not just a chance to contribute to the building of an industry or to promote one’s own music, it’s also an opportunity to witness music history in the making. The conference provides a platform to speak to those who were there from the beginning and connect with those who are helping to shape its future.
event has made steady strides in creating a platform for independent music professionals to discuss challenges, opportunities and solutions. Copeland Forbes, Winford Williams, Marcia Griffiths, Agent Sasco, Kabaka Pyramid, Robert Livingstone, Lloyd Stanbury and more have all participated in moving this mission forward as panelist and audience members. Through their connection to the vision and JMC’s ongoing relationships with locally based players such as Jamaica Best School Band, Edna Manley College of the Visual and Performing Arts and the Jamaica Reggae Industry Association, the conference is becoming the premier place for positive players to organize and centralize efforts.
With each staging, the JMC attracts more and more loyal attendees who remain engaged, in large part, by the authenticity of the offering. The venues and topics have evolved as the
The “Reggae Mekka Jamaica: Vision 2020” JMC conference will be held in Kingston, Jamaica, February 13th-16th, 2020. It will feature increased showcases, new partnerships and
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People across the reggae industry attend the JMC. Pictured here (l to r): Lloyd Stanbury (entertainment attorney), Karen Mason (JMC managing member, music industry consultant), Tessanne Chin (international recording artist) and Kwasi Bonsu (entertainment attorney, JMC founder). Photo courtesy of the Jamaican Music Conference
contests, and an opportunity for the industry to shape the programming. Until then, 2019 will see Team JMC Summit Series visiting California, Chicago, Toronto, Atlanta, Poland, Washington D.C., New York City, Ghana, Florida and Montego Bay, Jamaica, to connect with the industry and introduce the JMC internship program in two North American universities. The JMC is a rarity in the world a reggae – it’s a safe space for newcomers and the “who’s who” of reggae to connect and learn from each other. It rebuilds trust, one talk at a time, and calls on us all to be more accountable for the part we play as custodians of the Jamaican music culture. For more information on JMC 2020 or the JMC 2019 Summit Series please head to www.jamaicamusicconference.com or email info@jamaicamusicconference.com 52
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Reggae Festivals Go Green By Jessica Farthing and Irene Johnson
Photo courtesy of the Great Blue Heron Music Festival
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ith thousands of music-lovers attending reggae festivals, activists have long worried about the environmental impact. From hundreds, to hundreds of thousands of guests, festivals of every size create many forms of waste, stress the environmental infrastructure of an area, require mass amounts of energy, increase emission levels and pose potential damage to the festival site. Reggae festivals across the globe have implemented similar programs – recycling, reducing single-use plastic products, using compostable materials, providing reusable water bottles, hosting educational forums, requiring pack-in/pack-out policies, offsetting carbon emissions and more – to shrink their footprint on the environment. Here, we touch on just a few stand-out examples from the growing movement toward producing a reggae festival with green initiatives. The Tmrw.Tday Cultural Fest in Negril, Jamaica, strives to reduce single-use plastics by 95% during the festival, and challenges companies in Jamaica and worldwide to do the same. Across the globe, the Sunrise Reggae & Ska Festival in Burtenbach, Germany, implements a variety of initiatives – its more unique efforts
One initiative of the Sunrise Reggae & Ska Festival is ecologically sustainable öKlo mobile toilets that do not require chemicals or water connection. Photo courtesy of the Sunrise Reggae & Ska Festival
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include emailed tickets with an option to pay a fixed amount to compensate CO2 emissions for a printed ticket, using ecologically sustainable öKlo mobile toilets that do not require chemicals or water connection, and motivating campers to take their garbage to waste stations with rewards like CDs, totes and posters. In Marcola, OR, the Northwest World Reggae Festival promotes reduce-reuse-recycle policies; encourages attendees to “leave no trace” to keep the festival site pristine; powers the stage, site and trucks with biodiesel fuel; requires all food booths to be organic and sourced locally as much as possible; composts all food waste and more. Celebrating their 33rd anniversary this year, the JazzReggae Festival at UCLA has a Sustainability Team devoted to keeping the festival green and has garnered national recognition from VH1 and DoSomething.org as one of the Top 4 most sustainable music festivals. There is a strong educational component to all JazzReggae’s sustainable initiatives, striving to bring the community and the college together through music and inform them through action. In addition to providing free water-filling stations to decrease single-use plastics, they are working toward a goal of zero-waste for the event, eliminating even the smallest trash like sauce packets and requiring food vendors to use cutlery that can be recycled or composted. Taking their recycling effort a step further, JazzReggae partners with Biotane Fuels to pick up leftover cooking oil to convert to biodiesel. Unique cell phone charging stations can also be found at the festival. Stationary bicycles provided by Rock the Bike generate power while pedaled, allowing people at the concert to charge their own phone without adding to the festival’s power usage. (The bikes are also used to spin a frisbee with paint, making an artistic
JazzReggae Festival attendees utilize Rock the Bike stations to generate power and charge their phones without adding to the festival’s power usage. Photo courtesy of JazzReggae Fest
take-home souvenir to remind concert-goers to bridge the green ideas into life outside of the festival.) To avoid damage to the grassy lawn area of the Sunset Recreation Center where the event is held, the JazzReggae Festival features a special stage supported by containers of water instead of the normal concrete, which can destroy plant life and field surfaces. The water is simply let out into the field at the end of the event, benefitting the plants and leaving the reusable containers empty for the next concert. The Levitate Music and Arts Festival in Marshfield, MA, has made green initiatives a priority during their three-day event. Part of the festival’s mission is to support the local community by using regional vendors whenever possible. To eliminate waste, the organizers put a multi-faceted plan into effect and then had an environmental impact
study done to analyze their results. Part of their plan includes partnering with Trip Zero to make environmentally responsible accommodations available for fans. After each booking, Trip Zero calculates the carbon footprint of the travel, then donates to reforestation efforts and green energy projects around the world to offset the damage. Through their bookings in 2018, Trip Zero offset 56 tons of carbon dioxide, which is the equivalent of taking 12 cars off the road for a full year. In an effort to promote sustainable living, teach germination lessons and educate festival goers about organic, chemical-free gardening methods, Levitate hosts the Germination Station with help from Logic Landscape and their friends at Neptune’s Harvest. In 2018, they gave away over 1,000 organic tomato plants, as well as organic fertilizer samples, to encourage these practices at home.
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The steel pints at the Levitate Music and Arts Festival greatly reduce its use of plastic cups. Photo courtesy of the Levitate Music and Arts Festival
To help reduce single-use products, Levitate partners with REVERB to provide water stations throughout the concert area, and festival attendees are urged to bring their own bottle or purchase a branded one at the concert. By counting the water fill-ups and amount of water dispensed, it is estimated that Levitate saved almost 28,000 single-use plastic bottles from being used in 2018. Purchase of the festival’s steel pint is also encouraged to cut down on plastic cups. This year, Levitate is also partnering with Everybody Water to provide fully recyclable, eco-friendly packaged water all weekend. When the music is over, the green efforts don’t end. To help the infrastructure of Marshfield, the garbage created at Levitate is sorted for recycling and composting. With help from Garbage to Garden, the festival was able to divert 210 yards of recycling materials and 30 yards of compostable materials away from the landfill in 2018. 60
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The California Roots Music & Arts Festival in Monterey, CA, was nominated in 2017 and 2018 for the FestX Award for “Outstanding Green Event,” and works with various greening partners to implement and achieve its environmental initiatives. From partnering with Blue Strike Environmental to conserve natural resources and reduce waste, emissions and associated environmental impacts – their waste diversion rate increased from 41% in 2017 to 81% in 2018 – to working with Green Pedal Couriers to encourage alternate transportation to the festival by providing free and secure bike and skateboard valet – the efforts of “Cali Roots” reach into every aspect of the festival. Like Levitate, Cali Roots works with Trip Zero to offset its travel carbon footprint, and since 2015, has offset 7,623,473 pounds of carbon through various certified carbon-offset projects around the world. To positively impact its environmental
reach beyond the festival itself, Cali Roots partners with the Redwood Forest Foundation to plant two redwood trees for every Redwood VIP ticket sold, and has pledged to plant over 2,400 redwood seedlings in 2019. To reduce plastic waste, the festival also works with REVERB and Nalgene to offer music fans an alternative to single-use bottles – REVERB brings the water stations and staff to run the program and Nalgene provides custom-made reusable bottles. In the last four years, Cali Roots has diverted over 158,000 plastic bottles from the landfill, and through its own Steel Pint Program implemented in 2013, close to 250,000 plastic cups have been diverted as well. Festival Co-Producer Dan Sheehan shares, “My family and I reside in the Monterey area and we value the environment not only for us, but for our entire community and our children. Cali Roots has a responsibility to educate and sustain an environment for future generations of festival goers, fans and talent.” In Ithaca, NY, the reggae community surrounds a precious natural resource, Cayuga Lake. When he created Ithaca Reggae Fest in 2017, Michael Mazza knew a concert was a great fit for the town and was inspired to combine the festival with efforts to protect and restore the lake, even planning the concert to take place by the water. The concert has a strict no-plastic policy, down to their silverware and plates, with every vendor. Volunteers staff the refuse area, giving information on what is truly recyclable or compostable, helping items avoid the landfill. A primary focus of the festival is the Education Village, where a group of dedicated water protectors, scientists and community activists join to discuss and educate about the protection and restoration of the health of Cayuga Lake.
To reduce plastic waste, Cali Roots works with REVERB and Nalgene to offer festival goers an alternative to single-use bottles. Photo courtesy of the California Roots Music & Arts Festival
Families are encouraged to attend, with tickets free for those under 16. Mazza hopes that once inside, they will utilize the Youth Village, a hub for education about the local environment. “We can preach about being stewards of the lake, but it’s the youth that will carry that on after us.” In its first two years, the festival has been able to invest in the future by raising over $10,000 in donations to local water-focused groups, including a $7,500 matching donation towards the Discover Cayuga Lake - Floating Classroom – a boat that takes students out on the water with teachers to help them understand the environment and its needs. The Great Blue Heron Music Festival in Sherman, NY, also promotes environmental education, sustainability and stewardship. Its Earth Stewardship Tent hosts a variety of earthcentered activities, speakers and informational
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tables to educate attendees and promote stewardship in a personal and sustainable manner.
Cali Roots partners with the Redwood Forest Foundation to plant two redwood trees for every Redwood VIP ticket sold. Photo courtesy of the California Roots Music & Arts Festival
Out of the festival’s many green initiatives, recycling and trash management is prominent throughout the festival. Its “Rainbow Recycling” program utilizes over 60 colorful recycling stations to separate recyclables, compost and trash. What’s more, attendees are asked to take the Rainbow Recycling Reduction Pledge: “I pledge to be a part of Rainbow Recycling by making an effort to REDUCE what I bring, use and leave at the Great Blue Heron Music Festival, and also by leaving my campsite the way I found it, so I REDUCE my impact on nature. I will not leave trash on the ground.” The Blue Heron family believes this helps set the tone for the festival – treating the festival grounds, each other and the Earth with respect and stewardship.
Kids at the Ithaca Reggae Fest learn how clouds work in the festival’s Youth Village. Photo by Allison Usavage
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The Rainbow Recycling program at the Great Blue Heron Music Festival separates recyclables, compost and trash using over 60 colorful recycling stations and a dedicated crew. Photo courtesy of the Great Blue Heron Music Festival
Then there’s the San Diego Reggae Vegan Fest and L.A. Reggae Vegan Fest, which are the first and only 100% vegan reggae festivals, true to the Ital roots of reggae. Their mission is to encourage people to “Go Vegan” and save the planet. Bob Linden, organizer of these events and president of Go Vegan Radio, urges, “Only eating what grows from the earth is sustainable. The only solution to environmental devastation that includes climate change, deforestation, resource depletion, eutrophication, water shortage, soil erosion, air and water pollution, habitat destruction, desertification, ocean depletion and mass extinction, is a population shift to a vegan lifestyle.” The earth is changing rapidly as we use its resources. With such waste and impact associated with large events in the past, reggae festivals worldwide are increasingly part of the 64
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charge to respect the environment. Do your part to add momentum to this movement – demand green services at your favorite reggae festivals and embrace environmentally friendly practices in your daily life. Jessica Farthing is a freelance journalist, often found writing her articles around her three kids, husband, cat, two dogs and a horse. Reggae music has brought calm and creativity to her life and she listens every day when she works. She can be found online at her writer’s site – www.jessicafarthing.com – or in real life, somewhere in the ocean. As the editor of the Reggae Festival Guide, Irene Johnson is thrilled to see so many reggae festivals evolving with environmentally conscious objectives in mind!
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Overstanding Reggae and the Grammys
An Interview with Cristy Barber
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By Joana LeRoque
ince 1985, there has been just one category at the Grammys for the reggae genre – Best Reggae Album. Black Uhuru won that very first reggae Grammy with the Anthem album. The Grammy for Best Reggae Album in 2019 went to Sting and Shaggy for their collaborative album 44/876. While other popular genres – pop, rock, country, etc. – have multiple award categories, how is it that reggae has just the one? What can be done to secure and further reggae’s place in such award ceremonies?
As a community, it would be so beneficial to have more overstanding of the processes and reggae representation in the Grammy sphere. We had many questions regarding what the steps would be to getting more artists and their music submitted and nominated, so Reggae Festival Guide reasoned with industry veteran, Grammy-nominated producer Cristy Barber. Her experience includes working for seven record labels and serving on the Reggae Grammy Screening Committee for 12 years, plus producing many albums and festivals. She has been passionate about this very topic for many years and generously shared information with us about reggae’s current relationship with the Grammys, and we share it with you… 66
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Cristy Barber has been involved with the Recording Academy for years and started her “Voter Awareness Campaign” back in 2003.
Q: Cristy, why don’t they televise the Reggae Grammy Award during the main broadcast? A: There are nearly 100 awards given out and only 9-12 are on air; those are the big ones like “Record of The Year” and “Song of The Year.” But…the pre-show is amazing, and everyone can watch online and stream it. It’s a great event to watch, the link is accessible the day that the Grammys air on Grammy.com, so on January 26, 2020, log on! This year, Shaggy was the host of the pre-show and it was a really good look for our genre. There are a lot of other genres trying to get that look and we [reggae] got it this year, so we’re making strides. Q: When can reggae artists submit their albums for Grammy consideration? A: The date has been moved up by a month compared to prior years. If you want to be
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THE GRAMMY AWARD PROCESS Step 1: Recordings Submitted
Step 2: Screening Committee Reviews & Verifies Submissions
Step 3: 1st Ballot VOTE – Includes All Verified Submissions
Step 4: 2nd Ballot VOTE – Reflects the Top 5 from 1st Ballot Voting
Step 5: Winner is Announced During Grammy Awards Premiere Ceremony on Grammy.com
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eligible for the 2020 Grammys, the album must have been released between October 1, 2018 – August 31, 2019 for the Grammy Awards airing in January 2020. [To clarify: if your album comes out September 1, 2019 – a day after the qualifying period – you cannot submit for the 2020 Grammys; it would be eligible for the 2021 Grammys.]
Q: Who decides which albums qualify and make it onto the ballots?
Q: What’s the process for submitting an album to the Recording Academy?
The Screening Committee usually consists of that genre’s tastemakers: booking agents, managers, record labels, publicists, journalists, etc. Nine times out of 10, the people on the committee aren’t even voters. They don’t determine who the five nominees are, or who wins. What they do determine is that the submissions are eligible according to the Academy’s bylaws, which means: making sure it was released within the qualifying time period, that it is a new recording and that it fits the rules of the genre. The guidelines are set by the Recording Academy, so the people appointed in that room (screening committee), that’s the limit to the power they have.
A: The project has to be released in the U.S. and be an official release. The first round of submissions (when people submit their projects to the Recording Academy for consideration) starts on June 24, 2019. In order to submit your project to the Recording Academy, you must be a voting member, member of the Academy, or a record label that is recognized by the Academy. I am a voting member and able to submit on behalf of artists. Q: Why isn’t there a separate category for dancehall music? * A: We will probably never see a second category for the simple fact that categories tend to be taken away, not given. We are lucky to have one category. While our category isn’t in peril, we can’t express it enough that we need to make sure that the submissions are there. This is why it’s of the utmost importance for artists and labels to keep submitting reggae albums to the Academy every year! If we have several years of low submissions, our category can get deleted. *Note: Cristy Barber has been involved with the Academy for years and started her “Voter Awareness Campaign” back in 2003. For years, even prior to her involvement, petitions for a second category – dancehall — were submitted to no avail.
A: The Reggae Screening Committee is the first step. Every genre at the Recording Academy has a screening committee consisting of members who are considered experts in that field, appointed by the Recording Academy. All they do is review the submissions that were submitted that year.
The good news is: 90% of the time, albums that have been submitted through the reggae category will make it through the submission process and will be on the first ballot. The only time that it won’t go through to the first ballot is when certain aspects of the album are in question. For example, if there’s an album by a reggae artist, but it is mostly an alternative rock album. If it doesn’t sound like reggae and the major portion of the recording isn’t reggae, then it may possibly be bumped out for that year. Very rarely does that happen though, and I repeat: almost all of the submissions make it through the submission process. When a record is taken out of the category that it was submitted to for that year, the screening
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committees suggest where to put it. In the above-mentioned example, the committee may suggest re-submission under a different category that fits, such as the Rock Music Category. Q: Who gets to vote? A: The people that are able to vote on the first and second ballots (which determine the five nominees and ultimately the winners) are voting members of the Academy that have paid their dues and have their creative credentials. Q: How can reggae artists, producers, etc. become voting members? A: Just recently the membership bylaws changed. In the past it was much easier to become a member of the Recording Academy. Now you need at least 12 commercially distributed credits (six will be accepted if physically distributed) from within the past five years. Who the Recording Academy deems creative includes artists, producers, songwriters, musicians, video directors, video producers, liner note writers, album cover designers, etc. More detailed information about credential documentation requirements can be found on the Grammy website. Q: How does a “creative” apply to become a voting member? A: You have to apply, and there are several steps to it, including two referrals, a panel review and obtaining the invitation. Before, if you had six creative credentials or were a nominee or a winner, you would always be a member. Now, under the new bylaws, even if you’re a member, you have to keep your credentials up. If you don’t have enough credits during a five-year period, you could lose your voting status. 70
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It’s made it very difficult. They are reviewing everything for artists now. They’re considering artist’s touring schedule and social media numbers, and I am not a fan of it. I think it makes it very difficult and a little unfair given that we (the reggae genre) operate in an independent artist world. Most reggae artists aren’t signed to major labels, so now they really have to fend for themselves to prove to the Academy that they are deemed worthy enough to be a voting member. Membership dues [$100] must be paid every year in order to stay in good standing and be able to vote. Q: What isn’t considered as creative credit? A: An executive producer isn’t considered “creative” because that’s considered the person who’s the “money person” behind the project. Also, marketing and promotional people, journalists and managers are not considered “creatives,” so they don’t have the credentials in order to be voting members. It has to be the people that are really part of the album process. Q: How can artists make sure their credits are being recorded correctly for the accreditation requirements, as in, what qualifies potential members? A: The Academy only recognize credits on CD booklets and allmusic.com (an online company that records your credits). All this info is on Grammy.com – just go there and look under “Membership” – it breaks it all down pertaining to credits, application process, etc. I really encourage our genre to submit their albums and become voting members. The key is in the submissions. In simplified terms, more submissions signify that perhaps more artists, music and categories should be awarded for the genre. Dwindling submissions can lead to the removal of a category entirely.
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Reggae Grammy Wi W 1985 Black Uhuru – Anthem • Jimmy Cliff – Reggae Nights • Steel Pulse – Steppin’ Out • Peter Tosh – Captured Live • Yellowman – King Yellowman 1986 Jimmy Cliff – Cliff Hanger • Blue Riddim Band – Alive in Jamaica • Burning Spear – Resistance • Judy Mowatt – Working Wonders • Ziggy Marley and the Melody Makers – Play the Game Right
1991 Bunny Wailer – Time Will Tell: A Tribute to Bob Marley • Black Uhuru – Now • Burning Spear – Mek We Dweet • Toots & the Maytals – An Hour Live • Andrew Tosh – Make Place for the Youth
1997 Bunny Wailer – Hall of Fame: A Tribute to Bob Marley’s 50th Anniversary • Gregory Isaacs – Mr. Cool • Maxi Priest – Man with the Fun • Sister Carol – Lyrically Potent • The Skatalites – Greetings from Skamania
1992 Shabba Ranks – As Raw As Ever • Black Uhuru – Iron Storm • Bunny Wailer – Gumption • Rita Marley – We Must Carry On • Steel Pulse – Victims • Ziggy Marley and the Melody Makers – Jahmekya
1998 Ziggy Marley and the Melody Makers – Fallen Is Babylon • Aswad – Big Up • Burning Spear – Appointment with His Majesty • Steel Pulse – Rage and Fury • Yellowman – Freedom of Speech
1987 Steel Pulse – Babylon the Bandit • Black Uhuru – Brutal • Jimmy Cliff – Club Paradise 1993 Shabba Ranks – X-tra Naked • Linton Kwesi Johnson and the • Jimmy Cliff – Breakout Dub Band – Linton Kwesi Johnson • Steel Pulse – Rastafari in Concert with the Dub Band Centennial: Live in Paris – Elysee • The Itals – Rasta Philosophy Montmartre • The Wailing Souls – All Over the 1988 Peter Tosh – No Nuclear War World • Black Uhuru – Brutal Dub • Third World – Committed • Burning Spear – People of the World 1994 Inner Circle – Bad Boys • Third World – Hold On to Love • Black Uhuru – Mystical Truth • UB40 – UB40 CCCP: Live in • Burning Spear – The World Moscow Should Know • Maxi Priest – Fe Real 1989 Ziggy Marley and the Melody • Ziggy Marley and the Melody Makers – Conscious Party Makers – Joy and Blues • Jimmy Cliff – Hanging Fire • Toots – Toots in Memphis 1995 Bunny Wailer – • UB40 – UB40 Crucial! Roots Classics • UB40 and Chrissie Hynde – • Aswad – Rise and Shine Breakfast in Bed • Black Uhuru – Strongg • Dennis Brown – Light My Fire 1990 Ziggy Marley and the Melody • Inner Circle – Reggae Dancer Makers – One Bright Day • Various artists – Stir It Up • Bunny Wailer – Liberation • Burning Spear – Live in Paris 1996 Shaggy – Boombastic Zenith ‘88 • Burning Spear – Rasta Business • Third World – Serious Business • The Skatalites – Hi-Bop Ska! The • Wailers Band – I.D. 30th Anniversary Recording • Third World – Live It Up • Ziggy Marley and the Melody Makers – Free Like We Want 2 B
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1999 Sly and Robbie – Friends • Buju Banton – Inna Heights • Beenie Man – Many Moods of Moses • The Wailing Souls – Psychedelic Souls • Toots & the Maytals – Ska Father
2000 Burning Spear – Calling Rastafari • Aswad – Roots Revival • Beenie Man – The Doctor • Steel Pulse – Living Legacy • Third World – Generation Coming 2001 Beenie Man – Art and Life • Pato Banton – Life Is a Miracle • Dennis Brown – Let Me Be the One • Gregory Isaacs – Private & Confidential • The Wailing Souls – Equality
2002 Damian Marley – Halfway Tree • Beres Hammond – Music Is Life • Luciano – A New Day • Ky-Mani Marley – Many More Roads • Various artists – Island Warriors
inners & Nominees Winners 2003 Lee “Scratch” Perry – Jamaican E.T. 2009 Burning Spear – Jah Is Real • Alpha Blondy – Merci • Elephant Man – Let’s Get Physical • Bounty Killer – Ghetto • Heavy D – Vibes Dictionary: The Mystery • Lee “Scratch” Perry – • Capleton – Still Blazin’ Repentance • Freddie McGregor – • Shaggy – Intoxication Anything for You • Sly and Robbie – Amazing 2004 Sean Paul – Dutty Rock • Buju Banton – Friends for Life • Burning Spear – Free Man • Third World – Ain’t Givin’ Up • Wayne Wonder – No Holding Back
2014 Ziggy Marley – In Concert • Beres Hammond – One Love, One Life • Sizzla – The Messiah • Sly & Robbie and the Jam Masters - Reggae Connection • Snoop Lion – Reincarnated
2010 Stephen Marley Mind Control – 2015 Ziggy Marley – Fly Rasta Acoustic • Lee Scratch Perry – • Buju Banton – Rasta Got Soul Back on the Controls • Gregory Isaacs – Brand New Me • Sean Paul – Full Frequency • Julian Marley – Awake • Shaggy – Out of Many, One Music • Sean Paul – Imperial Blaze • Sly & Robbie and Spicy Chocolate – The Reggae Power 2005 Toots & the Maytals – True Love 2011 Buju Banton – Before the Dawn • SOJA – Amid the Noise and • Jimmy Cliff – Black Magic • Gregory Isaacs and King Isaac – the Haste • Sly and Robbie – The Dub Isaacs Meets Isaac Revolutionaries • Lee “Scratch” Perry – Revelation 2016 Morgan Heritage – • Steel Pulse – African Holocaust • Bob Sinclar and Sly and Robbie Strictly Roots • Various artists – Def Jamaica – Made in Jamaica • Rocky Dawuni – Branches of the • Sly and Robbie and the Family Same Tree 2006 Damian Marley – Taxi – One Pop Reggae + • Jah Cure – The Cure Welcome to Jamrock • Andrew Tosh – Legacy: An • Barrington Levy – Acousticalevy • Burning Spear – Our Music Acoustic Tribute to Peter Tosh • Luciano – Zion Awake • Sean Paul – The Trinity • Shaggy – Clothes Drop 2012 Stephen Marley – Revelation 2017 Ziggy Marley – Ziggy Marley • Third World – Black Gold & Green Pt. 1 – The Root of Life • Sly & Robbie Presents Devin Di • Monty Alexander – HarlemDakta and JL – Reggae for Her 2007 Ziggy Marley – Kingston Express Live! • J Boog – Rose Petals Love Is My Religion • Israel Vibration – Reggae Knights • Raging Fyah – Everlasting • Buju Banton – Too Bad • Ziggy Marley – Wild and Free • Rebelution – Falling Into Place • Matisyahu – Youth • Shaggy – Summer in Kingston • SOJA – Live in Virginia • Sly and Robbie – Rhythm Doubles 2013 Jimmy Cliff – Rebirth 2018 Damian “Jr. Gong” Marley – • UB40 – Who You Fighting For? • The Original Wailers – Miracle Stony Hill • Sean Paul – Tomahawk Technique • Chronixx – Chronology 2008 Stephen Marley – Mind Control • Sly & Robbie and the Jam • Common Kings – Lost in Paradise • Burning Spear – The Burning Masters – New Legend – Jamaica • J Boog – Wash House Ting Spear Experience 50th Edition • Morgan Heritage – Avrakedabra • Lee “Scratch” Perry – The End of • Toots & The Maytals – Reggae an American Dream Got Soul: Unplugged on 2019 Sting & Shaggy – 44/876 • Sly and Robbie and the Taxi Strawberry Hill • Black Uhuru – As The World Turns Gang – Anniversary • Etana – Reggae Forever • Toots & the Maytals – • Ziggy Marley – Rebellion Rises Light Your Light • Protoje – A Matter of Time
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I can’t express it enough; I’ve been obsessed with the Recording Academy since I was 10 years old! In doing research and speaking with Cristy, we at the Reggae Festival Guide, have come to understand the problem is that the people who truly represent reggae are not represented in meaningful numbers, meaning that they do not vote or maintain their membership qualifications, like paying yearly dues. Instead, some of the people who make submissions and vote in the reggae category may not be entirely aware of what’s going on in the reggae industry. Historically, they have tended towards voting based more on name recognition or their own favorites. The solution: educate artists and music professionals in the reggae industry about how to impact the process, and encourage them to become voting members of the Recording Academy and keep submitting reggae albums. This is exactly what Cristy Barber has advocated through her “Voter Awareness Campaign,” and we enthusiastically support her! If you are an artist or music professional in the reggae music industry, go APPLY to become a voting member of the Recording Academy! Perhaps we can increase the diversity of reggae nominees/ winners and heighten the global awareness and visibility of our beloved authentic reggae music. It’s just one way to impact change and keep reggae moving forward! Joana LeRoque has been listening to reggae most of her life, and firmly believes it is a healing for the world. She fuljoys being part of the Reggae Festival Guide team. She joyously supports artists and festivals as a publicist, social media manager, consultant and all-around advocate for spreading the good messages in reggae music worldwide.
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Inside R
The 2019 Inside Reggae group pictured here with Sizzla in Judgment Yard. Elation and gratitude abounding! Photo by Roslyn Parker
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Hosted by Sizzla, the 2019 Inside Reggae group played in Judgment Yard. It was a full house, as people mixed in-and-out on the lead vocal mic, with lots of harmony sung right into the room… Meanwhile, Sizzle was running cables, recording the whole thing! Photo by Roslyn Parker
By Anthony Postman and Matt Jenson
into the local scene, but who may actually be responsible for creating the scene – those connections MAKE the trip!
n my years since leaving the editor’s desk at the Reggae Festival Guide, I’ve been working hard in my master-calling as a musician, building my catalog up to 30+ songs and preparing my debut album First Light. Over the years, I’ve still maintained traveling to far places like Bali, Mount Everest and Nepal, to name a few! If you’re a musician, and one who tours at all, hopefully your love of travel is commensurate with your love of music. And me, I’m always seeking opportunities for my music, my travel and perhaps most importantly, for my learning.
Flash-forward to early 2019. Arriving to my inbox: the latest email from my amazing friend, the founder and leader of the “Life of Bob Marley” program and ensemble at Berklee School of Music, Matt Jenson. I was with Matt in 2009 in Hawaii, in his immersive Reggae School program, which not only taught reggae music to ensemble players, but also presented the history and culture of reggae, with the incomparable reggae Don, Roger Steffens, and archetypal builder of the St. Croix sound, legendary journeyman guitarist Tuff Lion.
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And I KNOW that those of us mentioned so far – the editor, the writer, the historian, the professor/ lecturer/presenter, the journey man, the builder – would all agree that Reggae’s historical, social,
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Legendary producer Bobby Digital and Inside Reggae principals Matt "Professor” Jenson and RASlyn Parker. Photo courtesy of Roslyn Parker
cultural and spiritual seeds and roots are an absolute must in the presentation of reggae in its fullness. A couple months prior to this latest email from Matt, I had seen an amazing presentation he did with legendary seasoned musicians Tuff Lion, Grub Cooper and others. Again, here was Matt Jenson presenting reggae in its fullness, combining musical technique and practices, blended with history, culture and some Rastafari spirituality. Amazing! ...So, I opened that email from Matt Jenson to see his latest offering: an experiential musical journey – right to the heart of the reggae and Jamaican music industry, right to the heart of the Rastafari spiritual movement that was instrumental in the birth of reggae, and right by doing good, with an outreach component working with school children in Kingston – I was
sold. I signed up immediately, the first to join. All in, and set to go: INSIDE REGGAE. The Inside Reggae Experience Inside Reggae travels to the heart of AfroJamaican reggae music with Maroghini and Matt Jenson in conjunction with Travel To Do Good. It’s a trip that is part academic musicological study, part socio-political discussion group, part transcendent drum circle and part jam session and dance party! If Jamaican music has crawled into your bloodstream with its earth-shattering drum and bass riddim, its politically and spiritually driving messages of revolution and liberation, and its power to jettison you directly to a higher state of consciousness, then this cultural-musical immersion trip will satisfy your yearning for an even deeper, visceral understanding of Afro-Jamaican reggae music.
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2019 Inaugural Participant Testimonials “Every experience was a highlight in some form or another, but for me, the most gripping experiences were the power of the drum circles with regard to never losing connection to homeland and ancestry, the chilling history of ‘enslaved’ people, seeing Maroon culture up close, the beauty of resiliency in people, and the warmth and identity of the Jamaican people forged out of many.” “As a non-musician it was an absolute privilege to be traveling in such a circle of talented musicians. I felt like the whole journey was guided by the hand of the Almighty, with the human help of the I-Threes! Most heartfelt thanks to all our guides for shepherding such an eclectic bunch of personalities through a life-changing adventure.” “I got to play Sizzla’s bass!! He was setting me up just like an intent, focused soundman, running cables to set up his amp for me…CRAZEE! And beyond blessed. As a fan; aficionado; long-time bassist, guitarist and keyboardist in reggae bands; music teacher for 22+ years; and having been steeped in the reggae music industry as an editor, writer, photographer and radio host for almost as long, I knew the Inside Reggae trip was made for me and would just be a complete mind-blower. But moreover, as a Rastaman and emerging artist, I can only say the trip FAR exceeded any expectations I had! There are experiences and reasonings that I will reflect upon and cherish for a lifetime, connections from my group that will be lifelong friendships, and connections in Jamaica that have already been, and continue to be, very fruitful in my personal and professional life.”
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This cultural immersion experience is ideally suited for musicians (both professional and non-professional) and non-musicians who have a deep affinity for the study of music from the perspective of a humble witness to the culture from which the music originated. Jamaican master percussionist Maroghini and keyboardist/songwriter/professor Matt Jenson guided us through the streets of Kingston, streets full of reggae history and paintings of reggae’s icons. Throughout the bustling city. Later in the trip, the group moved to the lush Portland coast, “Jamaica’s Jamaica,” for a more relaxing beat and a true taste of the island’s Natural Mystic. From the beginning, we were injected directly into local experiences with our contacts and guides, which in Jamaica, meant going right to the heart of the reggae industry, as it exists in its fullness today. We started high in the hills above Kingston, at the original Rastafari encampment, Pinnacle, established by Leonard Howell in 1940. For the Rasta people in our group, this was truly a sacred spot to visit! As if on our own mystical voyage, we found ourselves that evening in the yard of the historical Nyahbinghi drumming group, The Mystic Revelation of Rastafari. We breathed, drummed and danced together underneath the dusky Kingston skies as the group prepared for the Rastafari drumming and chants that would open Bob Marley’s 75th birthday celebration later that week. And our beat did pump us right to the heart of the reggae industry, when the next day, we found ourselves hosted by none other than one of Jamaica’s biggest sellers of all time. He was generous not only to host us, but to set us up to play in his studio (with his crew and company!) – none other than “Dada” himself: Sizzla!
Participant Casey Kalmenson with Jessie Ripoll Primary School youth. Photo by Roslyn Parker
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Natives to Jamaica’s land, Maroons perform dance and drumming (with Island Reggae’s Maroghini, in teal shirt). Photo by Roslyn Parker
We Inside Reggae musicians rocked hours of riddims with Sizzla’s Judgment Yard crew, for an experience we will never forget. Then, not only did we sit for hours with Sizzla, but the very next night we were on to see, sit and hear master tapes with one of the legendary producers (who had produced some of Sizzla’s biggest hits): Bobby Digital. Bobby Digital helped create the sound of modern reggae and birthed reggaeton, which is massive throughout Latin America. And of course, one of the biggest highlights was being right at Bob Marley’s Kingston residence at 56 Hope Road to celebrate The King of Reggae’s 75th birthday. The day was filled with performances from big headliners like Richie Spice and Koffee, but it was in the performances of the children from the many Kingston school groups where one could clearly see the hope, the resilience and the enduring legacy of Bob Marley’s music. His message is alive and well! As we wound up into the hills moving towards the idyllic Boston Bay, we stopped under misty 84
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skies to take in local drumming and ceremony from the Kumina tradition. Though we heard drums and rhythms played differently than much of what we usually hear in reggae, NONE of us were standing still! At Great Huts in Boston Bay, we all got to live amongst African art, sculpture and hut-chitecture as things slowed to what most might consider a lil’ more “Jamaican Time” – where we had time to write, reflect, reason and play more music together as a group of new friends – as “Reggaeites” – brought together by Inside Reggae. The Roots of Inside Reggae Where did it all get started? Founders Matt Jenson and Maroghini collaborated with Roslyn Parker at Travel To Do Good to make Inside Reggae possible. Matt Jenson grew up in rural New Hampshire, and was guided by a deep spiritual connection communicated by the simplicity, beauty and truth of nature. As a child, he fell in love with
the musical styles of the African diaspora: jazz, blues, Afro-Latin and reggae, leading him to complete a master’s degree in jazz studies at the New England Conservatory of Music (Boston) and many immersive trips to areas where these styles originated – most notably, Jamaica, and to a lesser degree, Cuba. Today, Matt is a professor of piano at Berklee College of Music (Boston, MA) and creator of the “Music and Life of Bob Marley” class/ensemble. He currently leads his reggae group, The Liquid Revolution, and is touring with the internationally known reggae band Groundation. Included in Matt’s artistic persona is a deep concern for the socio-political-psychological-spiritual health of humanity and the planet, and the desire to help heal and transform through ecstatic grooveoriented music. He’s been delving deeply into music culture and is currently developing the reggae educational platform, “The Art of Reggae.” Inside Reggae is the brainchild of Maroghini who has years of experience leading culturally and musically inspiring trips to Jamaica with deep artistic and educational integrity. He is a master percussionist from Kingston, author, lecturer, sound therapist, vocalist and former percussionist for Jimmy Cliff. He has appeared on numerous studio recordings for a long list of internationally acclaimed musicians including Lauryn Hill, Eddy Murphy, Ziggy Marley and Stephen Marley, to name a few. Matt reminisces on their meeting, “I met Maroghini at the Windsor Mountain International Summer Camp in Windsor, NH, about eight years ago. I did not expect to show up at a camp in the middle of New Hampshire to hear some serious roots Nyahbinghi drumming going on! Maroghini and I became friends almost immediately and I hired him to play in my reggae/salsa party band, Combo Sabroso, to play gigs around Boston and
Anthony Postman: musician and author. Photo by Roslyn Parker
New Hampshire. I also hired him to play on my Dragonfly Taxi album with The Liquid Revolution. Whenever I go to Jamaica, he has turned into my main point person for all things on the INSIDE of the music scene in Kingston. We have developed a great musical and personal friendship, in large part because we are both more interested in the truth and depth of Jamaican music, as well as the spiritual aspect of it, rather than the flesh and skin part of it – we have respect for it all.” With a love of travel and passion for serving others, Roslyn Parker, Chief Experiences Officer for the Affinity Travel Group, was inspired to create Travel To Do Good. A signature program of the Affinity Travel Group, Travel To Do Good strives to curate travel experiences that make the world a better place. With the belief that the diversity of our world provides unique opportunities to share culture, history and values, each of their travel experiences bring travelers and local communities closer together. Travel To Do Good trips allow each traveler to totally immerse themselves in a destination, while giving back to local communities and learning from them at the same time – a perfect partner to make the concept of Inside Reggae a reality. For an experience of a lifetime, check out the next Inside Reggae journey, planned for January 31–February 10, 2020. Connect on Facebook and visit their page on TravelToDoGood.com for more information!
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Roslyn Parker with Rasta youth at Rastafari School of Vision, Blue Mountains, Jamaica. Photo by Matt Jenson
Travel To Do Good Transforming Lives Through The Power of Travel Roslyn Parker’s agency, Travel To Do Good is an essential partner for Inside Reggae. Travel To Do Good not only coordinates ground transport and accommodations for the 15-person group, but also helped create the interface for Inside Reggae to play and donate time – and drums! – to the Jessie Ripoll Primary School in Kingston for the 2019 trip. Anthony Postman: What is the mission of Travel To Do Good? Roslyn Parker: We specialize in short-term volunteer projects that enable the traveler to become engaged in the life, culture and people of a destination in a more profound and meaningful way. We work with program partners around the world. Participants can volunteer in a variety of projects including teaching, mentoring, coaching sports activities, building and construction, landscaping, painting, conducting workshops on the creative arts of dance, music and photography, and more. The possibilities are endless. AP: What is “experiential travel”? RP: Experiential travel can enhance your overall destination experience by connecting you to your destination in unique and special ways. The goal is to understand a country’s culture, people and 86
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history, and to connect you more deeply to all of that – more than a traditional tour would allow. It is traveling, not just to tick off sights from a list, but to immerse in every aspect of the destination: food, art, handicrafts, lifestyle, language. This means rather than only visiting the local art museum, you would also stop by a local artisan’s workshop for a class on a traditional technique. At Travel To Do Good, we specialize in experiential travel that focuses on education, cultural immersion, and sustainable, impactful volunteer experiences that give back to local communities. It is an incredibly rewarding way to travel! AP: What is beneficial about traveling with an organized group like this? RP: When participating in this form of travel and especially when traveling abroad, it is important to work with experienced professionals who are familiar with the project, understand the volunteer travel industry and, most importantly, know and understand the local destination. Our extensive network enables us to source program partners from around the world, including local entities with personnel who live and work in the destination’s communities. Traveling with an organized group can help you to avoid pitfalls, as well as create a mutually beneficial experience for both the traveler and the participatory non-profit organization. Connect on Facebook and visit their page on TravelToDoGood.com for more information! Former Reggae Festival Guide Editor-in-Chief and photographer Anthony Postman is a singer/ songwriter/performer currently based in the Reno/Tahoe foothills of Nevada, USA. He is planning the strategic release of his debut album First Light. New music and more at www.AnthonyPostman.com.
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Read
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By By Chuc Chu
Photo by depositphotos.com
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dings
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official push than the music industry’s effort a decade later, which succeeded in bringing reggae to the states.
Operation Jump Up: Jamaica's Campaign for a National Sound By Heather Augustyn (Half Pint Press, 2018) Heather Augustyn takes a unique approach to the first wave of Jamaican music to hit the U.S. in this fascinating history that peels back layers of myth and delves into a concentrated effort by the Jamaican government to introduce its music to America in 1964. That music was ska, and it did make inroads into America at the time through original recordings from Millie Small, Prince Buster and Byron Lee, as well as cover tunes by U.S.-based musicians eager to jump on the latest international dance craze. Drawing on Jamaican government documents and press reports, Augustyn fleshes out the story of the first attempt to bring Jamaican music and culture to the U.S., a very different and more 90
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For the most part, this is not a history of ska, born in the ghetto of Kingston, a subject the author has treated in two previous works. Instead, it is a story of the promotion and marketing of the music, first in “uptown” Jamaica and then in the United States, as a new style of music and as one of the “dance crazes” that swept the early ‘60s. As a result, the book deals more with the likes of anthropologist-turned-politician Edward Seaga, dancer-turned-manager Ronnie Nasralla and musician-turned-cultural icon Byron Lee and his band – than the musicians, artists and producers who created the music in the first place. Nonetheless, it’s a fascinating window into the earliest penetration of Jamaican music into upper-class Jamaican society, New York and eventually America at large. Some of the best parts come from the author’s own interviews, including a lengthy and engaging discussion with ska’s greatest crossover artist, Millie Small. This question of authenticity lies at the crux of the book, from the opening passage dealing with the often-argued subject of which artists and musicians “ought” to have represented Jamaica in New York in 1964, to the author’s conclusions about America’s appropriation of ska from the earliest days to the present. As someone who bought Millie Small’s single “My Boy Lollipop,” Annette Funicello’s cover of Byron Lee’s “Jamaican Ska” and American ska records put out in 1964 by Ray Romano, Lloyd Thaxton, “Mango” Jones, and Bobby Jay and The Hawks, as well as Byron Lee’s compilations and other earlier Jamaican ska records – and who also reviewed countless second and third wave ska releases in the "Reggae Update" column for Beat Magazine – I find this book extremely informative and revealing.
well as later reminisces. The band for the first tour included both Donald Kinsey and Chinna Smith on guitar, Junior Marvin took over lead guitar duties on their return visit, and he was later joined by Al Anderson (with Marley himself providing rhythm guitar throughout). Otherwise, the touring unit included the Barrett Brothers, Seeco Patterson, Tyrone Downie (and Earl “Wire” Lindo on the later shows) and the I-Threes, plus a large entourage. The combined descriptions of the shows from journalists, participants in the tour and audience members remind me of my own feelings about the live performances I personally experienced – that Bob Marley and the Wailers combined music, art, dance, spirituality, poetry, politics (of the social justice, not the divide-andconquer kind) and performance in a way many have tried and at which few have succeeded.
Babylon By Bus: Bob Marley & the Wailers Live and Up Close By Martin Huisman & Gijsbert Hanekroot (Colophon, 2018) Bob Marley and the Wailers spread reggae’s seed internationally with their recordings and live performances. It seems wherever he toured, an entire reggae scene evolved – in California, Hawaii, England, Australia and, as this book makes most evident, The Netherlands. As with Che Guevara, a handful of images have come to represent the man and his music, but many of the photographs taken by Dutch photographers are seen here for the first time. Additionally, the firsthand accounts of Marley’s shows in Amsterdam, The Hague, Rotterdam and Geleen, including interviews with journalists and stories from fans and people who worked for his label, make this version of Bob’s story unique.
As has often been the case, very little actual interview material survives – the chasm between Bob’s Patois and the Dutch journalists’English being too great at the time. But the impressions and particularly the photographs survive, making this an excellent documentation of a brief moment in time and place, shedding new light on the man and his touring milieu. In the words of tour manager Evert Wilbrink (one of many people interviewed for the book), “I think we witnessed something magical. Something that may never happen again.” And this was true wherever the band travelled – in Ireland, Japan, Gabon, New Zealand – seeds were sown that took root and are still today flowering in international movements of Rastafari and reggae.
The book gathers nearly everything written by Dutch journalists about Marley at the time, as
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may have been common in England, but were scarce or may have never been seen in the U.S. So much history is laid out, that even long-time consumers and fans have plenty to learn. Sideby-side with the history of the label, are insights into their competitors, as well as the myriad sub-labels Trojan issued that many might not realize all came from the same company.
The Story of Trojan Records By Laurence Cane-Honeysett (Eye Books, 2018) Joining illustrated label histories on Island and Virgin Records, this compendium is rich in historical vignettes, period photos and interview material documenting a label that arguably issued more classic-era reggae than any other. It goes back to the early roots of reggae – blue beat, ska, rock steady, lovers, roots and dub – right into the dancehall era, and includes records licensed from Jamaican producers at the dawn of its recording industry and those recorded in England’s homegrown reggae studios, featuring U.K. artists who migrated from Jamaica. It’s a deep and rich history that will help sort out some of the seminal figures and names you’ve seen on albums but never knew much about. Cane-Honeysett’s text is informative and engaging, and is supplemented by the stories of most of the surviving players told in their own voices – record jobbers, label heads (some who worked there for years and some who lasted as little as six weeks), art directors, A&R people and even a few artists who recorded for the label. The book is chock-full of cool graphics and original covers of releases that
Besides the visual feast, some amazing revelations are to be had along the way. The twists and turns of Trojan – from going bankrupt in the early ‘70s and changing hands several times, to more recent years being purchased by Sanctuary, which was itself purchased by Universal, who sold it to BMG – are told in the voices of the people who experienced the changes directly. Some of the long-rumored exploitation and corruption of the industry are freely admitted by those involved: people who were fired for setting up their own labels and licensing deals on the side, producers who were paid for product but never passed along any monies to the artists or musicians beyond the original recording stipend, and the innocent music lovers and purveyors who often paid a price for their passionate love of the music. Fans of early Jamaican music who first encountered some of their favorite music on this label will learn a lot from this fascinating history. Though the people who started this label are not the people who are running it now, it has managed to survive for 50 years by adapting to each new era. In the ‘80s and ‘90s, no one pumped out more CD box sets than Trojan, and few can match their vinyl reissue ratio today. The continued existence of this label is a tribute to the quality of Jamaican music and the spirit of innovation that inspires it. The Trojan catalog is still a major player when it comes to reggae reissues, and as Jamaican music continually builds upon the musical foundations laid so long ago, the music released on this label becomes more important as time goes on.
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familiar with them, helps, as do the introductions from Bartsch and his editor and the informative preface from reggae historian Noel Hawks. The photos themselves are marvelous, like a joke that grows more subtle with each telling, and notes from artists, record producers, graphic designers, label employees and the original photographers add valence and make for a very informative side-history that delves into the history of the music itself.
Covers: Retracing Reggae Record Sleeves in London By Alex Bartsch (One Love Books, 2018) Born in Long Beach – Southern California’s first film capital (in the silent days) – and hosting a radio show out of North Hollywood, I have a fondness for books that revisit sites where old movies were filmed. Some of these locations I pass quite often and it’s enjoyable to think of some of the great film-makers, from Buster Keaton to Billy Wilder, who worked there. Alex Bartsch has come up with a new twist on the concept with a book of photographs, in which he locates a place where a classic reggae album cover was photographed and holds up the cover to show you how it fits. It may sound nutty, but it makes for a very entertaining book, and I’m sure locating all these original sites was a gas! Being a record collector who has most of these records, or is at least more than moderately
The Marvellous Equations of the Dread: A Novel in Bass Riddim By Marcia Douglas (New Directions, 2018)
T
he “reggae novel” has a history all its own, from the straight-up storytelling of Michael Thelwell’s The Harder They Come to the
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surrealistic montage of Marlon James’ A Brief History of Seven Killings. In this engaging work, Marcia Douglas incorporates the jump-cuts of contemporary film, the subjective perspective that glues memory to emotion and the musical flow we’ve come to expect from works rooted in Jamaican culture and the African diaspora. There is truth contained in fiction, even when driven by what Ms. Douglas’ heroine Leenah would call “she-magination.” Jamaican music calls it “version.” Not novelistic in the sense of the works of Charles Dickens or Emily Bronte, this novel is episodic in the tradition of Claude McKay’s Banjo or Jean Toomer’s Cane, though it jumps through time in the manner of Kurt Vonnegut’s Slaughterhouse-Five. Like the magical realism of much great Latin American fiction, it is softly psychedelic and mytho-poetically structured, evoking impressions as it leaps from character to character, scene to scene, slowly drawing together loose threads as it rolls across space and time in the manner – and yet, not – of Laurence Sterne’s The Life and Opinions of Tristram Shandy, Gentleman or James Joyce’s Ulysses. The novel involves a journey and a quest that intermingles fictional characters with reallife personae, including Bob Marley, Marcus Garvey and Haile Selassie, in a way that might make some uncomfortable and put others at ease. The dream-like quality of much of the writing is balanced by a gritty grasp of reality that manifests the qualities that attract us to the natural mystic of reggae. Chuck Foster hosts Reggae Central on KPFK in L.A. and is the author of Roots Rock Reggae: An Oral History of Reggae Music From Ska To Dancehall (Billboard Books, 1999) and The Small Axe Guide To Rocksteady (Small Axe, 2009 revised 2016). Contact him at cfoster907@yahoo.com. 96
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Rudeboy: The Story of Trojan Records
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By Dan David
n the face of it, the story of a Londonbased Jamaican music specialist label certainly doesn’t seem a particularly compelling premise for an 85-minute documentary. Unless, that is, the label happens to be Trojan Records, arguably the most influential Black British record company of all time. Given the daunting task of effectively relating Trojan’s dramatic transformation from being a small, relatively insignificant enterprise, tucked away in unfashionable London N.W.10, into a major player on the international music scene, was Nicolas Jack Davies, a Grammy-nominated director, whose previous work included projects with Mumford & Sons, Coldplay, PJ Harvey and the Maccabees. A reggae fan since childhood, Davies fully understood and appreciated the challenge he and his team at Pulse Films faced, as he recently related: “When Pulse Films got the opportunity to create a film about Trojan Records, we were excited beyond belief. Trojan Records represents something very special to popular culture. We have all grown up with the records – whether we realize it or not, its records have provided the soundtrack to our lives for the last 50 years. The sheer volume and quality of the music released on the label is utterly astounding. Trojan is more than just a record label, it is a legend.”
Davies was also acutely aware that Trojan’s influence upon British mainstream society extended beyond mere records, adding, “our ambition was to make a film that shows how Trojan Records had been instrumental in creating the modern multicultural society that we live in today; a film about the origins and ongoing love affair between Jamaican and British youth culture that explores the power of music to break down cultural barriers and change lives, all told through the prism of one the most iconic record labels in modern musical history.” Although determined to pay due respect to Trojan’s legacy and those who had significantly contributed to its early history, he also appreciated that in order to create a captivating visual and aural experience that not only entertained, but also informed, he needed to weave together a variety of themes. He explained just how he set about achieving his ambitions: “The idea was to trace the impact of Trojan Records by placing it at the heart of a cultural revolution that unfolded in the council estates and shanty towns of the late 1960s and 1970s in two wildly different island cultures – Jamaica and the U.K. Twenty years after the ship the Empire Windrush brought the first wave of West Indian migrants to the U.K., racial tension began to simmer on the streets of Britain. But when Trojan was formed in 1968, it captured the sounds of an emerging post-colonial confidence in Jamaica in the form of ska, rock steady and reggae.
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These new sounds began to break out of West Indian communities and into the hearts and minds of the white working class. For the first time, a new sound was uniting white and Black youth and ‘Trojan Skinhead’ culture began to take root and flourish from this new shared musical identity. We wanted to track the Trojan story from its roots in the sound-systems of post-colonial Jamaica, through to the foundation of the label in London, leading to its eventual take-over of British youth culture soon after – a journey that would lead us to better understand and appreciate how we arrived at the multicultural society many take for granted today.” Having decided upon the themes that required further exploration, Davies and the Pulse team then faced the not insubstantial problem of how best to relate the story: “Very early on, we decided to locate the story in the moment as much as possible. Rather than a cast of experts and journalists talking hazily about how great the past was and who played what instrument, we wanted to situate the audience right in the middle of the shebeen, the studio, the dancefloor, the stage. We were determined to tell a tale and enjoy the often-mythological stories of these incredible artists, rather than just deliver an 100
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essay or an encyclopaedic trawl through music history. There is only so much you can analyze the music and pick it apart before you lose sight of the point completely. The aim was to make the audience feel as immersed in the music as much as possible, understand the emotional human narratives underpinning the recordings and to live and breathe the tracks from their moment of creation, right through to their projection into popular culture.” But with the approach and script established, Davies now faced another significant challenge. Reflecting the general lack of any mainstream interest in Jamaican music outside the Caribbean prior to the dawn of the ‘70s, precious little in the way of footage exists of its key protagonists. While such an impediment would have led many to change their whole approach, the Pulse team remained undaunted: “One of the key challenges with our immersive and experiential approach was a lack of archival material relating to the key figures in the narrative. Scant footage or imagery exists of early legendary figures such as Duke Reid, or even Trojan founder himself, Lee Gopthal. In order to bring these figures and stories to life, our idea was to cast young British and Jamaican
actors as some of the key Trojan artists and film dramatic sequences with them. The combination of dramatic scenes, artist interviews and archival footage enabled us to navigate a way through the incredible characters, stories and hidden moments in the story of Trojan Records.” The end result is an absorbing and visually stunning documentary that rates alongside the initial interest in the label’s history or reggae music in general, it makes for compulsive viewing, impressively handling a variety of subjects with understanding and sympathy. “From the outset, we felt a deep sense of responsibility in telling this story with passion and authenticity. It is a film about artists told only by the artists themselves, and it was an honor to meet and work with these giants of music. The impact of Trojan Records is around us today for all to see. Jamaican and British culture has been fundamentally bonded by its influence. For us, the spirit of Trojan Records and everyone involved in its journey represent the unifying possibilities of music, and it has been an honor to be involved in its 50th anniversary. Here’s to the next 50 years.” Officially released in the summer of 2018, Rudeboy: The Story of Trojan Records has been acclaimed by critics and fans alike. Forming an integral part of the reggae label’s 50th anniversary celebrations – which also saw the publication of a best-selling coffee table book, a handsome deluxe box set and a series of successful live events, which culminated in a Q “Inspiration” Award – this absorbing documentary is an essential view for anyone with an interest in the history of modern popular music and its impact on society as a whole. Go see it! For more information, visit trojanrecords.com/rudeboydocumentary
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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 1
Reggae On The Rez
Arizona, Arizona, USA
June 1
An Evening with Third World, Koffee and Air Supply
Ocho Rios, Jamaica
June 1
Summer Arts & Music Festival, 43rd
Garberville, California, USA
June 2
Reggae Spring Splash
Lake Tahoe, Nevada, USA
June 8
Riddim West
Calgary, Alberta, Canada
June 8 - 10
Wadada Festival
Ploudalmezeau, France
June 8
Reggae in the Desert
Las Vegas, Nevada, USA
June 14 - 16
Funky Forest Festival
Langenneufnach , Germany
June 15 June 19
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East Providence, Rhode Island, USA VICTORIA, British Columbia, Victoria's Ska & Reggae Festival 20th Anniversary Canada
Garden Grove Festival
June 20
Afro-Pfingsten 2019: Reggae Night
Winterthur, Switzerland
June 20 - 22
Ruhr Reggae Summer
Dortmund, Germany
June 21 - 23
POSTPONED TIL 2020Sierra Nevada World Music Festival
Boonville , California, USA
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June 21 - 23
Charleston Carifest
Charleston, South Carolina, USA
June 21 - 23
Freemusic Festival XIX
Montendre, France
June 21 - 23
Afrikanisches Kultur Fest
Frankfurt, Germany
June 22 - 23
Caribbean Village Festival
Lauderhill , Florida, USA
June 22 - 23
Africa Oye Festival
Liverpool, United Kingdom
June 22
PURE Music & Art Festival
Penn Valley, California, USA
June 26 - 30
St. Kitts Music Festival
Basseterre, St Kitts
June 28 - 29
Ithaca Reggae Fest
Ithaca, New York, USA
June 28 - 30
Couleur Cafe Festival
Brussels, Belgium
June 29
Jamaica Day Reggae Festival
West Friendship, Maryland, USA
June 29 - 30
Festival Salvavidas
Puntarenas, Costa Rica
June 30
Groovin' in the Park
Queens, New York, USA
June 30 - July 1
Canadian Reggae Sunfest
Etobicoke, Ontario, Canada
July 4 - 7
International Festival of Life (IFOL)
Chicago, Illinois, USA
July 4 - 6
MUSA Cascais We Are Together
Carcavelos, Portugal
July 5 - 7
Summerjam Festival 2019,The 34th
Cologne, Germany
July 5 - 7
Great Blue Heron Music Festival
Sherman, New York, USA
July 6
Port City Reggae Music & Art Festival
Wilmington, North Carolina, USA
July 6
Postponed til 2020 Island Reggae Festival
San Jose, California, USA
July 6
Big Ship Music Festival
Port Charlotte, Florida, USA
July 7
Long Walk to Freedom
Amsterdam, Netherlands
July 10 - 18
Concert of Colors
detroit, Michigan, USA
July 10 - 13
Oland Roots Festival
Sandbergen, Sweden
July 10
Big Reggae Festival, The
Juan Les Pins, France
July 10 - 14
Dour Festival
Dour, Belgium
July 11 - 14
Dub Camp Festival
Joue-Sur-Erdre, France
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104
July 11 - 14
Ostroda Reggae Festival
Ostroda, Poland
July 11 - 14
California WorldFest
Grass Valley, California, USA
July 12 - 14
Sunrise Reggae & Ska Festival
Burtenbach , Germany
July 12 - 13
Lakesplash Festival
Twann, Switzerland
July 12 - 14
Levitate Music & Arts Festival
Marshfield, Massachusetts, USA
July 12 - 14
Afro Latino Festival
Bree, Belgium
July 12 - 14
Village Rasta Festival
Paris, France
July 13
Island Reggae Festival
San Jose, USA
July 13 - 14
Rastaplas Festival
Zoetermeer, Netherlands
July 13 - 20
Bababoom Festival
Fermo, Italy
July 14 - 20
Reggae Sumfest
Montego Bay, Jamaica
July 18 - 21
Seasplash Festival
Ĺ ibenik , Croatia
July 18 - 20
Festival de Neoules
Neoules, France
July 18 - 20
Zion Garden
Bagnols-Sur-Ceze, France
July 18 - 21
Afrika Karibik Fest
Wassertrudigen, Germany
July 19
Music in the Park presents Ozomatli
San Jose, California, USA
July 19 - 20
EastRock Reggae Festival
Lienz, Austria
July 19 - 20
Reggae na Piaskach Festival
Ostrow Wielkopolski, Poland
July 19 - 21
Weedbeat Festival
Nordstemmen, Germany
July 19 - 21
Ruhr Reggae Summer
Mulheim An Der Ruhr, Germany
July 20
Bayfront Reggae & World Music Festival
Duluth, Minnesota, USA
July 20
Battle Creek Caribbean Festival
Battle Creek, Michigan, USA
July 20
Del Mar Reggae Fest with Ziggy Marley
Encinitas, California, USA
July 20
Reggae on the Grass
Denver Colorado, Colorado, USA
July 20
Jerk Jam Festival
July 21
Grace Jamaican Jerk Festival, New York
Houndhill Farm, United Kingdom Queens, New York, New York, USA
Reggae Festival Guide 2019
July 21
Simmer Down Festival
Birmingham, United Kingdom
July 21
San Diego Reggae Vegan Fest
San Diego, California, USA
July 23 - 27
LB27 Reggae Camp
Cegled, Hungary
July 24 - 28
Iboga Summer Festival
Tavernes de la Valldigna, Spain
July 24 - 28
Hill Vibes Reggae Festival
Telfs, Austria
July 25 - 28
Guitarfish Music Festival
Cisco Grove, California, USA
July 25 - 27
Summer Vibration Festival
Selestat, France
July 25 - 28
Bagnols Reggae Festival
Bagnols sur Ceze, France
July 26 - 28
Reggae in Wulf
Friedberg (Bavaria), Germany
July 26 - 28
DMV Summer festival
Baltimore , Maryland, USA
July 26 - 27
Uppsala Reggae Festival
Uppsala, Sweden
July 27
Northwest World Reggae Festival
Marcola, Oregon, USA
July 27
Reggae Fest
Kitchener , Ontario, Canada
July 27 - 28
Black Forest on Fire
Berghaupten , Germany
July 28
Reggae Rotterdam Festival
Rotterdam, Netherlands
Aug. 2 - 4
Reggae on the River
Garberville , California, USA
Aug. 2 - 4
Reggae Sun Ska Festival
Nouvelle-Aquitane, France
Aug. 2 - 4
Nomade Reggae Festival
Frangy, France
Aug. 2 - 3
Reggae Geel
Geel, Belgium
Aug. 2 - 4
Reggae Jam
Bersenbruck, Germany
Aug. 2 - 4
Reggae Sun Ska Festival
Vertheuil, France
Aug. 3
Caribbean Afr'am Festival
Killeen, Texas, USA
Aug. 3 - 4
Woodstock Reggae Fest
Woodstock New York, New York, USA
Aug. 7 - 11
Boomtown Fair
Winchester, United Kingdom
Aug. 9 - 11
Green Woods Roots & Culture Revival
Brunswick, Maine, USA
Aug. 9 - 26
Afrika Tage
Vienna, Austria
Reggae Festival Guide 2019
105
Aug. 10 - 11
Atlanta Reggae in the Park LLC Presents BeREGGAE 6
Atlanta, Georgia, USA
Aug. 14 - 18
One Love Westcoast Festival
Surrey, British Columbia, Canada
Aug. 15 - 18
Overjam Reggae festival
Tolmin, Slovenia
Aug. 15 - 18
Sardinia Reggae Festival
Berchidda, Italy
Aug. 15 - 17
Plein Les Watts
Geneve, Switzerland
Aug. 16
Canadian Reggae Music Conference Third Annual
Toronto, Canada
Aug. 16 - 22
Rototom Sunsplash
Benicasim, Spain
Aug. 17
Rastafest Reggae Festival
Toronto, Ontario, Canada
Aug. 17 - 18
One Love Music Fest
Somerset, New Jersey, USA
Aug. 17 - 18
Reggae on the Mountain
Topanga, California, USA
Aug. 17
Chiemsee Cup Clash
Ubersee, Germany
Aug. 17
One Love: Caribbean Music Festival
Newark, New Jersey, USA
Aug. 23 - 25
Reggae Rise Up Festival
St. Petersburg, Florida, USA
Aug. 23
Music in the Park presents J Boog
San Jose, California, USA
Aug. 23 - 25
Uprising Festival
Bratislava, Slovakia
Aug. 23 - 24
Bomboclat Festival
Zeebrugge, Belgium
Aug. 23 - 25
Reggae Rise Up
Heber City, Utah, USA
Aug. 24 - 25
Reggae Lake Festival
Amsterdam, Netherlands
Aug. 24
Reggae on the Rocks
Morrison, Colorado, USA
Aug. 25
SC Reggae Jerk Wine
Charleston, South Carolina, USA
Aug. 26
House of Common Festival
Clapham Common , United Kingdom
Aug. 30 - Sept. 1
Dry Diggins Festival
Placerville, California, USA
Aug. 30 - Sept. 1
Tropic Jam Festival
Rheinsheim, Germany
Sept. 7
Soul Rebel Festival 18th Annual
Boulder, Colorado, USA
Sept. 7 - 8
Jerk, Seafood and Vegan Fest (JSVFest)
CHICAGO, Illinois, USA
Sept. 7
Reggae Donn Sa Festival
Bamboo, Mauritius
106
Reggae Festival Guide 2019
Sept. 14
Roots Town Festival
Luxembourg, Germany
Sept. 15
LA Reggae Vegan Fest
Los Angeles, California, USA
Sept. 20 - 22
World Reggae For Peace Symposium and Concert
Perak Malaysia, Malaysia
Sept. 21
Baltimore Reggae MoonSplash
Baltimore, Maryland, USA
Sept. 21 - 22
Earthdance Los Gatos
Los Gatos, California, USA
Sept. 21
Earthdance Phoenix
Tempe, Hawaii, USA
Sept. 21 - 22
Earthdance Rio
Rio, Brazil
Sept. 21 - 22
Earthdance Capetown
Capetown, South Africa
Sept. 28 - 29
Houston Reggae Festival
Houston, Texas, USA
Sept. 28 - 29
Roots on 66 Festival
Victorville, California, USA
Sept. 28 - 29
Falmouth Reggae Festival
Falmouth, United Kingdom
Oct. 10 - 13
Joshua Tree Music Festival
Joshua Tree, California, USA
Oct. 17 - 20
Peter Tosh Music Festival
New Kingston/Belmont, Jamaica
Oct. 31 - Nov. 3
Island Vibe Festival
Oct. 31 - Nov. 3
Cinema Paradise Portie Film Festival
South-East Queensland, Australia Kingston and Port Antonio, Jamaica
Nov. 23 - 24
Gambia Cultural & Reggae Festival
Gunjur, Medina Salam, Gambia
Dec. 9 - Dec. 14
Welcome To Jamrock Reggae Cruise
Fort Lauderdale, Florida, USA
Feb. 13 - 16, 2020
Reggae Mekka Jamaica: Vision 2020
Kingston, Jamaica
Mar. 21 - 22, 2020
Jamming Festival
Bogota, Colombia
Reggae Festival Guide 2019
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Reggae Festival Guide 2019
Reggae Festival Guide 2019
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