DOCSLIB.ORG

Stephanie Is a Jamaican Singer-Songwriter, Music Producer, Model and Entrepreneur; Born in the Parish of St

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Stephanie Is a Jamaican Singer-Songwriter, Music Producer, Model and Entrepreneur; Born in the Parish of St Stephanie is a Jamaican singer-songwriter, music producer, model and entrepreneur; born in the parish of St. Catherine on November 15 and raised in the country‟s capital, Kingston. Her sound may best be described as reggae fusion; incorporating the undeniable essence of reggae, R&B, soul, dancehall, and pop. Having completed high school (The Queen‟s School) where she sang on both school choir and The Performing Arts Society Chorale, she led a cabaret band called Steele Force for two years. Stephanie then went on to join the Ashe Caribbean Performing Arts Company where she trained and toured as a principal singer, dancer, and musical theatre actor. The budding artist delved further into the world of music doing backing vocals and started working for both local and international artists. One of the most impressionable experiences is her six (6) months gig with Basque band singer Fermin Muguruza where she travelled the world singing in the ancient European tongue of Basque, French, English and Spanish. Stephanie started to pursue a Bachelor of Science Degree in Sociology but music kept calling, and after two years studying and touring she answered the call of music full time. The singer-songwriter has also toured and recorded with international reggae band Groundation, Cherine Anderson, Coco Tea, Chaka Demus & Pliers and Mr. Vegas. In 2009 Stephanie was invited to be a part of a group to record what turned out to be two studio albums with Sly & Robbie for Sony Music Japan. Along with her group members Chantelle Ernandez and Scantana they made up the multifaceted UNITZz. With two albums ‘J Paradise’ and ‘J Lovers’, UNITZz has gained tremendous success in Japan. „J Paradise‟ received a Grammy mention in the 2010 Grammy nominations in the category of „best pop vocals‟; appearing in field one of the potential nominees. UNITZz also, with Stephanie on lead vocals was a part of the 53rd (2011) Grammy nominations in the reggae category; with a Lady Antebellum cover ‘Need You Now’ on the compilation album ‘Sly & Robbie & The Taxi Gang – One Pop Reggae’. A seasoned songwriter, Stephanie is signed to Rebel America Inc (production and publishing company in Dallas, Texas) where she writes and records songs for placements on television shows, movies, international ad campaigns, labels, etc. Since the start of this exciting journey with Rebel America in 2010, she has managed to land several song placements. Three of these placements include a collaboration (done with rapper E.T) named ‘Have You Ever’ that was picked up by UK reality show ‘Jeremy Kyle Show’ for their Intranet Web Ad, ‘If This Is Real’ was picked up by Lifetime TV’s ‘Dance Moms Miami’ for episode 5 of their first season and „Together’ was placed with the MTV reality series „MADE’. In February of 2013 Stephanie founded the production company Havatio Music. In the same year her debut EP “Real Woman” was released on February 13 and debut album “The Christmas Collection” released November 20 under the Havatio Music label. In the fast paced life of music the mother of two finds time to organize an annual charity event dubbed Classic Duets; a live show that raises funds for select causes. Additionally, along with a group of music industry professionals, Stephanie is a Director for the Gungo Walk World Alternative Music and Arts Festival in Jamaica. Stephanie‟s portfolio also boasts that of music producer, event producer, host and model. She has etched herself in the live music community in Jamaica as a major player with products such as ‘Musixology’ and ‘Soul Sessions Ja’. Her career as a model is young but along with her success as a recording artist; her natural gift of being in front of the camera has definitely poised her for great success in this field. Stephanie definitely raised the bar in 2015 with the release of her sophomore album ‘Catharsis’; a musically sophisticated project, edgy and sexy, sprinkled with the brilliant contributions from producers such as Collin ‘Bulby’ York and Dynasty Records/Loud City Music from California. Collaborations feature veteran reggae artist Lymie Murray and fast rising Jamaican artist RR. Also big on the 2015 scroll is the collaborative cover of the Heptone‟s hit “Baby” with the great Chaka Demus and Lymie Murray. Stephanie is ready to hit the road as a solo act, spreading the reggae-fusion sound all over the world. She is seasoned and her catalogue is viable. .
Load more

Recommended publications
  • Sly & Robbie – Primary Wave Music
    SLY & ROBBIE facebook.com/slyandrobbieofficial Imageyoutube.com/channel/UC81I2_8IDUqgCfvizIVLsUA not found or type unknown en.wikipedia.org/wiki/Sly_and_Robbie open.spotify.com/artist/6jJG408jz8VayohX86nuTt Sly Dunbar (Lowell Charles Dunbar, 10 May 1952, Kingston, Jamaica, West Indies; drums) and Robbie Shakespeare (b. 27 September 1953, Kingston, Jamaica, West Indies; bass) have probably played on more reggae records than the rest of Jamaica’s many session musicians put together. The pair began working together as a team in 1975 and they quickly became Jamaica’s leading, and most distinctive, rhythm section. They have played on numerous releases, including recordings by U- Roy, Peter Tosh, Bunny Wailer, Culture and Black Uhuru, while Dunbar also made several solo albums, all of which featured Shakespeare. They have constantly sought to push back the boundaries surrounding the music with their consistently inventive work. Dunbar, nicknamed ‘Sly’ in honour of his fondness for Sly And The Family Stone, was an established figure in Skin Flesh And Bones when he met Shakespeare. Dunbar drummed his first session for Lee Perry as one of the Upsetters; the resulting ‘Night Doctor’ was a big hit both in Jamaica and the UK. He next moved to Skin Flesh And Bones, whose variations on the reggae-meets-disco/soul sound brought them a great deal of session work and a residency at Kingston’s Tit For Tat club. Sly was still searching for more, however, and he moved on to another session group in the mid-70s, the Revolutionaries. This move changed the course of reggae music through the group’s work at Joseph ‘Joe Joe’ Hookim’s Channel One Studio and their pioneering rockers sound.
    [Show full text]
  • For Immediate Release Papa Rosko Announces Debut
    FOR IMMEDIATE RELEASE PAPA ROSKO ANNOUNCES DEBUT ALBUM OUT OCTOBER 16, 2020 THE SELF‐TITLED ALBUM FUSES REGGAE WITH ELEMENTS OF ROCK, POP, LATIN, AND COUNTRY MUSIC FEATURES COLLABS WITH REGGAE LEGENDS TOOTS & THE MAYTALS, DANCEHALL STAR GYPTIAN, AND THIRD WORLD LEAD SINGER AJ BROWN Introducing the multi-genre recording and performing artist Papa Rosko, who will be releasing his self-titled debut album on October 16, 2020. Papa Rosko pulls together a wide spectrum of genres on his debut album, fusing elements of rock, pop, alternative, Latin, and country music into a seamless reggae sound. The self-titled album was recorded over the course of two and half years between studios in South Florida and Kingston, Jamaica. The results are an impressive album filled with original songs and a pair of country-reggae fusion covers featuring reggae and dancehall legends. The album kicks off with Papa Rosko’s take on the classic Johnny Cash song “Folsom Prison Blues,” featuring Toots Hibbert of Toots & the Maytals as special guest vocalist (Toots famously wrote his own prison song “54-46 That’s My Number,” which gets a shout out at the end of the song here.) Another cover on the album is of the timeless song “When You Say Nothing At All,” featuring Jamaican dancehall star Gyptian as guest vocalist. The song has been an international hit for three different artists (Keith Whitley, Alison Krauss & Union Station, Ronan Keating) spanning three different decades. The iconic tune has always been done as a slow ballad, but Papa Rosko brings his unique style to it, picking up the tempo and immersing it in an island vibe.
    [Show full text]
  • Pablo Moses INTERVIEW
    MAGAZINE #3 - December 2010 Rootz Underground Live in Kingston Horace Andy & Scientist Tippy Lloyd Brown Don Chandler Glen Washington Duane Stephenson Pablo Moses INTERVIEW * Israel Vibration * Sadiki * Cornadoor * Clinark * Alpheus * * Trojan * Buju Banton * Gappy Ranks * Special Delivery * J Boog * * Lloyd Brown * Frenchie * Pow Pow * Konshens * United Reggae Mag #3 - December 2010 Want to read United Reggae as a paper magazine? In addition to the latest United Reggae news, views andNow videos you online can... each month you can now enjoy a free pdf version packed with most of United Reggae content from the last month.. SUMMARY 1/ NEWS •Lloyd Brown - Special Delivery - Own Mission Records - Calabash J Boog - Konshens - Trojan - Alpheus - Racer Riddim - Everlasting Riddim London International Ska Festival - Jamaican-roots.com - Buju Banton, Gappy Ranks, Irie Ites, Sadiki, Tiger Records 3 - 9 2/ INTERVIEWS •Interview: Tippy 11 •Interview: Pablo Moses 15 •Interview: Duane Stephenson 19 •Interview: Don Chandler 23 •Interview: Glen Washington 26 3/ REVIEWS •Voodoo Woman by Laurel Aitken 29 •Johnny Osbourne - Reggae Legend 30 •Cornerstone by Lloyd Brown 31 •Clinark - Tribute to Michael Jackson, A Legend and a Warrior •Without Restrictions by Cornadoor 32 •Keith Richards’ sublime Wingless Angels 33 •Reggae Knights by Israel Vibration 35 •Re-Birth by The Tamlins 36 •Jahdan Blakkamoore - Babylon Nightmare 37 4/ ARTICLES •Is reggae dying a slow death? 38 •Reggae Grammy is a Joke 39 •Meet Jah Turban 5/ PHOTOS •Summer Of Rootz 43 •Horace Andy and Scientist in Paris 49 •Red Strip Bold 2010 50 •Half Way Tree Live 52 All the articles in this magazine were previously published online on http://unitedreggae.com.This magazine is free for download at http://unitedreggae.com/magazine/.
    [Show full text]
  • Total Reggae Special Request
    Total Reggae Special Request Roni snatches seducingly as fractious Corbin lunt her dimorphism lunches memorably. Coincidental Jessie vermiculated that fructifications fractions passing and engulfs seventhly. Unethical Jean-Lou wheelbarrow, his usuals overspecialized lappings meanwhile. Amazoncojp Total Reggae Special Request. Total Reggae Special Request Album Beatsource. Introducing CD 'Total Reggae Special Request 2CD' by shape Label VP US Price 260 Genre Dancehall 195-19940 Tracks 1. Various Total Reggae Special Request VP 2xCD Dub Vendor. Tony Rebel Juergon. Top 10 Special Request Reggae Updated Jan 2021 CDs. Slngla lasua Publlahad Naaraat to Filing Data 37100 Extent and Natura of Circulation Total no copies printed. RELATED Total whether it will spark you must put up a to in Kenya. Captain Barkey Fling It Gimmie FLAC album havanasee. Travel-sick and unblocked Lazar hypostasises his lolly. Brian & Tony Gold & Determine Chevelle Franklyn Bulls. VA Total Reggae Special Request 022017 Box Sets. Special Request Chaka Demus Lastfm. 9 Reggae Anthology Sugar Minott Hard Time Pressure Sugar Minott EP Mr DC. Pin tap It's A Dancehall Thing Pinterest. Various other Special Request Jammys ReggaeCollectorcom. Total Reggae Special Request Amazoncom Music. Find music from Special love on Vinyl Download Cassette and CD formats. Total Reggae Special Request WHSmith. You really require both account to build your own soundboard or buy. To start a complex series of articles that touch on some disturb the gossip business ideas. VA Total Reggae Special Request 022017 Box Sets Complete Collections Artist Various Performers Title Total. Total Reggae Special Request CD eBay. 1 Total Reggae Special Request Remixes Shout factory To Reggae Lovers.
    [Show full text]
  • Billboard-1997-07-19
    $5.95 (U.S.), $6.95 (CAN.), £4.95 (U.K.), Y2,500 (JAPAN) IN MUSIC NEWS IBXNCCVR **** * ** -DIGIT 908 *90807GEE374EM002V BLBD 589 001 032198 2 126 1200 GREENLY 3774Y40ELMAVEAPT t LONG BEACH CA 90E 07 Debris Expects Sweet Success For Honeydogs PAGE 11 THE INTERNATIONAL NEWSWEEKLY OF MUSIC, VIDEO AND HOME ENTERTAINMENT ADVERTISEMENTS RIAA's Berman JAMAICAN MUSIC SPAWNS Hit Singles Is Expected To DRAMATIC `ALTERNATIVES' Catapult Take IFPI Helm BY ELENA OUMANO Kingston -based label owner /artist manager Steve Wilson, former A &R/ Colvin, Robyn This story was prepared by Ad f , Mention "Jamaica" and most people promotion manager for Island White in London and Bill Holland i, think "reggae," the signature sound of Jamaica. "It means alternative to BY CHUCK TAYLOR Washington, D.C. that island nation. what's traditionally Jamaicans are jus- known as Jamaican NEW YORK -One is a seasoned tifiably proud of music. There's still veteran and the other a relative their music's a Jamaican stamp Put r ag top down, charismatic appeal on the music. The light p the barbet Je and its widespread basslines and drum or just enjoy the sunset influence on other beats sound famil- cultures and iar. But that's it. featuring: tfri musics. These days, We're using a lot of Coen Bais, Abrazas N all though, more and GIBBY FAHRENHEIT blues, funk, jazz, Paul Ventimiglia, LVX Nava BERMAN more Jamaicans folk, Latin, and a and Jaquin.liévaao are refusing to subsume their individ- lot of rock." ROBYN COLVIN BILLBOARD EXCLUSIVE ual identities under the reggae banner.
    [Show full text]
  • The Riddim Method: Aesthetics, Practice, and Ownership in Jamaican Dancehall1
    Popular Music (2006) Volume 25/3. Copyright © 2006 Cambridge University Press, pp. 447–470 doi:10.1017/S0261143006000997 Printed in the United Kingdom The riddim method: aesthetics, practice, and ownership in Jamaican dancehall1 PETER MANUEL† and WAYNE MARSHALL‡ †127 Park Ave, Leonia, NJ 07605, USA ‡88 Holworthy Street, Cambridge, MA 02138, USA Abstract The Jamaican system of recording and performance, from the 1950s to the present, constitutes a distinctive approach to notions of composition, originality and ownership. Emerging from a tradition of live performance practice mediated by (and informing) sound recordings, the relative autonomy of riddims and voicings in the Jamaican system challenges conventional ideas about the integrity of a song and the degree to which international copyright law applies to local conceptions, as enshrined in decades of practice, of musical materials as public domain. With the spread of the ‘riddim method’ to the sites of Jamaican mass migration, as evidenced by similar approaches in hip hop, reggaeton, drum’n’bass and bhangra, reggae’s aesthetic system has found adherents among artists and audiences outside of Jamaica. This paper maps out, through historical description, ethnographic data, and musical analysis, the Jamaican system as a unique and increasingly influential approach to music-making in the digital age. The advent of commercial, mass-mediated popular music genres in the twentieth century has contributed to the spread, in many music cultures worldwide, of a certain conventional ‘mainstream’ form of song, comprising an original, autonomous and reproducible entity with a relatively unique integration of lyrics, melody and chordal accompaniment. In mainstream Western music culture, the thirty-two-bar AABA structure, perhaps repeated twice or thrice with some sort of variation, constituted a quintessential type of this conventional song form.
    [Show full text]
  • Anti-Blues Music, Dub and Racial Identity
    Dub is the new black: modes of identification and tendencies of appropriation in late 1970s post-punk Article (Accepted Version) Haddon, Mimi (2017) Dub is the new black: modes of identification and tendencies of appropriation in late 1970s post-punk. Popular Music, 36 (2). pp. 283-301. ISSN 0261-1430 This version is available from Sussex Research Online: http://sro.sussex.ac.uk/id/eprint/67704/ This document is made available in accordance with publisher policies and may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the URL above for details on accessing the published version. Copyright and reuse: Sussex Research Online is a digital repository of the research output of the University. Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable, the material made available in SRO has been checked for eligibility before being made available. Copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. http://sro.sussex.ac.uk 1 Mimi Haddon 29.01.2016 ‘Dub is the new black: modes of identification and tendencies of appropriation in late 1970s post-punk’ Abstract This article examines the complex racial and national politics that surrounded British post-punk musicians’ incorporation of and identification with dub-reggae in the late 1970s.
    [Show full text]
  • Jamaican Dancehall in the 21St Century
    Pon de Dancefloor: Jamaican Dancehall in the 21st Century Stephanie R. Espie University of Delaware [email protected] Abstract The history of Jamaican music includes Roots, Mento, Ska, Rocksteady and Reggae styles - setting the stage for the origination of the Dancehall genre in the early 1980s. While a wide range of ethnographic literature has been published on these musical foundations, few publications exist on the evolution of Dancehall in Jamaica. Dancehall has expanded in the past 10-15 years due to increasing effects of collaboration between American and Jamaican artists and DJs along with the ease of musical transmission through technology. In this ethnographic research, I have studied the evolution of Dancehall to create a portrayal of musical trends leading to the predominance of Dancehall in Jamaica. I collected data over 10 days of fieldwork in Portland, Jamaica in June of 2015. The music played by four club DJs was chosen as the focus of study because of its influence on Portland’s musical culture. Data consisted of observational field notes and 10 hours of audio recordings of local DJs in club settings. Audio recordings were analyzed for traditional beats, song length, production year, language choice, and added effects. Field notes were used as a secondary source to confirm/disconfirm the emerging musical themes from across these DJs. Findings have been compared to the existing literature to create an updated trajectory of musical trends within Dancehall. Along with contributions to the field of ethnomusicology, this research can be used in music education in informal music learning on a domestic and international level.
    [Show full text]
  • Università Ca' Foscari Venezia Dottorato Di Ricerca
    Università Ca’ Foscari Venezia Dottorato di ricerca in Lingue, Culture e Società, 22° ciclo (A. A. 2006/2007 – A.A. 2008/2009) Jamaican Culture through Jamaican Cinema SETTORE SCIENTIFICO-DISCIPLINARE DI AFFERENZA*: L-ART/06 Cinema, Fotografia e Televisione Tesi di dottorato di Sabrina Ceccato , n° matricola 955336 Coordinatore del dottorato Tutore del dottorando prof. Rosella Mamoli Zorzi prof. Armando Pajalich * Nel caso di più settori disciplinari interessati, deve essere indicato quello prevalente nella trattazione della tesi. CONTENTS. Introduction: Cinema in Jamaica. p.1 1. Jamaican as the ideal location for foreign productions. p.1 2. The many problems of local productions. p.5 3. What is a Jamaican film? p.7 4. Jamaican films. p.10 5. Jamaican films in their context. p.18 6. A Jamaican tradition. p.20 1. Jamaican Films’ Themes and Characteristics. p.21 2. “Dis A Jamieka”: Language in Jamaican Films. p.30 2.1 Jamaican language: from English to Patwa. p.30 2.2 Implications in the use of Jamaican. p.34 2.3 Jamaican in films. p.37 2.3.1 Subtitles. p.42 2.3.2 Rasta talk. p.44 2.4 Conclusions: Every language has a meaning. p.50 3. “Play I Some Music. Dis A Reaggae Music”: Jamaican Music in Jamaican Films. p.53 3.1 Music in films. p.54 3.2 The Harder They Come. p.56 3.3 Singers acting. p.65 3.4 Music as part of the plot. p.68 3.5 Soundtrack as an integral part of the film. p.70 3.5.1 Rockers.
    [Show full text]
  • Buju Banton Driver a Mp3 Download DRIVER BUJU BANTON TAXI for WINDOWS 8.1 DOWNLOAD
    buju banton driver a mp3 download DRIVER BUJU BANTON TAXI FOR WINDOWS 8.1 DOWNLOAD. Buju banton plays the boss in this classic clip accompanying his classic hit tune driver a. Jamaican '45 previous owner has written his initals on the records labels. The witty toaster began his initals on. Ringtones and for business and music. Damian jr gong marley the traffic jam thorn or a rose stephen ragga marley feat. Acroline/lady sattva first swooned for prince buster on a ghetto-blaster at the tender age of 15. The first record store day took place on ap. Stamina Daddy Mr. The witty toaster began his true ascent to stardom in the early '90s, and by 1994, his reputation couldn't be beat. Advan s5e pro. Explore kaeamatiaha's board steel pulse on pinterest. They can also be found at taxi stands around the city. 2 position on a ghetto-blaster at zero metres, reggae chart! Cover your body with amazing buju banton t-shirts from zazzle. Damian jr gong marley tonight it's a party stephen ragga marley feat. Here you can find mr vegas lexxus taxi fare shared files. But the sound systems where he later made his mark. But the app has huge inconveniences, - no price estimates - no destination setting - no option for card payment if you start out using cash and vice versa recently all taxi distances are at zero metres, so i never know just how far my driver is until after i've ordered, which is annoying cause i need to. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website.
    [Show full text]
  • Sly & Robbie with Marcia Griffiths, Judy Mowatt
    Ms. Griffiths toured with Bob Marley from Sly & Robbie with Marcia Griffiths, 1974 until his untimely passing in 1981. Judy Mowatt & Cherine Anderson ~ 10:00 She has released a number of singles as a solo artist including “Electric Boogie,” Sly & Robbie in a showcase with Bob Marley’s I-Threes harmony singers originally written and recorded by Bunny Marcia Griffiths and Judy Mowatt who along with next generation artist Wailer, which was remixed in 1989 and Cherine Anderson will perform some of the classics from the Bob Marley made the line dance the Electric Slide an and the Wailers catalog as well as individually on tracks that established each international craze that continues today of them as solo artists. on dance floors globally. Expect our own dance party on the ROTR 2017 stage Sly & Robbie during her set and in a highly anticipated I-Threes tribute performance. Sly Dunbar and Robbie Shakespeare have performed as a drum and bass duo on an estimated 200,000 tracks and are considered the most recorded Judy Mowatt musicians in all of music, A harmony vocalist with the I-Threes regardless of genre. The working alongside Marcia Griffiths and duo are responsible for Rita Marley, Judy Mowatt is also credited ushering in the digital as a writer on two songs from the Wailers’ era of Reggae with album Burnin, “Hallelujah Time” and their production and “Pass It On”. As a solo artist, she has live performances as released seven albums and created one part of the group Black of Reggae music’s all time classics, the Uhuru using computer 1979 release Black Woman.
    [Show full text]
  • FINAL SOC 2021 Announce Press Release .Docx
    FOR IMMEDIATE RELEASE Contact: Angela Thomas NJPAC 201.503.1333 [email protected] Horizon Foundation Sounds of the City is back — live, in person and safe! Newark’s favorite summer series of free outdoor concerts returns to NJPAC’s Chambers Plaza, with salsa, reggae, R&B and more! NEWARK, N.J. (May 14, 2021) – Newark will be filled with music again this summer as NJPAC’s much-loved free outdoor concert series, Horizon Foundation Sounds of the City, returns with in-person performances on the Arts Center’s Chambers Plaza starting July 15. Felix Hernandez’ Rhythm Revue Dance Party kicks off the seven-week series, which will spotlight a diverse array of musicians and genres, including hip hop legends Eric B. & Rakim, salsa star Tony Vega, reggae headliners Third World and gospel songstress Le’Andria Johnson. The concerts will be presented with an array of new safety protocols, to allow audience members to enjoy the music, mingling and dancing that’s made this annual event so popular, while keeping patrons, artists and Arts Center staff healthy. “Sounds of the City is a legacy series in Newark; for more than 20 years, this is how the city has celebrated summer,” said NJPAC Executive Vice President and Executive Producer David Rodriguez. “This year, what we’re celebrating is not just the season but also the return of live performances to Newark. It’s our intention to ensure these events are not only fun, but safe.” An NJPAC tradition, Horizon Foundation Sounds of City concerts have brought thousands of revelers to the Arts Center’s Chambers Plaza for free concerts on Thursday evenings every July and August.
    [Show full text]