ISSUE #1 JAN 2014

M A G A Z I N E ROOTS / ROCK / REGGAE / RESPECT

THIRD WORLD Reggae Ambassadors years strong 40 IRIEMAG.COM

ISSUE #1 / JANUARY 2014

Welcome to our first issue of IRIE, a digital magazine about ROOTS, ROCK, REGGAE and RESPECT. We hope you will enjoy this first of many issues to come! From everyone here at IRIE, we wish you a Happy New Year!

Much love and respect!

Nicholas “Nico” Da Silva Founder/Publisher

IRIEMAG.COM ROOTS. ROCK. REGGAE.

Marcus Garvey Hubert Devonish Third World There is a Better Way A Fi Wi Langwij Reggae Ambassadors

RESPECT. REWIND. RIDDIMS.

Kindah Danny Creatah DoobieSound One Family World A Reggae Free Your Mind

TABLE OF CONTENT. ROOTS.

Marcus Garvey There is a Better Way MARCUS GARVEY There is a Better Way By Kam-Au Amen

It disappoints me when individuals comment that the smear campaign such as the trumped up mail fraud charge against Marcus Garvey did not do much to impact the message of his movement. This could only be true if Garvey’s message was solely the installation of local politicians in times when except for Ethiopia, Liberia, Sierra Leone and Haiti all the nations in which people of recent African blood were to be found were colonies of European powers.

Presently, there are attempts to seek exoneration for Marcus Garvey both in the US and his island home Jamaica. One hopes these efforts will succeed. Indeed, these false charges did tarnish Garvey’s reputation and slowed significantly his movement. His primary objective was seeing prosperity for people of African descent; something divisions of organizations like the United Nations today seek to achieve with the objective of reducing poverty. Through a raft of organizations the wealthier countries give development aid to poorer countries today. A slew of non-profit organizations are actively in pursuit of development/empowerment/poverty alleviation (differences exist in the philosophy of each approach) initiatives today, and some private individuals are on the loose with the next idea as to how to get your money to reduce poverty and develop Africa and Africans globally. The question therefore is what was so wrong with Marcus Garvey’s efforts to empower people of African descent and move them out of this poverty we are witness to today? Did this level of poverty have to exist among Africans today?

1 of 5 IRIEMAG.COM Prosperity Derailed And Denied

Tony Martin in his book Race First identifies three key planks of Garvey’s philosophy – pride in self, self-reliance and nationhood. It is useful to note that Garvey’s ideas were articulated as a response to the peculiar circumstances of people of African descent globally at that point in time. At that time, many thought their blackness inferior, they owned nothing and they were all subjects of European nations or nationals. Garvey therefore set about to address this, and in so doing was unabashed that underlying any success of his efforts must be an answer to the question of how Africa and its Diaspora address their economic condition. Marcus Garvey is quoted as saying:

“Be assured of this, that in the African’s rise to wealth will come the adjustment of most of the wrongs inflicted upon him. We must have wealth in culture, wealth in education and solidly wealth of economic values.”

“The thing that counts in the world is money, it is material wealth ... we are determined to get our portion ... and when we get it to the extent we want it, we know that there will be no more color line.”

“Wealth is strength, wealth is power, wealth is influence, wealth is justice, is liberty, is real human rights. The system of our world politics suggests such, and as a fact it is.”

As with managing any process to achieve the objectives of a program it must be broken up into smaller components. Marcus Garvey’s movement was a peculiarly crafted response to bring about African and African Diaspora prosperity in its time and had given focus to the areas of the black experience. His response gave rise to a very complex and powerful organization of black people at a time the world was not prepared to accommodate them. Therein lies the reason for the smear campaign that would eventually derail Garvey’s movement.

2 of 5 IRIEMAG.COM Had this not been the case, just imagine how much further along his program of prosperity for people of African descent would have been. Indeed, do we expect that the UN, development aid, or celebrities will accomplish these for the poor black people around the world today? If the belief is that the rest of the world will end the poverty in Africa and its Diaspora then that is the first shred of evidence you have that the impact of Garvey’s message is diminished. There Is A Better Way

It is in this context that I agree with economist Dambisa Moyo’s 2009 book Dead Aid: Why Aid Is Not Working And How There Is A Better Way For Africa. Ms. Moyo’s point in her book is that we have to insist on an alternative to an Aid-only model of development, which is what currently dominates. She argues that aid discourages the addressing of critical internal issues such as trade within Africa, the movement of people within the continent, the challenges of the need for visas, and the exorbitant costs to move within Africa (and the African Diaspora). She says issues such as this need to be addressed if the African nations are to see meaningful development. Interestingly, many African Diaspora economies like Jamaica and others in the Caribbean are challenged with similar issues.

From Moyo’s reading one could reasonably conclude that Africa’s problem is not primarily moral, nor is it primarily political as in the systems of governance, rather it’s considerably economic. Indeed, this is the conclusion Marcus Garvey arrived at by 1919. Why then have we missed it? Dambisa Moyo’s solutions are predicated on making capital work in the context of the market. No doubt, they are more technical than Marcus Garvey would have articulated, but the essential principles remain.

Grow African Wealth

Among the many things Marcus Garvey addressed was the role thrift, wealth and enterprise must

3 of 5 IRIEMAG.COM play in the life of Africans globally. In one of his speeches to the African American community in 1919 he said:

“If we are to rise as a great ... national force we must start business enterprises of our own; we must build ships and start trading with ourselves between America, the West Indies and Africa. We must put up factories in all great manufacturing centers of this country, to give employment to the thousands of men and women ... we must manufacture boots clothing and those things that people need, not only our people in America, the West Indies and Africa, but the people of China ... India ... South and Central America, and even the white man. He has for hundreds of years made a market for his goods among Africans ... therefore, Africans have the same right to make a market among white people for his manufactured goods.”

These words resonate deeply with sentiments that favor a belief in the market and capitalism, which many others including the Chinese have come to favor much later than 1919.

After all, it was Marcus Garvey who said, “Capitalism is necessary to the progress of the world, and those who unreasonably and wantonly oppose or fight against it are enemies to human advancement.” His rationale for this position was that although the system is ruthless it was the one that allowed the disenfranchised blacks the best chance at self-empowerment. I do agree.

4 of 5 IRIEMAG.COM Among Marcus Garvey’s thoughts on the accumulation of wealth we can find the following quotes:

“All wealth is good. God created all wealth and never created poverty. The man who is poor in the world has created his own poverty... What I mean ... is that you were born rich with the senses. All the wealth in the world today is the product of man’s senses.” FOLLOW “The African must become wealthy; he must become a master of finance, a captain of Kam-Au Amen industry, a director of science and art, an exponent of literature; he must develop a concrete philosophy, and with combination of all these he must impress himself... upon the civilization of the world.”

“To the contented soul, wealth is the stepping-stone to perfection; to the miser it is the nearest avenue to hell. I would prefer to be honestly wealthy, than miserably poor.”

Unfortunately, with the passing of time and the onset of modernization, not enough has changed with regards to the fundamental conditions Garvey initially sought to address. As a result, many of his ideas are still useful and many of the principles he espoused remain applicable to the African development cause. I will close with the following Marcus Garvey quote:

“When it is considered that twentieth century civilization pays homage and worships peoples and nations only on the basis of wealth, it should not be surprising to under- stand why the African is universally ignored...With all that may be said of the morals and ethics of our time, carrying with it the suggestion of rights, liberty and justice the whole fabric is based upon economic wealth ... so it behooves the African to think in terms of economic expansion through which he may endorse the consideration that is necessary for his political, social and other betterment.”

*Quotes taken from the book Marcus Garvey Said... compiled and edited by Ken Jones.

5 of 5 IRIEMAG.COM FOLLOW Zenny ROCK.

Hubert Devonish A Fi Wi Langwij HUBERT DEVONISH A Fi Wi Langwij By Jamaicans.com

Professor Hubert Devonish of the University of the West Indies has been one of the strongest advocates fighting for Jamaican Patois as a Language. He has created a writing and spelling system for Jamaican Patois. Back in January 2010, Xavier Murphy of Jamaicans.com sat down with the resilient professor to discuss Jamaican Patois as a language, a cause Irie has embraced and support to help make his important mission a reality.

The Interview

Q. When did you come to the realization that Jamaican patois should be recognized as a separate language?

I am not Jamaican but Guyanese. My language awareness started in Guyana in relation to Guyanese Creole or as we term it, Creolese. In the course of my High School education, I had two teachers from England and one from the US. Separately, they talked in class about the fact that Guyanese did not, in the course of normal interaction, speak English. That was a revelation to me. Then, a well known researcher of Guyanese folklore who ran a radio programme on Caribbean folklore and traditions, Wordsworth McAndrew, visited our school. That, coupled with the broadcast of Anansii stories on the radio, began to develop in me an awareness that Creolese was a separate language from English, with its own history and rules. Later on, I discovered that the people who study Caribbean Creole languages are linguists, and that the subject to study at the University of Guyana, to pursue that area was Linguistics. I eventually did a PhD in Linguistics, and ended up in Jamaica 1 of 5 IRIEMAG.COM where the language situation is quite similar to that of Guyana. In addition, the Jamaican Language is quite similar to Guyanese Creolese, so the carry over to me taking a similar position on Jamaican to that which I had taken on Creolese in Guyana was easy.

Q. Who are your biggest supporter and the biggest detractors? Is it the intellects or politicians or the grassroots people?

Many people are ambivalent on the language question. And that spans the entire spectrum of social groups and classes. We did a National Language Attitude Survey of Jamaica in 2005. 1000 respondents were surveyed right across Jamaica.

The results show that about 70 per cent of the population would (i) support Jamaican being made an official language alongside English, (ii) support Jamaican and English being used alongside each other as languages of literacy teaching and of instruction in schools in Jamaica,, (iii) regard favourably the Minister of Finance doing a budget presentation in Parliament in Jamaican. This supports earlier research done around the year 2000, in which it was found that a significant majority of member of the Lower House of Parliament would vote in favour of a bill that would declare Jamaican an official language alongside English.

A key aspect of the Language Attitude Survey is that younger people are more favourable to Jamaican than older people, that urban people are more favourable than rural people, and that males are more favourable that females. The profile of the strongest opposition to the Jamaican Language is an older, rural female. The strongest supporter would be a younger, urban, male. Obviously, these represent extremes and the reality is that support and opposition come from all quarters and categories. The key point is that, in spite of the outpourings of the chattering classes in the mass media, the evidence points to a significant majority of the population in support.

2 of 5 IRIEMAG.COM Q. What do you say to the critics who say Patois is a slang that constantly changes?

I can present them with the oldest known text in the Jamaican Language, written around 1783. Any speaker of Jamaican in the 21st century can understand that text. So much for the nonsense about Jamaican constantly changing. So too does English. The 1960s slangs such as ‘groovy’, ‘sock it to me’, ‘right on’, are long dead and not understandable to people who were not around at that time. So, Jamaican too has slang, which comes and goes. The core of a language, however, is quite constant. ‘Pikni’ to mean ‘child’ and ‘nyam’ to mean ‘eat’ have been around for as long as the Jamaican language has been in existence. That would be about 350 years.

Q. What would Jamaican patois be call? Would it be Jamaican, Patwa or Patois?

Jamaican, in the same way that the language of Spain is Spanish, of Turkey, Turkish, Norway Norwegian, etc. Patois is the term originally used for regional dialects of French in France, and has been extended to described French-lexicon Creoles of the Caribbean, like St. Lucian. In fact, the spelling ‘Patwa’ has been used to describe St. Lucian French Creole. The most accurate label is, therefore, Jamaican.

Q. You and your team have created some “structure” around Jamaican patois with spelling and pronunciation system. How was this system developed when there are so many different flavors of patois?

We didn’t create ‘structure’ for Jamaican. All languages have structure in order for one to be able to use them to communicate. The one thing that was developed was a standard writing system for the language. We didn’t develop it. Rather, Frederic Cassidy, a linguist of Jamaican origin, developed it and published it in a book called ‘Jamaica Talk’, in 1963 or thereabouts. We at the JLU have slightly modified it into what we call the Cassidy-JLU writing system for the language.

3 of 5 IRIEMAG.COM Q. What was your biggest challenge developing the Jamaican patois system?

None. It was already there and just needed tweaking. The real issue is how we encourage people who are literate in English to learn a new writing system for Jamaican. Many would much prefer the established method of using the English writing system to represent, albeit inaccurately, the sounds of Jamaican.

Q. Tell us about the program you did in the schools to teach both patois and English to students? What was the goal? What are the results of the program?

This was a bilingual programme which taught literacy, as well as all the primary school subjects, in Jamaican and in English. This ran for 4 years, from Grades 1-4. The children developed high levels of literacy in both languages.

Q. Do you plan to do this program again in the future?

Perhaps, in a situation where we are much better funded and can educate the children in situations which are closer to the ideal than those which typically exist in primary schools in Jamaica.

Q. Would the cost to translate books and other materials be prohibitive to teaching patois in schools?

Not with the existence of all the new technologies which allow for small scale reproduction of written materials. As for the translations, these were done by completing students at UWI, in the discipline of linguistics. They did the translations as part of a summer internship in the Dept. of Language, Linguistics & Philosophy, under my supervision.

4 of 5 IRIEMAG.COM Q. Have you seen progress with people accepting patois as a language?

In the Language Attitude Survey, it is clear that already close to 70% of the population already do so. The problem is one of how to have their voices be heard. Is there an effort by your team to get the government to recognize it as an official language in Jamaica? FOLLOW At this stage, the focus is on trying to have the freedom from discrimination on the ground of lan- Hubert Devonish guage included within the new Charter of Rights to the Jamaican Constitution. This would oblige the government and all institutions of the state to provide services to the Jamaican public in a language of their choice, which for many will be Jamaican. That would be a first step towards official recogni- tion of the language.

Q. Have you seen another similar “debates” with languages in other parts of the world? Have you seen a successful model you can follow to get patois recognized as a language?

The Seychelles, with a French Creole as official language, Curacao with Papiamentu (a Portuguese Creole, as an official language) and Haiti, with a French Creole as official language, present just a few examples.

Q. Where do you think this debate of Jamaican patois being an official language 10 years from now?

The language would have achieved official status by then.

Q. Do you have any closing thoughts? This interview was originally published on Jamaicans.com in January 2010 and is republished with the permission of Xavier The struggle continues. Murphy of Jamaicans.com.

5 of 5 IRIEMAG.COM My fathers says that when we are born, we come into the world possessing two souls... a good soul and an earthly spirit. When we die, the good soul leaves the body and ascends into heaven to be judged by the Supreme Being. The earthly spirit, however, remains with the body for several days. It is here that the earthly spirit, an unknowing energy force, is most vulnerable. If the body is not properly honored and buried, the earthly spirit can linger and escape.

Under the right circumstances, its shadow might take form as a duppy, which is sort of like a ghost, but empty of the personality and memories of the dead. Once this happens, the duppy will wander the earth. And that’s not good. Some duppies are confused and harmless, but most duppies are malicious spirits. Unseen by the normal person, they rest during the day and come out at night to haunt the living. And if an Obeahman, a sorcerer of black magic, gets hold of a duppy, he can use his malignant FOLLOW magic to make the duppy cause great harm or even death to the living... Dread & Alive

Discover the story of Dread & Alive: www.dreadandalive.com years 40 strong

REGGAE.

Third World Reggae Ambassadors THIRD WORLD Reggae Ambassadors

40 years Strong (1973 – present) FOLLOW Third World I still remember the night I first experienced special vinyl, introducing me to Third World’s the music of Third World. It was a Monday cult classic, “1865 - 96 Degrees in the Shade”. night at the Firehouse 7, an old firehouse in I’ll never forget that moment. As I listened San Francisco’s Mission district that had been to the track, I was mesmerized by the lyrics. converted into a bar/nightclub. Monday nights I thought to myself was this a song or a history were reggae nights at the club and even though lesson? Whatever it was, it woke me up, pulled it was the beginning of the work week, people me in and made me never forget about this still poured in from all over the bay area to band. I wanted more! get one last drop of Roots, Rock, Reggae. The occupancy of the bar was 200 maximum but I I soon discovered that Third World was no swear there were nights when it felt as if there ordinary band. They were a Roots Reggae were 400 people jammed inside swaying to the band alright but with a clever mix of other reggae music. And no one complained. No one. music genres including R & B, Funk and Disco. I strongly believe that this reggae fusion has I had just finished off my second Red Stripe allowed Third World to stand the test of time, when I decided to climb the ladder to the DJ continually putting out extraordinary music booth to join my friend, DJ Carol, who was for their fans worldwide. With four decades spinning at the time. Her perch above the club of hit songs and sold-out shows, Third World was the best seat in the house, providing a is considered one of the most popular reggae panoramic view of the packed dance floor, bar bands in the world. And as Jamaica’s longest- and pool table. That’s when she put on one running band, their legacy is enduring.

1 of 24 IRIEMAG.COM Other bands have come and gone, but Third World has managed to stay together, celebrating 40 years strong, which can only mean one thing… Love! That’s right! And if you listened to their music, you’ll not only hear the love, you’ll also feel it too!

Their most recent album release, Patriots, is no exception! The 13 track album, their 23rd album release to date, offers something for every type of listener. The guest lineup includes Stephen & Damian Marley, Mykal Rose, Marcia Griffiths, Tarrus Riley, Toots Hibbert, Capleton, Gregory Isaacs, Dean Fraser, Jr. Reid & Inner Circle and the recent winner of NBC’s The Voice season 5, Tessanne Chin. I think you’ll agree with me when I say that Third World is Reggae music at its highest order.

Irie Mag recently had the opportunity to catch up with Third World foundation members, Cat Coore, Bunny Rugs and Richard Daley ...

2014 - Band Members (From left to right): Richard “Bassie” Daley, William “Bunny Rugs” Clark, Stephen “Cat” Coore, Tony “Ruption” Williams, Maurice Gregory and Norris Webb.

IRIEMAG.COM Stephen “Cat” Coore Discography

IRIE. Can you share with us the musical journey of Cat Coore?

Just looking at the journey itself, I would have to say that my music journey started with my mom. My mom was a music teacher and had actually been an island scholar. She was awarded a scholarship to McGill University. My dad was Third World a Jamaican scholar. They both met at McGill 1976 University where my mom was pursuing a course in broadcasting and marketing but her major was music. They both went on to England where my mom studied at the BBC for awhile. My dad went on to do his law degree in Oxford.

Now when I was born, my mom was already teaching music in Jamaica and she also had a program on the Jamaican Broadcasting Corporation called Concert Hall where she played classical music. She would give little tidbits about what she was playing. So by the time I was four or five years old, I already had a lot of music around me. And my mom, by virtue of some little things that she noticed about me when I was young, had always picked

IRIEMAG.COM me as being the musician in the family. So I was always encouraged in music from a very young age. Discography By the time I was about 8 or 9 years old, I had started to study the cello. My personal liking was when my mom kept putting on her Pablo Casals records which I immediately reacted to.

At seven years old, around that time, I had a quarter size cello which was very unusual at that time. There weren’t many quarter sizes cello at that time but by my mom went to England and saw one and she bought it for me. I was then on my way to cello-dom!

Now, I studied for a few years. I studied Bach, I studied Mozart. I played 96º Degrees in the Shade in the Jamaican Youth Orchestra. Right up to around 1968 where I 1977 became totally aware of Jamaican music. I was pretty much under the influence of the fact that everybody in the neighborhood, all my friends of my age are the older guys because when you are about nine or ten, you are looking to the older boys.

Everybody was checking out the Beatles and the Rolling Stones. This was happening was pop music, the electric guitar. And in those days when I saw a guy walking on the street with an electric guitar, it freaked me out! There were stores that sold electric guitar and there was a guy down the road who had one and he was so proud, he use to walk down the street everyday. I mean, at first, I couldn’t figure out what the hell it was and when I saw it I said, my God, it’s an electric guitar! I didn’t own a guitar until several years after that. My first guitar was an acoustic guitar that my mom bought me because I kept telling her how interested I was in playing guitar. And eventually, she said, okay, I’ll buy you a guitar but you have to go and study classical guitar and take guitar lessons. Learn to read and learn to write and play and so on.

I did that for a year. While I was doing that, because of my cello background, I was able to figure out

4 of 24 IRIEMAG.COM the guitar really quick. And I had a very good ear so I was able to listen to pop music on the radio and Discography find the chords and the melodies. So it was quite easy for me to get into pockets of guys who weren’t in bands at the time but was into music and forming bands.

There was the Hell’s Angels Band down the road from me, Tomorrow’s Children, The Mighty Vikings, Byron Lee. We used to go and hear these guys play. The reaction in the crowd was incredible. That year was special to me. It was the formulation of me becoming somebody who wanted to play in a band. I started thinking about pop music and wanting to play pop music.

I remember going to see a band called the Visions. And the Visions had people like Richard Grey, Journey To Addis Willie Stewart was the drummer. Keith Jones who became a very successful bass player, but more in 1978 Jazz and Contemporary R&B as a Jamaican guy.

We had quite an exceptional the amount of kids coming out of high school who were playing music. But in those days in Jamaica, every high school had a band that played popular music. I’m sad to say doesn’t happen anymore today. There is no more music program in the school in jamaica which is shocking even though we’re producing so many DJ’ s and so many producers. Because of the whole internet thing, there is so much interest in creating music now. Cat Coore and Tommy Cowan at Sabina Park, Kingston The comradery that we had together in those days, forming bands together and the time we had. Everybody had a responsibility to the band to know their songs and the responsibility to come to rehearsal. That has sort of gone awry now in these time. I would have been a product of that. I found

5 of 24 IRIEMAG.COM the Alley Cats which was the first group I really had anything to do with. It was a group of us who Discography lived in the neighborhood. The drummer was pretty talented. The bass player was a pianist study the piano. The keyboard player, Jimmy Masala, was a reasonable keyboard player. And everybody was interested in playing pop music band style. It was pretty cool, really cool! It was a short experience and a short lived group because shortly after that I went to hear Inner Circle. I heard Inner Circle at a place called the Circus. There were a couple of men called Memphis Underground at that time. Shortly after that, they changed their band name to became Inner Circle. Their home base at the time was a club called the Tunnel.

The Tunnel happened to be very close to where I lived so I was able to walk to the Tunnel easily The Story’s Been Told which was important then. I was only 12 or 13 then and to leave my house at that time was not easy 1979 in the night to go to the club. Not because my parents were strict, these are the time were you were going to school and you’re looking to pass your exams. My two older brothers were absolute schol- ars so me with the poor grades didn’t work. My grades weren’t never really high but I got so far so quick in music that it sort of compensated for ev- erything. With a little bit of luck on my part and a little bit of something different because the guitar- ist at the time, Richard Grey, got a scholarship to go and study medicine and he left suddenly and as it were, I got a chance to get into a band at a very young age. That’s really the roots of how I really learn band business through Inner Circle. I learned what it was to be a roadie, to be a band member, to be a person who had to work out singer’s chords. I was someone who appreciated great singers and performance. I learned all that stuff being in Inner Circle. We did it all. We did unpaid performances, backing bands; we back many artists. We did hotels. We did road trips, shows, road trip club shows.

6 of 24 IRIEMAG.COM We did it all. We also had two incredible experiences being the group that anchored the Jamaican Discography Festival shows, the Sun competition that happens every year. We did that twice. One of them being the year that “Cherry Oh Baby” was the festival song that won. That’s really the first big record I played on... Cherry Oh Baby. It’s something incredible for me to say. For my first real big song. It was one of the biggest songs ever to come out of the Caribbean; a very major moment for me.

I was in Inner Circle between 13 and 17. And I was still in high school at the time. As I said, it wasn’t easy. Most of the gigs we did was during the week. They had to do the gigs without me. There was two guitars, myself and Roger Lewis. So it wasn’t that hard for the band to go out and do stuff without me at the time. Arise In Harmony 1980 Everytime, from around, just after Easter, the band started getting a lot of work. And during the summer time, was when the real work took place in those days. We did a tremendous amount of work. We played at the Maritone, we played at the VIP Lounge, we played the Somewhere Club, the Carib theater, Regal theater and Montego Bay Strand. We played a lot of places, a lot of venues in Jamaica. Around 1972, December 4th, 1972, I was getting into high school then. I only had two years of high school left. I started to listen to a lot of different kinds of pop music. Instead of the usual R&B, I started to listen to Jimi Hendrix and Santana. The school I went to, there was a lot of kids who were American and they started to turn me on to all that kind of music. I begin listening to it and started to develop more a creative style of thinking. What I wanted to do was to find a way to have a group that would be creative and we could write our own songs and do our own things and be like create our own different kind of music with a reggae vibe, but something more creative then just playing top forty hits, which is what I was doing at Inner Circle at the time.

That was what spur me to really start thinking about forming a group and that’s exactly what I did. I went on to get with some friends of mine who were thinking like mind. Some of them were already in bands. Some of them were in Inner Circle like Ibo Cooper. Colin Leslie was my good friend who had

7 of 24 IRIEMAG.COM been the bass player in Vision. And Carl Barovier had been in Alley Cats and he also was one of the Discography people who I targeted. We came together and we started Third World. And that’s basically is how the whole journey for me to Third World. Now there’s 40 years after that of Third World.

IRIE. How did you come up with the name Third World?

When we first formed the band, we hadn’t really come up with a name. We were just throwing ideas around. A friend of ours, Clancy Eccles, who had been very closely associated with the PNP and Michael Manley, came up with the name. At that time, there was a big thrust about Third World countries and that whole business. He suggested to us one day why don’t you name the group Prisoner In The Street Sons of the Third World. It’s the Third World of the poor preservation. Even though they are poor 1980 preservation, they are nations that have a rich culture. You have nations in Latin America. you have nations in the Asian communities.You have nations in the Caribbean. So we figure, yeah, that would be cool because having the background of playing so much R&B while we were coming up, it would be great to mix all those cultures together so we figured the name suited us in a way. So that’s why we went ahead with that. And when we signed with Chris Blackwell, was when the whole idea came came about forgetting the Sons of the Third World and just Third World. Philly Hamilton, Micheal “Ibo” Cooper, Richard “Bassie” Daley, William Stewart, Stephen “Cat” Coore and Irvin “Carrot” Jarrett. (1976 Golden Gate Park, San Francisco; 1st American Tour)

8 of 24 IRIEMAG.COM IRIE. We love the album PATRIOTS. Every track is IRIE! Is there a chance of Third World Discography stepping outside of Reggae to work with artist and bands in different genres?

All of the members of the band right now have a great love for all kinds of music. We are very open to doing music with other genres of bands. We really don’t have any kind of hangup for working with any musical genre. It’s very interesting that you mention Patriots. It’s the greatest undiscovered un- derrated reggae album in the history of reggae music. I think that album is an incredible album. How that album was not nominated for a grammy is absolutely extraordinary. It leads one to really think about the process by which all that stuff is done. If you look an the album with Capleton, Tarrus Riley,

Stephen and Damian Marley, Martha Griffith, Tessanne Chin, Gregory Issacs, Toots. And the thing Rock The World about it is that the content of the music on it is good too, it’s not just the names. 1981

IRIEMAG.COM Bunny Rugs Discography

IRIE: African Woman is one of my favorite reggae songs of all time. Can you share with us the story behind it?

African Woman.. I wrote that song in New York in Central Park and that song is very special to me. Those days, in the early 70’s, you could rent a little boat in Central Park and I would You’ve Got The Power have my acoustic guitar and my Panasonic 1982 cassette recorder and a little note pad and a pencil. I would spend all day writing and writ- ing. The actual story that it tells is true, I was going through all those issue at that particular time. It’s a real song.

IRIE: Third World has been together for 40 years strong and through those years your message of LOVE in your music has never change. Why is that?

When you really think about it, we have nothing else. To me, I don’t hate anyone and I have never experience hate. I stay far from that. But as you say, we have to explain to the massive exactly what love is, you know,

IRIEMAG.COM because there are several categories of love. And the first place you have to start is with yourself. Discography I cannot give you something that I don’t have. You cannot create or build anything on hate. Hate is not a creative avenue for you to express. You have to express whatever you do, whether you are a shoemaker, a mechanic, I don’t care whatever you do. In order to have it done in a satisfactory manner and have it done well, you have to do it through love.

I sometimes cook for my wife and I keep telling her the reason why the food taste so good (because she likes when I cook), is because I cook it with so much love. And love manifest itself in so many ways. When I’m cooking for her, and I just use this as an example, it’s a joy! And your ultimate intention is to have it tasty and favorable. You can’t cook tasty and favorable things with All The Way Strong hate, my Lord. 1983

IRIE. Can you tell us a little bit about your role as the spokesperson for the Jamaican Children’s Heart Fund?

Yes. It is something very close to my heart. There are a number of children in Jamaica who need heart transplant or surgery. There is a team of doctors and nurses from Joe Dimaggio hospital in Miami. They’ve teamed up with some doctors and nurse in England. Chain of Hope is the new name. We’re trying to raise funds every which way we can so that we can have more missions. Every mission, the doctors fly to Jamaica to operate on 8-10 children. Right now, we have about 250 children in need of medical attention. So this is something very close to my heart, my friend!

11 of 24 IRIEMAG.COM IRIE. Are their other historical topics that you would like to write about and put into song? Discography

That’s always a difficult question because we have done so much. We have over 23 releases, we have touch on practically every possible subject from the war on Iraq and Iran to starving children in Africa. What we would love to do is just to continue to do what we’re doing now and that is making good music. We love being on tour and on the road performing. We realize how much people love us across the world and that alone in itself is a beautiful blessing, you couldn’t ask for more than that.

IRIE. How has Third World manage to stay together 40 years strong?

Sense Of Purpose We’re a very close family. And it has always been the fear if Third World 1985 was to breakup, that we didn’t see any another group on the horizon that would replace the type of music that we play and the type of message that we’re always constantly pushing for. And I think what that has done to us is bring us closer together, It was a concern and worry a few years, that there weren’t enough groups being formed out of Jamaica. Like when we would go to Europe, you see young groups playing Ska and fusing it with Reggae. They have a larger instrumental section, trombones, violins, whatever, but that wasn’t happening in Jamaica. Now recently that has changed and there is a Reggae revival movement in Jamaica. Because you have some really nice musicians coming out of Jamaica, like Stephen “Cat” Coore’s two sons, Shiah Coore and Steve “Jumbo” Coore (Shiah is a producer and plays bass with Damian “Junior Gong” Marley and Jumbo plays guitar in Shiah Coore and Bunny Rugs the Zinc Fence Band with Chronixx). There are so much young musicians, it so wonderful to see the youth embrace a group dynamic. Its such a special brotherhood being a part of a musical group. I did a birthday performance in Jamaica, last February, and the young musicians that performed with me, they were amazing so, naturally, I’m feeling better about that.

12 of 24 IRIEMAG.COM IRIE. Was music a subject you learned in school while growing up in Jamaica? Discography

When I was going to school, music wasn’t a subject. That’s because the Jamaican form of music was just being formed and experimented with by groups like the Skatalites, Alton Ellis, John Holt, the Pyramids, Lee Scratch Perry, early Bob Marley and the Wailers. I’m not sure if music is a main subject being taught in the schools today but the Edna Manley School of Music is a very good school with talented teachers. It’s turning out lots of great musicians. Music wasn’t a part of the curriculum when I was going to school. I went to two Catholic school and the only time we had music is when there was holidays coming up or some outing or something.

Hold On To Love IRIE. When you are not with the band and you want to unwind, who do you listen to? 1987 Are they any other genres of music you want to explore?

When people were listening to Earth Wind & Fire, I was listening to the Jazz Crusaders. I liked instrumental music. When I’m at home I listen to a lot of dub music. I think dub is the highest order of reggae music. It’s the jazz of reggae. Most of the time when I listen to other singers and the songs they sing, the subject that they are talking about… I don’t really want to focus on that. So what I do is listen to dub music, King Tubby meets the Upsetter. What I use to do is in the days when they sold vinyl. You know.. every weekend you go to the record shop and get the new stuff. I would take the record home because how they normally do it is that they have the vocal track on side A. And on side B, was the instrumental mix. What I would do is take the vinyl home and tape the instrumental mix on a Sony reel to reel tape. I would have like 15 hours of just dub music.

13 of 24 IRIEMAG.COM Richie Daley Discography

IRIE. How did you come about being part of Third World?

When the band started back in 1973, I already knew Cat and had attended school with Prilly Hamilton, the lead singer. I knew just about everybody in the band because we all grew up together in the city of Kingston and Serious Business went to school nearby. When they needed a 1989 bass player, they contacted me and the rest is history.

IRIE. We’re you always a bass player?

I started out as a rhythm guitar player and with Third World became a bass player.

IRIE. Tell us what it was like to play the first Third World tour with Bob Marley.

That was tremendous. We went to England to see if we could make any changes in our career in terms of giving it a jolt. We went there and tried to get signed with Island Records which we accomplished.

IRIEMAG.COM Chris Blackwell suggested that Bob Marley was coming into town and he was going to play some Discography dates in England. He thought we’d be a good opening band and that it would be a good thing for us to open for Bob Marley and so we did. And that’s how that came about.

IRIE. What was it like to back up established artistes in Jamaica?

We had all traveled before leaving Jamaica as a band, but mostly to accompany established Artistes living abroad as musicians and as back up singers. But what we were trying to do back in 1975 was a little bit different. We were trying to get established as a band who was writing its own music and doing its own show which many would have considered very ambitious at the time. Committed 1992 Nobody had done this before so we didn’t have any reference to pull up on so it was a little bit frightening and intimidating. Nevertheless we pursed it and some of it worked at the time and some of it didn’t but in the long run it paid off.

IRIE. Before Third World, you were in a band called Tomorrow’s Children?

Tomorrows Children, yes, it was a Jamaican top 40 band and we use to play at dances.

IRIE. Share with us your experience at the first Sunsplash with Peter Tosh.

The very first Sunsplash we were doing a tour of the United States and Europe and we were invited to play the Montreux Jazz Fest in Switzerland and we passed on that to go home to play the first Reggae Sunsplash because it was something we wanted to do. It was the first big festival in Jamaica that was taking place and we just believed in it. And where as most people would think that the Montreux Jazz Fest would have been more of a worldwide career move for anyone, we thought for Jamaican music and all the elements that it involved, it would be better for music, it would be better

15 of 24 IRIEMAG.COM for the country, it would be better for the overall thing rather than just ourselves if we went home to Discography support it and that’s what we did.

IRIE. You had a chance to work with some great song writers like Steve Wonder, Kenny Gamble and Leon Huff. Can you share your experience?

Stevie Wonder, today when you think of it, we never encountered anyone like him since. We’ve met some special people and have interacted with them but I must say… Stevie Wonder is pretty unique. He is a special human being. Extraorindary talent and so profound in lots of ways.

Live It Up To be in his presence, to be invited by him, to share his talents, was at the time, needless to say, 1995 overwhelming. It’s something that paid off very well and has been one of the milestone in our lifetime.

Kenny Gamble had written so many songs and produced so many talented people and sometimes you listen to his work and you say WOW, so much thought must have gone into this lyric or the music. Where do people like that get constant inspiration to just keep writing and writing. It seems that every time they write they just get better or go higher. Leon Huff and Kenny Gamble just shock me that way… in constant awe!

The marvelous thing about these people is the Richie “Bassie: Daley, Ibo Cooper, Stevie Wonder and Rita Marley at Sunsplash 1982 humility that comes to them. You think that

16 of 24 IRIEMAG.COM people with such talent walk with their head above the cloud and that Discography they are so untouchable but at the same time so simple. Humble in their everyday life. They are a group of unforgettable characters that we just never forget.

IRIE. What is your process for coming up with a new Third World track.

We’ve been together for 4 decades now and each decade it might shift and change of how we do things but the essence and the inspiration for Generation Coming each new track is always the same. The inspiration never changes. It 1999 comes from the love for mankind which is the greatest thing on earth. Of people living together and doing things together. Just loving life is the greatest gift. Not from constant hate and useless wars.

RICHIE: Let me ask you a question Nick. Why every night on the news all the people that do great things… act of love or show of kindness, we never see them until the end of the news where they show them for only a few seconds? They start off with all the hate people and the hate things and the wars. This is how they always start off every night and they go to great lengths to show you what took place. Then, at the end of it, they show somebody doing a good deed and they spend virtually like ten seconds.

IRIE. Seen! That’s why IRIE was created. To share positive news and music from around the world from everyday people who want to promote love and unity! Respect!

IRIEMAG.COM Discography

Live In Hawaii & Jamaica 2001

Tony “Ruption” Williams IRIEMAG.COM Discography

Ain’t Givin’ Up 2003

Maurice Gregory IRIEMAG.COM Discography

Riddim Haffa Rule 2004

Norris Webb IRIEMAG.COM Discography

Black Gold Green 2005

William “Bunny Rugs” Clark IRIEMAG.COM Discography

Tuff Mi Tuff 2006

Richard “Bassie” Daley IRIEMAG.COM Discography

Patriots 2010

Stephen “Cat” Coore IRIEMAG.COM IRIEMAG.COM SAHRA INDIO The Original Bush Mama

Off the Grid FOLLOW Sahra Indio Meet Sahra Indio... lyricist, vocalist, creative artist and original Bush Mama. As a sustainable reggae artist, Sahra brings a vibrant energy to everyone through her music and art. Born in Philadelphia to a musical family, however, Sahra would find her musical expression in tropical Hawaii. In 1993 she cofounded Jahringa, her first reggae band. Her brand of reggae music has been described as a cross between Bob Marley and Sade with social consciousness and a sultry voice. “Good’s Gonna Happen” is her signature song.

Sahra also acts as the West Hawaii Zero Waste Coordinator for Recycle Hawaii where she works to pair schools in West Hawaii with community events to affect a Zero Waste function.

Irie will head to Kauai in February 2014 to meet up with the reggae songstress for an in-depth interview. Look for her exclusive ROCK feature in the March 2014 issue of IRIE! Respect, Mon!

IRIEMAG.COM Saki Mafundikwa Aline Duran Rodney Ewing Looking Within Love is Strong Navigator

Leah Rosier Balaguero Dr. Paul Shalom Rhodes Irie Lioness MundoREGGAE | The Latin Perspective Great Huts

TABLE OF CONTENT. LOOKING WITHIN Saki Mafundikwa Harare, 2013

“Any definition of art now is a provocation, and it is likely to meet the response: “Here, I have made (or found) this thing that does not meet your definition and I defy you to say it is not art.” Kwame Anthony Appiah, Afrikan philosopher and historian.

The same can be said for “design”. Many on the continent and in the diaspora view design as an exclusively Western concept. Afrikans, since the beginning of time have created great works of “art” and have been amazing designers of objects, structures, textiles, and intricate writing systems. The Afrikan creative spirit is as potent today as it has always been since the beginning of time.

The idea of the book came about from the realization that Afrikan students of design (and professionals) do not have anything to reference, something that speaks to their need for a resource that has collected and collated what design means to them. Something out of, and of, Afrika. A resource that makes no attempt at compromise, comparison or apology. It is just. IRIEMAG.COM If we look closely we will see that design has Yoruba, Congo, Pallo religions of Benin, Nigeria, been alive and well on the continent but always Congo and Angola, among others, have created hidden under the cloak of Western labels like, intricate writing systems privy only to initiates “crafts” or “handicrafts” seen in Western eyes and practitioners. Afrikan designers can learn a as a lesser form of creative output. Looking at lot from these. these items and objects one is mesmerized by the sophistication of the design principles Product designers, interior designers and inherent in them. Concepts like fractals, whose architects are at a loss when it comes to looking domain is mathematics and computing occur within for inspiration but as we shall illustrate Ethiopian Processional Cross: with such frequency in Afrikan architecture, and argue (maybe persuade?) in this book, African Fractals sculpture, jewelry and Afrikans have produced amazing designs even such esoteric fields in these areas. It’s there in plain view for as Afrikan spirituality and everyone to see in museums, galleries, and healing that it cannot books on and about Afrikan art. We are so be unconscious. conditioned into thinking of design as a foreign thing that we are completely blind to That area of spirituality and the amazing design right in our backyards, healing might sound like a living rooms and museums. We only notice

case of strange bedfellows our own genius when it is heralded by others: Jokwe pictograph, Angola when mentioned in the same Ndebele house painting art became wildly breath as design, but scholars popular when corporations like British Airways of Afrika know that there used it on the tailfin of a 747 as part of a Nigerian textiles exists an amazing amount campaign using artwork by artists from around of design hidden from the prying eyes of the the world in 1994. BMW also commissioned general population in many Afrikan societies one of the women artists from KwaNdebele, where Afrikan religon and spirituality is South Afrika to paint one of their cars, also as practiced. The secret societies of the Voudun, part of their “Artist Cars” campaign in the 90s.

2 of 5 IRIEMAG.COM They also have beautiful and colorful interiors countries that have created homegrown de- just like the Berber women of North Afrika. sign sensibilities. Nigeria comes to mind here. During the heady 70s decade, the great avatar of Afro Beat, Fela Anaikulapo Kuti — a one man demolition army — tried to bring down the corrupt government through his powerful music, activism, Afrikan pride, and hedonistic lifestyle. “Music is the Weapon of the future” he declared. Defiant and resolute, he relentlessly King Ibrahim Njoya of the Bamum Kingdom, waged a war on corruption in high places and Cameroon, invented a mocked the status quo in song using pidgin writing system: Shü-mom at age 25 in 1896. Architects can look to Egypt, Mali (where the English – although he was western educated Dogon people construct amazing buildings and from a privileged family. But the price he entirely out of mud), Zimbabwe and elsewhere paid for all this rebellion was steep: numerous where Afrikans have constructed structures beatings, imprisonment, destruction of his that stare defiantly into the face of the compound and equipment and worse: the “Dark Continent” thesis. Those interested in rape and brutalization of his wives and the “sustainable architecture” can learn a lot about killing of his mother by soldiers sent to bio-climatic architecture from Afrikans and “teach him a lesson”. their mud “huts” that are not as “primitive” as we were led to believe. The book will question The music was infectious and politically charged everything we have been fed as “gospel” truth, with lyrics that infuriated the leadership but with the ultimate aim of opening the eyes of pleased his audience and legion of fans. Lagos Afrikans at home and abroad to the richness in the 70s was a busy hive of activity musically of design traditions on the continent. with top notch recording studios churning out high quality music. Paul McCartney made the As far as graphic design is concerned, there are pilgrimage to capture some of that magic on

3 of 5 IRIEMAG.COM his best selling album, “Band on the Run” which the stencil to the screen using paper glue. Once Did you know? was recorded entirely on location in Lagos. dry, the screeners then pour ink and transfer the copy onto newsprint using a squeegee. The Fela who directed every facet of his music – work of the Highfield Art Club has received including the packaging, had local designers international critical acclaim although they create covers that echoed the musical content. still insist “they would be happiest if they The best known of these is Lemi Ghariokwu had computers!” who created some brilliant covers in what could be termed, “Afrikan graphic design”. A The examples are endless, the fact that talented illustrator, each cover was a narrative Afrika is the home of design movements that of the music and fused collage, illustration and could fire up the world again is one that doesn’t hand drawn typography. All the type was hand require too much effort to convince even the In 1998, Yale Professor, drawn, except in a few instances when he ran most cynical of cynics! It’s time for Afrika to John Coleman Darnell, discovered inscriptions into some Letraset type transfers! These covers declare with much pride: “I AM Design” carved into limestone cliffs in are as potent today as they were when they the Thebes desert, western were created in the 70’s. Lemi confided in me Egypt. The inscriptions had that Fela critiqued the covers until they met been dated between 1800 and 1900 B.C., centuries the approval of his critical and discerning eye. before Mesopotamia.

Young students of design can learn this very Called Wadi el-Hol, named after the location basic but true mantra: “Less means beget where it was discovered, greatness”… or something to that effect. The scholars believe that this is screen printers of Highfield, Harare, create humanity’s first alphabet. fresh typography with the most rudimentary of tools. The typographer draws the letters on newsprint and the cutter cuts them out creating a stencil. The screen maker adheres

4 of 5 IRIEMAG.COM About Saki Mafundikwa

Director and Founder of Zimbabwe Institute of Vigital Arts (ZIVA), Zimbabwe’s first design and new media college, holds an MFA in Graphic Design from Yale University. Saki worked for twelve years as a designer in New York City, including as art director at Random House before founding FOLLOW ZIVA. He authored the groundbreaking book Afrikan Alphabets and directed award-winning film Saki Mafundikwa Shungu: The Resilience of a People (2009), which has screened on three continents. He was a speaker at TED2013 in Los Angeles in February and is currently working on the first Afrikan Design Text book. He lives in Harare, Zimbabwe.

5 of 5 IRIEMAG.COM ALINE DURAN Love is Strong Born in 1982, Aline Duran is a singer, songwriter and performer who hails from my hometown, São Paulo, Brasil. Aline began her music career in the reggae scene in 2003. In 2008, she released her debut album “Novo Dia (New Day)” to rave reviews. In 2009, she toured Brasil with reggae superstars Don Carlos and Apple Gabriel (Israel Vibration). Aline is currently working on her second album which is due out in early 2014. IRIE is blessed to bring you this exclusive interview.

IRIE. Where are you from and what got you into reggae music?

I’m from São Paulo, Brazil and I started writing songs when I was 15 as a way to express my ideas and emotions. The songs always had a kind of positive messages and I used to listen reggae and hip hop music, and so they started coming to my mind in this kind of musical language. I realized that my music could have a greater purpose than simply IRIEMAG.COM expressing myself. Later I’ve started singingin a roots reggae band from the city and this experience made me plunge further into the world of Jamaican music and after a while I decided to leave the band to start my solo career, writing and producing the songs of my debut album.

IRIE. Describe your sound.

Mixture of feelings that I have from a rhythmic diversity that I consume as reggae and ragga, ska, R&B, hip hop, soul and a bit of jazz. Add this to the fact that I am Brazilian. The result is the sound I make.

IRIE. I know you write your own lyrics and music. Can you share your creative process?

As I said earlier, music is a way to express what I’m feeling and what I need to say. I allow myself to be free in this process, without holding my creativity. Each one walks with your own truth and I think this is important. Inspiration arrives unannounced, bringing me lyrics and melody together as if they existed in my memory somehow. Other times, it is part of a need to translate emotions I’m living and then it takes a musical form. It’s a very intuitive process.

IRIE. Who are your influences?

Briefly, I spent my childhood listening toMichael Jackson, Eric Clapton, Freddie Mercury and Janis Joplin. In my teenage I was caught by artists like Fugges, Cypress Hill, Mad Lion, Bob Marley and Junior Reid, and soon came bands like Black Uhuru, Aswad, Dennis Brown, Erykah Badu and Jill Scott. After releasing my first album, I started to consume artists like Ella Fitzgerald, Peggy Lee and Elis Regina.

2 of 4 IRIEMAG.COM IRIE. What are your current and future Discography musical projects.

On this month of October we will launch the songs from the new album on a live show at internet. We are mixing the second album, which will be launching very soon. Next year is expected to launch an independent film I’ve made a participation called “Um Salve Doutor”.

Novo Dia IRIE. Is there an artist/artists you would 2008 like to perform with? If so, who and why?

There are many new and veteran artists that I admire and would be a great pleasure performing some partnership. I just can’t cite a specific artist but musical interactions are extremely valuable. But recently, I was pleased to receive an invitation to sing a song beside a large Jamaican singer, we are producing to be released soon.

For now I can’t say anything about it, only that he is a very respected artist as Bob Marley was. The song is beautiful and it will be an honor for me.

3 of 4 IRIEMAG.COM IRIE. When you’re not making music, who/what do you listen to?

Music moves me, literally. Therefore, I’m always researching something different to listen and learn, such as albums, documentaries, music videos, concerts. In recent days I have been listening to Fat Freddy’s Drop and Charles Bradley. Both are very good as Bob Marley was. The song is beautiful and it will be an honor for me. FOLLOW Aline Duran IRIE. Irie Magazine’s tagline is Roots, Rock, Reggae, and Respect. What does each word mean to you?

Roots: know where you come from. Rock: attitude in what you do. Reggae: awareness of who you are. Respect: what we must have.

IRIE. Choose: Knowledge or Imagination? Why?

Knowledge. Without it, you can’t make your dreams become real.

IRIE. Do you have any advice for anyone wanting to break into the music scene? Do it for the love of music. It’s this love that will sustain you when the difficulties come and is what will make you feel happy and pleased with yourself at all the moments during the walk.

IRIE. Any words or shoutouts to send to the Irie Mag audience?

I would like to thank you for the opportunity of this enjoyable interview with Irie Magazine and send a warm hug and full of good vibes to all who follow it and who enjoy the good music! Peace! What will make you feel happy and pleased with yourself at all the moments during the walk.

4 of 4 IRIEMAG.COM NAVIGATOR By Rodney Ewing

Fact & Fiction

The stories we learn about individuals—whether they be historical or taken from recent headlines— can be incomplete narratives. We learn facts and statistics, or sensationalized intimate details that are used to push an agenda or to sell interest in a publication. Since we are so fond of colorful stories, I thought it would be interesting if the events that describe non-fictional characters were actually taken from fiction.

Using these fictional stories is not meant for entertainment. These classic tales of the imagination are tools that frame these individuals as human beings who made decisions and may have been forced into events that we would all find challenging. The fiction is meant to establish empathy and invite introspection upon the actions of these persons. Knowledge is not a mere quantity—it also permits a quality of understanding to be cherished and shared.

IRIEMAG.COM Artist Statement Bio

While debating demanding topics such as race, Rodney Ewing is an artist working out of religion, or war, it is simple enough to become San Francisco California. His drawings, polarized, and see situations in either black installations, and mixed media works focus on or white, right or wrong. These tactics may his need to intersect body and place, memory satisfy individuals whose position depends and fact to re-examine human histories, on employing policies or implementing cultural conditions, and events. strategies that promote specific agendas for a specific constituency. With his work he is pursuing a narrative that requires us to be present and intimate. But as an artist, it is more important to create a platform that moves us past alliances, and Rodney Ewing’s work has been included in begins a dialogue that informs, questions, numerous exhibitions including: and in some cases even satires our “Surveillance” (Institute for Performing Arts, 2011) divisive issues. “Unwashed Saints” (Dog Patch Gallery 2011) FOLLOW Without this type of introspection, we are “Tech Tools of the Trade: Contemporary Media Art” (de Saisset Museum, Santa Clara University, 2009) Rodney Ewing in danger of having apathy rule our senses. We can easily succumb to a national mob mentality, “Art Dubai” (Frey Norris Gallery) and ignore individual accounts and memories. “Public Safety” (Frey Norris Gallery, San Francisco, CA 2008) With my work I am creating an intersection “Code Switching” (Red House Gallery, Santa Moni- ca, CA 2007) where body and place, memory and fact are merged to re-examine human interactions and “Who’s Afraid of San Francisco” (Frey Norris Gallery 2006), Lisa Dent Gallery (San Francisco, CA 2005), cultural conditions to create a narrative that and Cartography (Johnsonese Gallery, Chicago, requires us to be present and profound. IL 2005

2 of 2 IRIEMAG.COM LEAH ROSIER Irie Lioness Leah Rosier is a reggae/dancehall artist hailing from Amsterdam. Irie had the pleasure to sit down with Leah for this exclusive interview! Stay Irie

IRIE. I first came across your music from your song, Teng Jam, and have been a major fan ever since? What inspired Leah Rosier to make reggae dancehall music?

THANKS!! Since my brother introduced me to it when I was a kid, I absolutely love Reggae. There is just something about that bass and drum, it is so uplifting. And when I started to understand the message in the music; the rebel music, the teachings, the spirituality, love and respect and the history and culture of Jamaica, my passion for reggae grew even stronger. It’s something I can’t get enough of, it never bores me. I have been singing and playing instruments from an early age and it’s mostly been Reggae, just because it makes me feel so irie and I learn more from this music than anything else.

IRIEMAG.COM IRIE. Can you tell us more about the reggae dancehall scene in the Netherlands?

For the size of this country the reggae dancehall scene is quite big. Like almost everywhere it is an underground scene, still there is a lot going on most of the time. Parties, concerts, festivals with music by national and maybe even more international artists. I think International/Jamaican artists like to play in the Netherlands because of our ganja laws. Still, the Reggae scene in for example France is a lot bigger – probably because the country is bigger – so I perform in France more than in the Netherlands in general.

IRIE. Describe your sound to our audience.

I sing for you all on irie reggae and dancehall! It’s always from the heart. I’m not really sure how to describe it further; I think maybe people should go listen for themselves.

IRIE. Can you share with us your creative process when writing your lyrics and music?

It depends; sometimes listening to the riddim that I’m going to sing on inspires me to write lyrics. When

2 of 6 IRIEMAG.COM I really feel the music, the words come easily. And other times I write wherever I am to express feel- Discography ings and thoughts that are on my mind and later I match them with the right music. Usually I record in my small and humble home studio. I’ve been interested in recording since I was a youth, I like to be able to do it myself. I also like to work with others in ‘real’ studio’s, so I do both.

IRIE. Who are your musical influences?

I am mostly influenced by Jamaican Reggae artists; that is what I listen to the most. The voice and technique of singers like Dennis Brown and Barrington Levy and without a doubt the music

and lyrics of Bob Marley & the Wailers are an High Paw everlasting source of inspiration and motivation. 2012 Vocal harmony is one of my passions and I love the style of the old-school singing groups like the Mighty Diamonds, the Abyssinians, the Gladiators and Israel Vibration. I also listen to ‘newer’ artists like Chronixx, Lutan Fyah, Konshens, Busy Signal, Etana, Ce’Cile; there are so many artists who I like from Jamaica, I get inspired all the time by the mix of roots and new reggae and dancehall music.

IRIE. Is there a message behind your music?

In general I like conscious music with a positive message, whether it’s about love or life. I write songs about my own life and thoughts and what I go through, while trying to stay strong like a lioness with a positive attitude. Maybe that could be found as the message in my music.

3 of 6 IRIEMAG.COM IRIE. We see that you are currently backed by the TwoRoots band in Holland and Rise & Shine in France? How did you guys hook up?

The bassist of Rise & Shine (Besançon, France) contacted me in early 2011 if I wanted to voice two of their riddims. The first song I made was Music Teach Me which was released on their Opus Riddim in July 2011. The other riddim I used for my song called Love Fyah. And in August 2012 I released my album High Paw including both the riddims by Rise & Shine. In the meanwhile we have been performing together in France various times since March 2012 and will continue touring in 2014. There is a fresh collaboration coming up, I recently recorded a song on the brand new Pitaya Riddim by Rise & Shine. Coming soon, I can’t wait!

In July 2011, I saw TwoRoots Band play at a festival in the Netherlands where I was performing with another band and I really liked what I heard. I knew the guitarist through another project and asked him if we could do a try-out rehearsal. We met up and have been playing and performing together ever since. We try to rehearse every week. Recently we linked up with the sisters Samirah & Miryel who now sing my backing vocals at most of my live shows. These lovely ladies even joined me for a show in France with Rise & Shine. For me it makes the whole experience even nicer, singing with two other women on stage brings even more irie vibes. And we became really good friends! A dream come true, I write all my music with backing vocals. I feel very blessed in general to be able to work with two bands, musicians who take time and effort to play my songs, it is a lot more fun to work together than alone. 4 of 6 IRIEMAG.COM IRIE. Can you share with us the origin of your bands?

The name ‘TwoRoots’ stands for the origin of the members; they have their roots in both the Netherlands and in Suriname. They have been playing together since 2004, old-school roots-reggae just as easy as modern dancehall. All members grew up with Reggae music, it’s in their roots. Previously they have worked with artists like Harry Mo (Virgin Islands) Henry P. (Senegal), Le Prince (Suriname), DJ Blackfoot (Suriname) and Ragga-P (British Guyana).

Rise & Shine Band from Besançon, France was started in 2011 by six musicians who played in various Reggae bands before. Besides backing reggae and dancehall artists at live shows they also produce their own riddims. Their first production Opus Riddim was released in July 2011. Next to backing me, they have performed with French artists like Yaniss Odua, Nuttea and Kromi.

IRIE. What are your current and future musical projects?

Apart from various collaborations and riddim projects with national and international artists and producers, I am working on my second album right now with Black Star Foundation from Amsterdam. I don’t know when it will be finished; in the meantime I got some songs on different riddim releases going on, like I said soon a new tune with Rise & Shine. And in January the Way Home Riddim by Anancy Sound from Russia will be released, featuring a new song of mine called Fly Again. So I’m constantly working on new music. Next to the songs I am also working on my shows with both my bands. Right now we are starting to plan shows in 2014. In February, I already have a small tour booked with Rise & Shine on the eastside of France. And in March I am going to France with Black Star Sound and Samirah & Miryel to do a soundsystem show, invited by the French sound Irie Ites. I like linking up internationally like that! So I hope to do many more shows and have a good musical year. 5 of 6 IRIEMAG.COM IRIE. Is there an artist/artists you would like to perform with? If so, who and why?

There is no artist in particular that I can think of, but anyway I love to perform with other artists, it can bring a real good vibe to the show. I have some collaborations going on with other singers so I hope to share the stage with fellow artists more often in the future. FOLLOW IRIE. Irie Magazine’s tagline is Roots, Rock, Reggae, and Respect. What does each word mean Leah Rosier to you as an artist?

Respect the roots, respect yourself. Move, groove and rock on the Reggae. And of course I have to think of the song by Bob Marley!

IRIE. Knowledge or Imagination? Why?

Maybe a healthy balance between the two. First I would think knowledge; it feeds imagination. The more you know the more connections and associations you can make which will make your imagina- tion expand. But then I think: without a lot of knowledge you can still use your imagination, you can always use your imagination, and gain knowledge that way. So it depends on how you use it, I guess.

IRIE. Any final words or shoutouts to the Irie Mag audience?

STAY IRIE!

5 of 6 IRIEMAG.COM BALAGUERO MUNDO REGGAE | The Latin Perspective By Lulú Solares

“LOVE FOR ALL without distinction of skin or eye either. We all are and we all will be always suns of the same father.”

BALAGUERO

Born and raised in Santiago, Chile, on Jan 24, 1985, Balaguero grew up with his mother and brother in a small community. He graduated from school as a Commercial Agent, with expertise in construction and maintenance of environmental areas. He was also a good sound technician which made it a hard decision for him to become a reggae artist in his country.

A fan of all genres of music, reggae has always been his first love. The first contact he had with reggae music was at the age of 15 when a cassette of hits from Bob Marley, Israel Vibration, Yellowman and more, fell in his hands during school. He immediately became the first musician in the family. Eager to know

IRIEMAG.COM more about reggae, he quickly evolved into a singer, songwriter and performer of New Roots, Lovers Discography Rock, Reggae & Dancehall. Within a year, the Rasta musician specializing in New Roots, had started his career as the producer of HIM Studio while becoming an activist in Reggae Es Vida Productions. HAZ BIEN He considers himself a free person, happy and full of faith. You can feel it just from hearing one of his HIM Studio | 2007 songs. You feel his vibe in his lyrics and you hear it in his voice. He is a talented musician who can play the keyboards, bass, guitar and a little drums. ESTAMOS AQUI Studio Manifiesto & Kutral His career officiallystarted in 2000 when he joined three different reggae bands: “Vision Nativa”, Dub | 2009 “Afrika Cosmica” and “Sonido Negro”. In 2007, he released his first album,“HAZ BIEN”. This release paved the way for him to travel and share his music and message in other countries, including cities MR LOVA in Peru, Ecuador, Colombia, Mexico and Chile. He now shares the stage and studio time with the DNL Productions | 2007 major faces of the Latin Reggae Movement; I Nesta, Nano Bravo, Cresposalem and MC Jona, the singer of the popular reggae band, Gondwana, with whom he still share stage time with. PURA VIDA RVP Productions & HIM Studio | 2012 He continues to produce riddims with no end in sight. His most recent work was the successful track, Imperial Majesty Riddim version, as well as his contribution on Beach Star Riddim produced by El Don’t miss the free Condorsito. Without further ado, I present to you... Balaguero! downloads, monthly singles and more: MundoREGGAE. How or why did you decide on a life in the reggae music industry? FOLLOW BALAGUERO BALAGUERO. How? Haha. Why? Haha . It was not a decision; it was natural, a call to the heart.

MundoREGGAE. What is the message behind Balaguero’s lyrics?

BALAGUERO. Many times it´s a protest against inequality and social injustice historically and currently. My music talks about love. I am always trying to be conscious of what is really happening around the world and sharing my faith and hope that no matter what´s happening and no matter all the evil that exists, everything always can be better. 2 of 3 IRIEMAG.COM MundoREGGAE: How do you define your faith?

BALAGUERO. Selassie I helped me to see with clarity something that no religion or church could do before, to believe in some supreme person that they always use to talk about. Selassie I helped me see and understand that life is different if you want to see it with your own eyes. If you are independent and self-sufficient, you will have a life of natural faith and love. The faith of Rastafari FOLLOW doesn’t fits in only one concept, its living away from selfishness and always close to the truth. Lulú Solares

MundoREGGAE. If you could choose one established artiste to work with, who would it be?

BALAGUERO. I find Capleton as being a complete artist, no doubt that I could do a great collaboration with him one day. I also respect and admire the work of Tarrus Riley, Chronixx and Shaggy.

MundoREGGAE. Every year brings new purposes, objectives and projects to fulfill, what’s next in Balaguero’s career?

BALAGUERO. There are a lot of plans that you’ll be watching thru my pages online but the one thing I want you to know it’s that I’ll be giving you the best of me always. There will be nuff music and message from my side for a while.

3 of 3 IRIEMAG.COM GREAT HUTS Dr. Paul Shalom Rhodes

By Paula Brooks

Serendipity is when you find something wondrous that you weren’t even looking for. Synchronicity is when you are in the right place, connecting with the right people, at the right time. Serendipity and synchronicity collided head on, when I met Dr. Paul Rhodes! It became apparent that everything was in Divine Order when, a few months later, Dr. Donna Shannon and myself found ourselves at Dr. Rhodes’ Great Huts resort (www.greathuts.com), in Portland Jamaica. After curiously swinging open the bamboo door to the eco-friendly African Village, all I could do was give Thanks and Praise to the Most High, and revel in the natural splendor that assailed our senses at every turn!

IRIEMAG.COM The story began to unfold at Sankofa African & World Bazaar (www.sankofaafricanbazaar.com), on Charles Street in my hometown of Baltimore. The eclectic boutique crammed with fabulous Afro-centric clothing, jewelry, art and collectables, is owned by Esther “Kiki” Armstrong and Jim Clemmer. Kiki is a native of Ghana and her husband Jim, who hails from Pennsylvania, is an expert on African art and antiquities. The couple met Dr. Paul Rhodes, when he sauntered into Sankofa while attending a medical conference at Johns Hopkins Hospital. In awe of the treasures within and Jim’s knowledge of African art, Jim was soon enlisted to lecture on the beauty and meaning of African Art; at educational conferences held at Great Huts. Esther “Kiki” Armstrong in doorway of Sankofa African & World Bazaar

“Sankofa’s charming owners raved about how much they loved “Great Huts,” and knowing I love Jamaica, soon introduced me to “Dr. Paul.” When I told him that a friend and I were planning a trip to Negril, he insisted that we include Great Huts on our itinerary. One look at the resort’s website convinced us that “Dr. Paul”, as he is known in Jamaica, was right. The concept was so unique, that I arranged to interview him before the trip.

I could think of no better place to hold the interview than Ayana’s Wellness Center (www.ayanawellnessspa.com), also located in Baltimore. Jennifer “Ayana” Harrison is a Wellness Life Coach, and practitioner with over 40 years of training and experience in meta- physics, food as medicine, and alternative healing modalities. She has transformed her Windsor Hills manor into a space that resonates with optimal health, tranquility and African culture. Judging from the yoga

Dr. Paul Shalom Rhodes with Ayana Harrison classes, massage therapy and other alternative healing modalities at Ayana’s Wellness Center

2 of 12 IRIEMAG.COM described on GH’s website, I knew the good doctor would feel right at home there.

After chatting with him for only a few minutes, I realized that Dr. Paul Rhodes, specialist in Geriatric Medicine is Old School, New Age, caring, compassionate, gentle, and loving with a healthy dose of witty humor thrown in for good measure! Paul’s Judaism, and strong Hebrew cultural ties, made it possible for him to identify with, and embrace the survivors of the African Holocaust. Paul notes a chilling similarity between the struggles and triumphs of emancipation and civil rights; and the atrocities committed against Jews. I must admit I was shocked that this energetic visionary and philanthropist knew more about the history of the African Diaspora than many people of color.

When Dr. Paul spoke about his career in geriatric medicine, it became clear that he derives a deep sense of satisfaction from his profession. His eyes sparkled when he stated with conviction, “For me, Medicine has always been a calling and a way of feeling needed. What drives me most to do the work I do is that I’m fortunate enough to have a sense of deep compassion. I love seeing my elderly patients and for that reason it is not work. I see them as lovely and beautiful people inside and out. They don’t have to earn my affection. They have it!”

When asked about his childhood and what lead him onto his present path, Dr. Paul stated that he had a very special bond with his maternal grandfather, whose wife died at any early age. A Romanian immigrant, his grandfather lived with Paul and his parents until he passed in his mid 80’s. Paul felt that his presence, and the love he gave, was influential in directing his work with the elderly. Paul’s father advised him to spend his high school summers working in hospitals to see if he would like it. Drawn to scientific study, Paul decided that he would indeed enjoy working in the medical field. Dr. Paul would become the first medical professional in his immediate family. However, his decision to specialize in Geriatric medicine, making house calls and devoting considerable time and money towards the service of the elderly and homeless in Jamaica was not quite what his parents had in mind. He had chosen an area of practice that paid the least and was far from prestigious.

3 of 12 IRIEMAG.COM While still in high school, Paul also found that he was drawn to community service. He became a leader of the Interact Club, a junior Rotary Club. Paul stated that the community service work he did then, often for people with health needs; was as formative in his medical career as medical school. “I got a sense of serving, being appreciated and feeling useful, which we don’t always get from our home and upbringing. Sometimes we have to invent ourselves in ways that are very different from our parents and how our parents lived,” Dr. Paul declared.

Dr. Paul has volunteered nearly twenty years of charitable medical service in Jamaica. It began with his elective study in public health in Hanover, Jamaica. Paul was then in his fourth year of medical school at SUNY Brooklyn College of Medicine. He greatly enjoyed the two months spent working in a child nutrition project through the Hanover Parish Health Department. Dr. Paul reminisced, “I was a very idealist medical student, just as I am still an idealistic person. I generally look for my experience on the periphery. I’m often more comfortable outside of the mainstream.”

In 1994 Dr. Paul began traveling to Jamaica frequently and in that year, gave a presentation on health care of the elderly to nurses and doctors of the Hanover Health Department. In the audience was a nurse who had as a child, received food supplements and medical care through the same program Rhodes had played a small part in 20 years earlier! During his Health Department visit of 1994, Paul was asked to visit the State run Hanover Infirmary, known as the ‘Poor House’. It housed about 70 elderly, destitute persons.

“I was deeply moved by persons who lived there and their situations. They were kindly and spiritually robust despite their afflictions. When asked by the Medical Officer of Health of Hanover to assist in some manner, I immediately agreed. Overcoming their loneliness was my main objective and with the help of friends I founded a small charity. It was first called American Friends of the Hanover Infirmary. It later expanded to help other Jamaican infirmaries and was renamed the Jamaican and American Friends of Infirmaries (JAFI).”

4 of 12 IRIEMAG.COM Dr. Paul explained that the Island’s thirteen infirmaries derive from the British colonial system, when each parish had its “Poor House”. He was inspired to help because many of the residents were elderly and had no family sup- port, or ties. Most of them were very sick and many were blind or immobile.

Dr. Paul became increasingly bored with his General Internal Medicine practice in Crofton Maryland. His work with the elderly in Jamaica felt far more fulfilling. He reflected, “I did studies that showed who was living in the Jamaican infirmaries, their characteristics and what was important to them. Physical therapy or recreational therapy was non- existent. I found that the residents felt very lonely and isolated. “JAFI” had very little money and decided they could make the biggest impact by hiring and training a local woman to be the Activities Director of Hanover Infirmary in Lucea.”

Dr. Paul continued, “We decided to hire a ‘Love Giver’. Someone who would do the residents’ nails, hold Bible study, and take them on occasional outings. We brought

5 of 12 IRIEMAG.COM Lloyda McIntyre to Anne Arundel County were she received her GED and obtained additional experience in a Maryland nursing home. After returning to Jamaica, she held the position as activities director of the Hanover Infirmary for almost 10 years.”

Dr. Paul continued his work and travels across his beloved Jamaica, until he reached Portland Parish. He described it as the least developed and the most beautiful. The area seemed to him to be the “real Jamaica.” His face lit up at the thought, “Everyone was of African descent, and I was an outsider- a white boy from Brooklyn. It seemed as though I was in a place that resembled what I had seen, and read about West Africa. It was as if I was in Ghana. As I looked at a piece of beautiful virgin land that was to become part of Great Huts, I saw that the villas and apartments surrounding it were made with thick concrete blocks and had bars on the windows. I thought what the hell do I need with concrete blocks? It’s only going to make me use an air conditioner. Why do I need it when we have these amazing breezes?”

So Dr. Paul decided to do something that wealthy Jamaicans or foreign investors rarely do. Instead of building high on a hillside, he put down roots smack dab in the middle of a working class, impoverished community. Dr. Paul shrugged nonchalantly, “We’re right at the Jerk Center (barbeque pits), and it’s good that we’re with the people. Yes, we’re next to shacks and you might see an abandoned car near- by. Not to worry. The adjoining seafront land itself is exquisite and affords views all the way across the mighty sea!”

Dr. Paul stated he was able to pay cash for the first narrow piece of land, and was so in awe of the setting that he was more than happy to camp out in a tent. When an adjoining parcel of foreclosed property became available, he used part of his savings to purchase it. “I don’t want to glorify the building of Great Huts as a high vision. Part of it was necessity because I didn’t have much money. I’m not a complicated person, but I like to do things my way.” Dr. Paul soon found that “his way” did not coincide with the mindset of the contractors he hired. Their idea was to bulldoze the pristine forest and remove the fossilized coral that was millions of years old.

6 of 12 IRIEMAG.COM Determined to stick to his vision, Dr. Paul started Great Huts with three tents that he lined with African fabric. He fondly remembers purchasing the fabric from a vendor he met at Sista P’s annual African culture festival, called “Fiwi Sinting,” Patois for “this is our thing.” He then poured over books on African culture and traditional dwellings. Dr. Paul refused to even consider creating a villa system; feeling that the villa system was synonymous with slavery and oppression. He studied, and created clay models to convey his ideas to the new builders. Great Huts was to be created with all natural materials. Rhodes also insisted on incorporating African art and styles to celebrate and honor enslaved Africans.

7 of 12 IRIEMAG.COM The interconnectedness of humanity is clearly apparent when observing African, Jewish and Christian symbology at Great Huts. Dr. Paul’s personal life also reflects cultural diversity. He was captivated by his beloved Nickesha “Nikki” Smith, a Jamaican woman whom he married in 2005. Rhodes stated that he feels a kinship with black people, who were persecuted, as were his ancestors.

The Great Huts that we saw during our visit this summer had greatly evolved from its humble beginnings. It featured a wonderful blend of technology and nature that I had never experienced. Free Wi-Fi was accessible everywhere and there was a big screen TV in the Guest House, for those who wanted to keep up with world affairs. More to my liking was the library filled with books and movies on African, Jamaican culture. My first night, I curled up beside the bird cage in the lounge/ dining area on the upper deck, with a copy of “African Ceremonies.” Afro-centric art was everywhere and it was clear that careful thought had gone into creating the wondrous village with “Nuff Respect” for Mother Nature. Our trip ended with the presentation of an

8 of 12 IRIEMAG.COM electrifying cultural show that featured traditional Jamaican drumming, song and folk dancing. The show is presented every Saturday night at Great Huts and has lots of opportunity for audience participation. Our last evening there was truly memorable and so much fun! We danced, were serenaded, and completely entranced by the primal rhythms of the drums.

Great Huts slogan is “Paradise on the Edge.” Dr. Paul smiled and stated that FOLLOW he calls it “alternative tourism.” In fact, he continued, “Great Huts is so far off Great Huts the beaten path, if you were any farther on the edge, you’d be in the ocean.” Some of the favorite activities at Great Huts are Thinking, Being and Feeling. Water-skiing? No. Power boating? No. Just Being and appreciating the simple pleasures. We have a bird cage in the breakfast area. You can sit facing the chef, or you can sit and watch the birds eating their fruit and seeds as you have your breakfast. How cool is it to have the birds come watch and talk to you while you eat? It really is just a great place to simply be!”

I can only say that I felt more comfortable and at home at Great Huts, than I could have ever imagined. It’s an ideal place to study history, unwind and connect with nature. So much so that Dr. Shannon and I are planning a women’s retreat there next summer. The magnificent foliage, collection of powerful art, and the simplicity of the huts; all combine to create a space that invites introspection and healing.

Please see our Trip Advisor reviews for details about our stay at Great Huts, and our tour of the Homeless Shelter and Rehabilitation Center in Port Antonio. It was co-founded by Dr. Paul Shalom Rhodes and remains a project dear to his heart and supported in large part by revenue from Great Huts. Rhodes is a compassionate, gentle doctor with laughter that’s infectious. However, don’t be fooled by his easy going demeanor. Dr. Paul has a steely determination to better the human condition and also live in harmony with Nature!

9 of 12 IRIEMAG.COM Great Huts The Royal Lounge is part of The Fig Tree House IRIEMAG.COM Great Huts Two lounge chairs overlooking the ocean outside the Fig Tree House IRIEMAG.COM Great Huts High cliff borders one side of Great Huts. Signs warn to walk carefully and at your own risk! IRIEMAG.COM

FOLLOW World A Reggae

REWIND.

Danny Creatah World A Reggae Chronixx Summerjam Köln Germany Jah 9 Sundance Eindhoven Holland

Alpha Blondy Tivoli Utrecht Holland

Chronixx Max Romeo Tarrus Riley Reggae Sundance Eindhoven Holland Summerjam Köln Germany Melkweg Amsterdam Peetah Morgan Summerjam Köln Germany Turbulence Summerjam Köln Germany

Dean Fraser Romain Virgo Bitty Mclean Melkweg Amsterdam Summerjam Köln Germany Melkweg Amsterdam Alborosie Summerjam Köln Germany

Jah 9 IsraelIsrael Vibration Vibration Busy Signal Reggae Sundance Eindhoven Holland SundanceSundance Eindhoven Eindhoven Holland Holland Summerjam Köln Germany Warrior King Protoje Summerjam Köln Germany Sundance Eindhoven Holland Elephantman Sundance Eindhoven Holland

Israel Vibration Sundance Eindhoven Holland

The Wailers Joggo Gentleman Melkweg 2013 Amsterdam Cannabis Cup Reggae Sundance Eindhoven Holland Sundance Eindhoven Holland The Wailers Melkweg 2013 Amsterdam Cannabis Cup RIDDIMS Free Your Mind DoobieSound FOLLOW DoobieSound Welcome to the Riddims section. Irie has teamed up with DoobieSound to bring you our take on the Dubplate Special. Here’s how it works:

Each month, we will provide an exclusive track that you can download and use to create your own version of the dubplate. Once your done, you can upload your submission on our website for consideration to be featured on Irie Trax, the music side of Irie Magazine.

To download this month’s featured Irie Riddim, “Free Your Mind”, visit the url below and click on the download link. http://www.iriemag.com/riddims

IRIEMAG.COM IRIE would like to thank the following people who helped make this first issue a successful one. Without their efforts, this magazine would not be possible.

Kam-Au Amen, Paula Brooks, Heather Cameron, Danny Creatah, DoobieSound, Giovanna Guimarães, Saki Mafundikwa, Xavier Murphy, Lulú Solares, Third World and World A Reggae!

Nuff Respect!

IRIEMAG.COM