Reggae Festival Guide 2016

INSIDE:

Dreadtown ~ The Steel Pulse Story Teachings from the Roots Masters Roots Rock Bass and Yoga Convergence Cultural ViZions ReggaeFestivalGuide.com

PUBLISHED BY: RBA Publishing Inc. dba REGGAE FESTIVAL GUIDE P.O. Box 920; Arcata, CA 95521 PHONE: 775-846-8238 www.ReggaeFestivalGuide.com

PUBLISHER Kaati, Kaati@ReggaeFestivalGuide.com

EDITOR Anthony Postman

Editor@ReggaeFestivalGuide.com

EDITORIAL SUPPORT Irene Johnson

Irene@ReggaeFestivalGuide.com

DESIGN AND PRODUCTION/ WEBSITE/E-GUIDE EDITOR Goran Petko/Aqua Design Goran@ReggaeFestivalGuide.com

EDITORIAL CONTRIBUTORS Chuck Foster, Yoni Gal, André Jones, Anthony Postman, Shiva Rea, Jeffrey Samuels, Harrison Stafford, Ras Elijah Tafari, Abba Yahudah

PHOTO AND ART CONTRIBUTORS Lee Abel, Cássio Abreu, Alan Alcid, depositphotos.com , André Jones, Jenay Martin, Anthony Postman, Jeffrey Samuels, Ras Elijah Tafari, Abba Yahudah

Courtesies

Driftwood Pictures, Infinite Mind Media/HTS Roots Creation

ADVERTISING SALES Tom Andrews, Kaati

ADMINISTRATION Heather Penrod-Rudd The opinions of the contributors are not necessarily the views of RBA Publishing Inc.

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Letter from T

Greetings O

With excitement, and the feeling of sweet sorrow that only a goodbye can impart, I write this “Letter from the drEditor.” I am signing off from my beloved post as drEditor of the Reggae Festival Guide. For many years, I have had my feet upon parallel paths of media and music, two walks of life which both demand much time, patience, persistence, attention to detail and strong focus to move forward. My calling to answer the musical muse has become strong to the degree that I cannot refuse it. I have been blessed with some big opportunities over the past year (including playing Reggae on the River 2015, a recent show with the Reno Philharmonic Orchestra, and my 2015 award as “Best Musical Instructor” in the local News and Review), and must do my utmost best to continue to build and foster work and opportunities in the area of playing, writing and teaching music — my true Primary Directive.

I have been lucky to have worked with so many movers, shakers, enthusiasts and aficionados within this reggae community, those who selflessly shared their writing skills, photography (or both!): Roger Steffens, Jake Homiak, Lee Abel, Sista Irie, Chuck Foster, Shelah Moody, Robert Roskind, Dr. Dread, Yoni Gal, Shiva Rea, Tracy Moore, Felicia Kelly, Sharon Gordon, Susanne Moss, Joe McLaren, Mike Patton, Jacquelynne Ocaña, David Burnett, Beth Lesser, Kim Sallaway, Dianne Issachar (dearly missed by us all), Brett Leuder, Susan DeLeon, Sarah Scott and Nigel Jones; musical artists Harrison Stafford, Peter Lionheart, Ryan “Ishence” Willard, Sister Kat, Pato Banton, Taj Weekes, Stevie “Lightning” Newland, Burning Spear, Billy Mystic, Cherine Anderson and Malika Madremana; visual artists Ras Elijah Tafari, Abba Yahudah, Jeffrey

The drEditor

One and All,

Samuels, André Jones a.k.a. Natty Rebel, Lawrence “Mystic Lion” Hansen, Chris Dyer, Ras Terms, Derek Leach, Kevin Morgan, Chuck Sperry, Jesse Joshua Watson and Lennie Jones. All of these folks have made this journey possible, and as I’ve said for years now: they are the wheels that keep the RFG bus moving forward. I have learned from every one of them, and through the course of working with these people, friendships and everlasting bonds have been formed that will last a lifetime.

And of course, our amazing crew: Irene, Goran, and former staffers Kristine and Doris. My publisher Kaati, who has guided me and taught me so much along the way. She‘s helped to open so many doors to enrich my path. If you know Kaati, you know that she is an amazing connector of people, and I have been the beneficiary of many links made through her. With the love and humor we share, she is like a big sister to me.

I have been blessed in this journey to have met and created friendships with fellow writers, photographers, organizers; fellow musicians, fans and just all-around good people within this one love family. The walks on this road have been full of love, laughter and deep reasoning, and with these steps, I move forward further into the musical realm. Perhaps I may see you again here as a photographer and content contributor. But for now, this is your drEditor signing off: One Love, One Heart.

Anthony Postman

COVER ART DESCRIPTION: Millennium Moon Over Addis (Oil on raw black canvas; Copyright 2007 by Abba Yahudah) Millennium Moon Over Addis is the ironical 14th piece of my “Made in Ethiopia” series, which is comprised of 13 pieces. This body of work was created from my artist-in-residence project, celebrating the Ethiopian Millennium in 2007/2000et.

This piece is unique because it was not meant to be a part of the series. It was upon this piece of black canvas that I cleaned my brushes for the other official 13 canvases. Hence, Millennium Moon Over Addis is made up of bits and pieces of each painting and is in essence the byproduct or birth-child of the others.

Millennium Moon became my favorite of the lot, and thus I used it as the image of focus for the promotion of the series. And that’s the irony of the 14th piece in a 13 piece series. www.abbayahudah.com

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In This M PAGE 10

The Inspiration — Rastafari To The World!

Groundation lyricist and frontman Harrison Stafford highlights Haile Selassie’s 1966 visit to Jamaica, and the impact it had on Rastafarians, both in Jamaica and throughout the world. He shares thoughts from reggae luminaries such as Joseph Hill, U-Roy and others on the influence that His Imperial Majesty had — not only on their lives, but on reggae music at large; as well as Harrison’s own inspiration to create the Rasta-mentary film Holding On To Jah. Harrison Stafford

Dreadtown — The Steel Pulse Story: PAGE 22 Film Crowdfunding And Direct Support From The Fans

Yoni Gal

Steel Pulse has been one of the primary bearers of the reggae torch, keeping the original Rasta message strong, rebel-rocking since the early days of their inception. With music as their weapon, Pulse has fired the musical shot at police brutality, racism and systemic corruption, with fans from all four corners of the world in support. Dreadtown is the upcoming documentary film covering Pulse’s ethic and their epic rise to worldwide acclaim — and speaking of fans’ support from all four corners, the film was largely crowdfunded.

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Readings For Reasonings From reggae business manuals, to a book with in-depth roots artist interviews, to a DVD about Rastafari which details a history not often told, Chuck Foster returns with his latest list of great titles to add to your summer reading list.

Chuck Foster

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Magazine PAGE 36

Cultural ViZions We return to the artist's studio for some inspired views into life, history and culture of Jamaica, Africa, reggae and Rastafari. Visual artists Abba Yahudah, Jeffrey Samuels, AndrĂŠ Jones a.k.a. Natty Rebel and Ras Elijah Tafari share some of their work, stories and perspectives with you on this roots-and-culture gallery tour.

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Roots Rock Rhythm — The Universal Heartbeat

International yoga teacher Shiva Rea reflects upon some of the original heartbeat drum rhythms of reggae, and the transformational power the reggae beat has upon our hearts and souls. The connection between yoga (the uniting of the mind, body and spirit, both on an individual level, as well as with Creation) and reggae (with its unifying principals of one love) is explored.

Shiva Rea

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RUNNINGS

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June 17 - 19

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Sierra Nevada World Music Festival

Boonville, CA

June 18

One Love Father's Day Reggae Concert

Riverdale, GA

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The Inspiration Rastafari To The World!

by Harrison Stafford, featuring quotes from the documentary film Holding On To Jah Image Courtesy of Infinite Mind Media and HTS Roots Creation

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Photo Courtesy of Infinite Mind Media and HTS Roots Creation

“It was the genesis of a revolution to bring an evolution." — Joseph Hill

J

oseph’s depiction of Selassie’s visit to Jamaica was faithfully correct, as it would be the stone thrown into the water to send ripples of influence throughout the world.

THE VISIT April 21, 1966 saw a great multitude of Rastafari converge upon the airport in Kingston, Jamaica to greet their king, His Majesty Haile Selassie I. Rastas from all of the parishes across the island were shoulder to shoulder, beating drums and chanting Nyabinghi, as their numbers grew to reach over 100,000! The euphoric energy amongst The King’s followers was incredible — for all gathered, it was a dream to see so many Rastas united together. Then suddenly, Emperor Haile Selassie’s plane parted the clouds with a huge sunburst, showering the people with light and forever changing the course of history.

Reflecting upon the social and political impact of Selassie’s visit to Jamaica, it seems to have been a phenomenon that pushed the world into a more positive direction. Following Jamaica’s independence in 1962, a massive congregation of faithful and committed followers — poised to touch the world through their own unique genre of music — needed great inspiration, which came in the form of the historic visit by their living God.

Rastafari’s greatest messengers would be the reggae singers — the dreadlocked Rastaman, clothed in and waving the red, gold and green of Ethiopia’s flag — spreading the word of equal rights and justice for all.

This message would give hope to millions of people as they fought against the Western system of materialism and greed, which Rastas refer to as Babylon. Musical Rasta warriors like Dennis Brown, Bunny Wailer, Gregory Isaacs, Burning Spear, Israel Vibration, Culture, The Congos and The Abyssinians brought Rastafari directly to the people, through this revolutionary form of conscious music. The captivating heartbeat rhythms of roots reggae empowered listeners to overcome obstacles and fight for justice, through lyrics inspired by the teachings of Haile Selassie I. “We must become bigger than we have been: more courageous, greater in spirit, larger in outlook. We must become members of a new race, overcoming petty prejudice, owing our ultimate allegiance not to nations, but to our fellow men within the human community.”

— Haile Selassie I The influence and inspiration of Haile Selassie’s visit to Jamaica was so great that Bob Marley (though not on the island at the time of the visit) was still drawn to become the world’s best-known proponent of Rastafari through a musical legacy that survives to this day. The impact His Majesty’s visit spread through time and across borders and boundaries to eventually

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June 18 - 19

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Roots Reggae Culture Festival

New Orleans, LA

reach me too in Northern California. As an American Jew, I grew up going to public school and attending Hebrew school to study the Torah. Reggae music reached me at an early age, through my older brother who listened to Bob Marley, Peter Tosh and Culture. I gravitated to the sound. The message from singers like Joseph Hill of Culture singing, “The children of Israel need to be free,” and the great Bob Marley chanting, “We know where we’re going / We know where we’re from / We’re leaving Babylon / And going to our Father’s Land / EXODUS!” really connected with me. I started doing class presentations on the life of Peter Tosh, Bob Marley and Rastafari in grade school. My Bar Mitzvah’s theme was Jamaica. It was like roots reggae music was a music made for my soul.

A chance meeting by my parents and a Jamaican boy, Leighton Lugg from St. Ann’s Bay, afforded me my first visit to the island that I longed to see. That connection formed a lifelong friendship with Leighton, and over the years established St. Ann’s Bay as my adopted second home. It was the clean natural livity and the collective spiritual energy of the people and the land that kept me coming back summers and winters to renew my faith and commitment to the message and the people that created the reggae sound.

“Wisdom is like when you drop a pebble in the water and the ripples flow. So the ripples flow and it came and I, I got it.”

— Brother Samuel Clayton

Harrison Stafford Photo by Lee Abel

HOLDING ON TO JAH’s EARLY INSPIRATIONS My love for all music goes back as far as I can remember. My father had grown up playing jazz piano and was a huge fan of the foundation artists of that genre, such as Count Bassie, Duke Ellington, Miles Davis, Thelonious Monk and Bill Evans. The sound of these great musicians were played on the family record player all hours of the day and long into the night. My grandfather was an accomplished saxophone and harmonica player, as well as a singer, and he used to tell me, “the more you can live your life surrounded by music, the happier you will be.” I have taken his message to heart and I have found music to be as essential as breathing.

“Education is the key,” my mother told me, and she was right — the more you study or practice something, the deeper your connection to it becomes. I knew at the age of 15 that I wanted my life’s work to be in music, so after completing my junior year of high school, I applied to only one university, Sonoma State University (SSU) in Northern California. There were two main reasons why I applied to SSU; one: it had a well-known and credited jazz performance program led by bassist Mel Graves; and two: Bay Area freedom of speech leader Mario Savio taught at the school.

Luckily, I was accepted.

During my studies at SSU, I started my musical journey with the band Groundation, and began touring the world extensively in 2004. I quickly realized that even though reggae music was part of the underground non-mainstream genres, there was a strong and loyal foundation of fans everywhere on the planet. The Rasta message within this music of equality and love-for-all fuels the mass social movement towards a world that is more positive and balanced with nature, and the whole of humanity. The power of reggae music has taken me to more than 35 countries performing on six of the world’s seven continents — still waiting to play Antarctica.

In hoping to further pass on the blessings of Jah music, I developed and taught a History of Reggae Music course at SSU. This would lead me to produce the

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Photo Courtesy of Infinite Mind Media and HTS Roots Creation

documentary film Holding On To Jah about the history of the Rastafari movement, as told by the singers and people who brought it to the world. The film itself centers around the 1966 visit of His Majesty to Jamaica, and how for most of the reggae singers, this was the moment they did “sight” Rastafari (the term often used for that first moment one declares to be of the Rasta faith). In producing the film, I sat with many elder Rastaman, seeing their spirits soar to higher heights and years of trials and tribulation lift off their shoulders as they spoke of the visit from Haile Selassie I. Holding On To Jah Excerpt: "Passing Glance"

by Don Carlos.

“I start to tremble, I don’t know why…the emotion hold me and I see this little man look at him, so small and powerful.”

— Bernard Collins

Photo Courtesy of Infinite Mind Media and HTS Roots Creation

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“I take a straight look upon this man, you know, and trust me...it’s like he just said to me when he looked in my eyes and he said to me ‘you, you don’t believe, but sooner or later you gonna believe.’” — U-Roy “It took me years to reveal it, It took me years to feel it, it look me years to know it, but I get it.” — IJahman Levi

EVERLASTING TEACHINGS The film was a 17-year journey that began in 1999 and took me all around Jamaica, sitting and talking with the elders about the culminating event of Selassie’s visit and the effect it had on the culture. Producing Holding On To Jah was the fulfillment of a lifelong dream. The opportunity to spend time with the

June 26

July 14 - 17

Reggae Night XV

Los Angeles, CA

California WorldFest

Grass Valley, CA

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Photo Courtesy of Infinite Mind Media and HTS Roots Creation

heroes of my childhood was reason alone for making the movie. A majority of the musicians in the film, such as Joseph Hill, Cedric Myton, Ras Michael, Israel Vibration and Pablo Moses, I had known for many years — while others, including Prince Alla, U-Roy, IJahman and Countryman, I had only recently met. So what did I learn and gather from all these interviews and time spent with these elders? Let me share a few lasting impressions on some of the featured artists in the film: The powerful and captivating spirit of Joseph Hill, the lead singer of the group Culture, was my main push to complete Holding On To Jah. His sudden passing in 2006 really sent a lightning bolt through my soul, crying out for something to come from all the hours and footage with Joseph. His confidence and dedication to the faith and music is still alive with us today in the music.

“Let it be there full and free, let the bloodline of my music flow between generations, let it soak the Earth; ‘cause the Earth shall never run dry of cultural music…because I was already born.” — Joseph Hill No one featured in the film is more of a foundation to the Rasta movement as Brother Samuel Clayton, orator from Count Ossie’s group, the Mystic Revelation of Rastafari. Samuel was part of the first delegation of Rasta who journeyed to Ethiopia to receive the land of Shashamane from Haile Selassie in 1963. In Holding On To Jah, you can actually see Samuel Clayton in the original black and white footage of His Majesty’s visit to Jamaica, dressed in white and chanting Nyabinghi.

Above all else, Samuel’s focus is on Rastafari’s roots message of a love for all people.

Photo Courtesy of Infinite Mind Media and HTS Roots Creation

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The Professor Crew Photo Courtesy of Infinite Mind Media and HTS Roots Creation

“God is love, love is God, and all who lovith is of Jah Rastafari...Love is the cohesive force that binds all events to make life purposeful for man to keep on living…this is not toast, this is for real.” — Brother Samuel Clayton Thanks to a successful crowd-fundraising campaign, Holding On To Jah was released on DVD and online November 10, 2015, and features a classic sound track with music from the likes of Bob Marley, Peter Tosh, Burning Spear, Toots & The Maytals, Israel Vibration and The Congos.

See Holding On To Jah film trailer!

The influence of the Rastafari movement and reggae music on the world has been wide reaching.

From Tokyo to Rio, Cape Town to Copenhagen, you will find reggae bands featuring the dreadlocked Rastaman and flying the red, gold and green. The message from the singers is positive — one of peace, love and empowerment, with the aim to give hope to people in every continent on Earth who are fighting against Babylon.

Fifty years since the start of such a powerful positive focused force — the emergence of Rastafari — we, as a people, are still entrenched (if not deeper now) within the Babylon system. Society today is centered around materialism. Money, power, prejudice and injustice are seen in every aspect of our lives. As a 18

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people, as Rasta, we must raise our voices. Speak out, and fight. The work is not yet done.

Harrison Stafford, Groundation lyricist and frontman, is a veteran of the concert scene, sharing the stage with artists such as Ziggy Marley, Sting, Snoop Dogg, The Roots and Burning Spear. The “Professor,” as many elder Jamaicans know him (from his History of Reggae Music course he developed and taught at Sonoma State University 1999-2001), finished his longawaited documentary film on the history of the Rastafari Movement, Holding On To Jah in 2015.

Under the name “Professor,” Harrison released his first solo album titled Madness in 2011, after his pilgrimage to Israel and Palestine. Currently, he is touring with his solo work under “Harrison Stafford & The Professor Crew,” and released a new studio album, One Dance, in May 2016. The album features legendary Jamaican musicians, including drummer Leroy “Horsemouth” Wallace, bassist Flabba Holt, guitarist Dalton Browne and keyboardist Lloyd “Obeah” Denton. The album is a modern take on pure roots reggae music, with a #1 debut on the French reggae music charts.

“One Dance” music video YouTube link: youtu.be/aVri4HZCkSU www.harrisonstafford.com www.holdingontojah.com www.groundation.com

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ETHIOPIAN DIASPORA Cultural Arts and Music A RED GREEN AND GOLD RASTA JACKET 160.00 REGULAR; w/LION EMBROIDERY $200.00 B BOB MARLEY WOOD STATUE $10,000 (Negotiable) 75+lbs~ MUSEUM PIECE C SHABBA RANKS PURE COPPER PORTRAIT $4500.00 (Negotiable) D BURUNDIAN SACRED DRUM $7000.OO ~MUSEUM PIECE (Negotiable)

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E 12’’ 45RPM RECORD VINYL BY REV. JOHNSON AND THE POSITIVE VIBES ON ETHIOPIAN DIASPORA/BULLWACKIE LABEL $35.00 ~ COLLECTORS SPECIAL EDITION WITH DUBPLATE VERSION CIRCA 1986. SEE VIDEO ON YOUTUBE. F bamboo steam pipe $10.00.

G AFRICAN MINDS $25.00 H HAILE SELLASSIE ‘’I’’ DEFENDER OF THE FAITH B/W $ 25.00, COLOR - $37.00 I RASTA BAMBOO STEAM PIPE AUTHENTIC $ 177.00 EACH ALL ITEMS CAN BE PURCHASED @ THE ETHIOPIAN DIASPORA LTD. P.O. BOX 920017 EL PASO, TX 79902 all items negoitable 917-495-1020 JJJOHNSON@HOTMAIL.COM US MONEY ORDERS OR CERTIFIED CHECK ONLY THE ETHIOPIAN DIASPORA HAS BEEN IN BUSINESS FOR OVER 30 YRS.

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THIS CHURCH MINISTRY OFFERS FREE MEDICAL MISSIONS IN USA, CARRIBBEAN, AFRICA AND MANY OTHER PARTS OF THE WORLD TO JAH JAH CHILDREN.

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Crowdfunding andand Direct Suppo Film Crowdfunding Direct Sup

The Steel Pulse Story As described by Yoni Gal

S

ince the 1970s, Steel Pulse has been at the forefront of reggae music, cutting a swathe across continents and lighting the fuse of revolutionary thought. From the pressure-cooker ghettos of England to the mighty gates of the White House, they have forged an enduring legacy. Dreadtown is the long-awaited documentary of Steel Pulse’s story, directed by myself, collaborating closely with David Hinds and the band, and in part, crowdfunded by the public. It is set for limited release to crowdfunding backers by the end of the year, with a wider release in 2017.

Steel Pulse was formed by a group of first-generation Caribbean youths in Handsworth — a ghetto in 22

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Britain’s second largest city, Birmingham — and were greatly influenced by reggae’s philosophies and principles. With the odds stacked against them, they fought against the prejudice of a system riven with racism, police brutality and lack of opportunity.

Songs such as “Handsworth Revolution” and “Ku Klux Klan” were a direct response to the rise of Britain’s far right, as was their active involvement in the Rock Against Racism organization. Through great tunes and provocative lyrics, Steel Pulse put Handsworth on the map, and have inspired audiences worldwide with their message of revolution through selfempowerment.

They have endured to become one of the world’s most loved and timeless reggae bands — becoming Britain’s first black group to win a Grammy, as well as the first reggae band to perform at the White House for President Bill Clinton. Rita Marley sums up their lasting impact: “You say reggae — you say Bob

ort From pport fromthe theFans Fans

by Yoni Gal and Anthony Postman

Marley, you say Steel Pulse.” The group continues to sell out venues worldwide, making their voices heard on key international social issues.

Pistols), Chad Smith (Red Hot Chili Peppers), C. Thomas Howell (actor), Billy Idol, Michael Franti, Jason Mraz and many more.

Dreadtown is testimony to how the band’s message has empowered people across the globe to fight against their own forms of oppression throughout the decades. Steel Pulse is one of the few reggae bands to be documented in such detail — featuring a rich mix of live performances, interviews and never-before-seen footage and photos, in addition to insights from past and present group members. The film is narrated by acclaimed Hollywood actor and social activist Danny Glover. Dreadtown includes interviews with plenty of huge figures from reggae, such as Rita Marley and Burning Spear; and also others from the world of entertainment, like Matt Groening (The Simpsons), Lennox Lewis (World Heavyweight Boxing Champion), Snoop Lion, John Lydon (Sex

Dreadtown frames the issues of race and police/ minority relations from 1970s Britain to present day America. As history repeats itself, the issues that Steel Pulse bring out in their music are more relevant and urgent than ever. Topics like race, immigration and social justice dominate our collective consciousness. Resonance with those same issues today requires no explanation, only names: Ferguson, Baltimore, Sanford. The list continues, as does Steel Pulse’s mission to confront injustice and empower communities.

With Dreadtown, I hope Steel Pulse’s message will continue to reach new ears and inspire generations to come.

See the Dreadtown trailer!

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Selwin Brown and David Hinds Photo Courtesy of Driftwood Pictures

Crowdfunding and Direct Support From the Fans Thoughts from your drEditor, Anthony Postman Not only does the Dreadtown story reflect Steel Pulse’s groundbreaking past, but the film itself helps strike a new chapter in reggae history, as its campaign on the Indiegogo crowdsourcing platform raised a huge chunk of the money needed to get Dreadtown out to the masses. In the crowdfunding model, fans directly support projects they believe in through online platforms and get rewards related to the funded project, based on the level of investment. Although this model has been alive and well for some years now, the crowdfunding success charts are full of new tech products, games and films that tend to be more mainstream than the socially conscious ambition of Steel Pulse.

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By nature, crowdfunding tends to attract twenty to thirty-somethings, with a little tapering off as supporters reach their mid-forties (see Crowdfunding Demographics). There are even conversion rates for click-throughs from supporters on mobile devices, versus those from desk or laptop computers. Average roots rock reggae fans clicking to crowdfund projects via a mobile device? Probably not so many!

Within the reggae world, where many longtime fans may be past their mid-forties, the notion of crowdfunding may not even be on the rolling tray.

Some within our community intentionally eschew technology, social media (where crowdsourcing offers are often discovered) and online funding campaigns.

However, perks of the reward-based crowdfunding model could be just the thing that some truly livicated fans may actually be looking for. For example,

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Filming in Haiti Photo Courtesy of Driftwood Pictures

Dreadtown’s offerings include unreleased and rare music tracks (I have been absolutely loving my new Steel Pulse USB drive with a double album of neverbefore-heard tracks — I thought I had ‘em all!); a first look at the film itself; special film screenings; shirts and posters; signed lyric sheets; and Skype time with Steel Pulse’s David Dread. All of these are available in various combinations, dependent upon the amount pledged.

“This is a chance for you, the fans, to get your hands on some unique, original items; something that’s just different from the norm,” says David “Dread” Hinds.

More than the incentives though, is the feeling of involvement in the project — the cause. This is where Steel Pulse (and Harrison Stafford’s Rasta-mentary Holding On To Jah) broke through to reggae fans.

David & Selwyn (SP) at 16 Linwood Road with Rich (dp), Yoni (director), Rory (editor), Len (sound) and Trishul (dp) Photo Courtesy of Driftwood Pictures

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The crowdfunding campaign for Dreadtown hit and surpassed its target, but interested fans still have the opportunity to participate; to become a part of this important reggae history; and to pick up some of the unique perks offered! The Dreadtown campaign can be viewed at www.igg.me/at/dreadtown Yoni Gal was raised between the U.K. and Anguilla, a small island in the Caribbean. With a passion for film, he studied Film & TV Production at the University of Westminster in London. Since, Yoni has produced a number of projects internationally, focusing initially on music promos for well-established artists in the U.S., Jamaica and West Africa. He has been a lifelong Steel Pulse fan, and became good friends with them in Ghana, back in 2006. After producing their music video for “Door Of No Return,” they embarked on the journey together to create this definitive Steel Pulse documentary. www.dreadtown.com

drEditor with campaign perks Photo by Anthony Postman

Ownership. Involvement. Self-determination. Cutting out the middle-man.

“So far with all of the big guys out of the way, i.e. the records labels and so on, we’ve been financing this ourselves, and it’s been a labour of love, and sure pure devotion… ” Hinds describes.

Only time will tell if crowdfunding becomes a new paradigm within the reggae world. Aspects like the idea of syphoning money out of the system at large and the big media-machine, to instead source funds from the ground up, should appeal to those rebel-rockers with money to support the projects we believe in.

As Yoni Gal sums it up, “Crowdfunding allows us to continue in that vein of being independent. It allows us the freedom to get right through to you — the fans, the people — who really want to see this film made.”

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Yoni Gal and David Hinds Photo Courtesy of Driftwood Pictures

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Readings

For

Reasoning

by Chuck Foster

Photo by depositphotos.com Ÿ shooarts

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Reggae Festival Guide 2016

In fact, anyone trying to break into the music business should read this informative guide, which covers a wide range of issues, from copyright law and the negotiation of contracts, through digital sales and business technology. The book also serves as an excellent thumbnail guide to the concerns and controversies endemic to the making of reggae music — from the use of ganja, to the consequences of homophobia.

Many of the classic texts of reggae and Rastafari were issued decades ago, and much has changed in the intervening years. For my money, this is the best single-volume summation of where the music and culture stand today. It is an articulate and informative Jamaican perspective on the ins and outs and ups and downs of a business that isn't all that easy to understand. From dreadlocks and herb, to dancehall and the roots revival, this book touches on every aspect of the international phenomenon whose roots lie in Kingston, Jamaica.

Reggae Roadblocks A Music Business Development Perspective

Although written primarily as a guide to the business for Jamaicans, anyone with an interest in reggae — where it came from, where it stands and where it's going — will benefit from a careful perusal of this engaging and essentially uplifting work.

With chapter headings like “Rastafari and Reggae,” “The Reggae and Dancehall Debate” and “Reggae, Globalization and Technology,” Stanbury covers the entire spectrum of the Jamaican (and worldwide) music industry, from the point of view of someone who has worked in nearly every aspect of it. www.abengpress.com

by Lloyd Stanbury (Abeng Press, 2015) For a lot of people, the words "reggae" and "business" don't belong in the same sentence (unless the word “serious” is inserted between the two). Increasingly, the words "music" and "business" don't seem to fit that well together either (unless the word "funny" is included in there somewhere). Lloyd Stanbury puts all this and more into perspective in this excellent book, which I highly recommend to anyone contemplating reggae as a business.

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Full Watts Book # 2

More Axe 8: Mud Cannot Settle Without Water

by Steve Milne (Muzik Tree/I Am the Gorgon, 2015)

by Various Authors (Muzik Tree/I Am the Gorgon, 2015)

Full Watts was one of the best of the reggae ‘zines out of the U.S. — and this book continues gathering interviews and features that first appeared there.

Artists covered in this volume include Alton Ellis, Mikey Dread, Sugar Minott, Marcia Griffiths, Garth Dennis and Soul Syndicate/Observer All Stars/ Aggrovators/All Stars guitarist Tony Chin. As more and more artists from the roots era are passing, these interviews become all the more valuable.

There’s nothing like the flavor of these artists telling their own stories in their own unique voices. One of my favorites in this volume is the opening feature on Landlord Songs.

One of the great things about Ray Hurford's original Small Axe ‘zine out of the U.K. was the way he roped in writers from various other publications to expand on his original vision of artist interviews and record reviews, a typically selfless act that helped to give a "leg up" to up-and-coming young writers, as well as featuring classic and emerging reggae artists. More Axe 8 continues another remarkable series, gathering pieces on musicians like Winston Grennan (by Carter Van Pelt); "Deadly" Hedley Jones (by Beth & Dave Kingston); Clevie Browne (by Tero Kashki); Lynn Taitt and Dwight Pickney (by Jim Dooley); singer Max Romeo (from Dave Katz, who

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also pairs with Ray on a piece about Earl Sixteen); and myself with John Skomdahl on Admiral Tibet, a piece which originally ran in the U.S. publication Reggae Nucleus.

The interviews are in-depth, and the observations and comments from the artists and musicians are priceless. Along with the Full Watts books (mentioned above), and the plethora of titles from the same publisher, a body of work (covering everything from reggae producers, dub, era-specific reggae, origins of riddims and more) is emerging from Muzik Tree that fleshes out the development and evolution of reggae music — and we can expect many more volumes to come. Although these publications are not widely available in the U.S. (you won't find them on Amazon) they are obtainable directly from the publisher in England.

I heartily recommend them, one and all.

Find all of the Muzik Tree titles and more at: www.muziktree.co.uk

Holding On To Jah: The Genesis of A Revolution (DVD) Produced by Harrison Stafford, Directed by Roger Landon Hall (Infinite Mind Media/HTS Roots Creation, 2015) Over the years, there have been a few good (and a few not so good) documentaries on reggae and Rastafari. One of the best is also one of the most recently released, produced by Harrison Stafford, lead singer of Northern California's Groundation, and directed by his childhood friend, Roger Landon Hall. Utilizing some classic archival material intercut with interviews and footage filmed especially for this documentary, Holding On To Jah treats the history of Rastafari and reggae music with respect, and details a history not often told.

Interviews conducted in Jamaica with artists such as Bernard Collins of the Abyssinians, Pablo Moses, Ijahman Levi and U-Roy are joined with material filmed in California — including a lecture from the late Joseph Hill of Culture — bringing this decadelong labor of love to full fruition. Educational, entertaining and enlightening, this is a video well worth viewing. www.holdingontojah.com Chuck Foster managed The Either/Or Bookstore in Hermosa Beach, California in the late ‘60s and early ‘70s and worked many years in the antiquarian book trade. He is the author of Roots Rock Reggae: An Oral History of Reggae Music From Ska To Dancehall (Billboard Books, 1999) and The Small Axe Guide To Rock Steady (Muzik Tree, 2009). For two decades he wrote the “Reggae Update” column for The Beat Magazine. He co-hosted The Reggae Beat on KCRW from 1987 to 1994 and has hosted Reggae Central on KPFK in Los Angeles for the last 18 years. He also writes and produces music which can be accessed through www.CatchMeTime.com.

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Cultural ViZions

Unto Us A Child Is Born by Abba Yahudah

Welcome to our second installment looking into the artist’s canvas, as we feature four more talented roots and cultural artists. (A number of years ago, Reggae Festival Guide featured several artists who are widely visible throughout the roots world of reggae and Rastafari. See Here!)

We present you with works often inspired by the same root inspiration of reggae music itself: His Imperial Majesty, Haile Selassie the First: Jah Rastafari. You will see too, that even if the work isn’t directly inspired by H.I.M., there is still a visible connection back to African and Caribbean life and culture.

Our first two artists hail from Jamaica, beginning with this year’s Reggae Festival Guide’s cover artist, Abba 36

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Yahudah, whose work mixes ancient wisdom with Neo-modern style; and then Jeffrey Samuels, whose slice-of-life paintings have found their ways from the shores of Jamaica into the White House.

André Jones a.k.a. Natty Rebel, originating from the Washington, D.C. area, brings a street sensibility and immediacy to his vibrant works. And finally, we re-introduce our 2011 cover artist, Ras Elijah Tafari, whose art graces a growing number of roots and culture album covers, with a look that is immediately recognizable, speaking largely through parable and royal symbolic imagery.

Step in! The roots and culture gallery is now open…

Good Look In acrylic on canvas ©2008 by Abba Yahudah

Abba Yahudah [ Excerpts from Abba Yahudah’s upcoming book The Art of Black]:

AFRICAN ART AND ITS INFLUENCE ON MODERN ART One can argue that so-called “Black art” symbolizes a direct expression from the soul of the African experience, duly reflecting its own authenticity. If we consider Black art only created by artists of African descent, then the art created by non-Africans — through the influence or inspiration of African culture — only enriches the legacy of African art’s influence.

When a European artist travels to any part of the African Diaspora and chronicles the life of the natives, whether the medium is drawing, photography, sculpture or painting, the work is not usually classified as Black art — the same way we wouldn’t consider a non-Rastafarian artist’s depictions of the Rastafarian culture to be Rastafarian art. Yet, the widespread popularity of this Pan-African movement’s culture, achieved through reggae music, has cultivated an incredible amount of creative expression. From across the globe, many echo the voice of African awareness, a voice that is in unison with the collective struggles of the continent in various ways. All the expressions of the multi-racial and multi-ethnic Rastafarian presence

around the world are African. Rastafarian art is Black art, no matter what the artist looks like.

Whenever I think of art, I don’t necessarily think in terms of the color of paint, or the pigmentation of the artist, because art can be made from anything and by anyone.

I instead focus on the feeling that the art itself emanates, either from a mere glance or a full-on encounter. Life for me is art and I see it everywhere in everything, from the art of making love to the love of making art. All of life is art in its manifold dimensions and expressions. Thus, I live in constant awe as I ultimately attempt to master the art of living.

MY PROCESS My paintings spring from a conversation between the piece and myself — a conversation I have the liberty of instigating, with a mere splatter of paint on the surface of the canvas (or any material, for that matter). However once started, I have no knowledge of the direction, nor do I control the conversation. I simply become the listener and the taker of notes, which I do in silence.

In the creative process, I take orders that come to me while sitting still with the piece. I listen with my eyes and translate the orders into specific actions that are the defining factors of the work. The name of the piece usually comes early in the conversation, becoming the blueprint for the direction of the piece. The works are

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The Shaman’s Heart acrylic on canvas ©2008 by Abba Yahudah

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July 1

International Reggae Day Festival

Kingston, Jamaica

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July 1 - 4

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International Festival of Life

Chicago, IL

The Conversation acrylic on canvas ©2008 by Abba Yahudah

like children, and their identities are wrapped up in their names. Therefore, it is absolutely important to me that each piece of work is titled with the appropriate name of the energy field that birthed it.

The conversation is the most vital part of the process, and it is crucial that I tune in as the orders eventually get fewer and fewer to the point of a whisper.

Subsequently, the work is signed and dated when it is finally silent. I then leave it up to the viewer to decipher the notes that are left from the conversation that created the piece, and to open up their own door of dialogue to break the silence I left behind in completing it.

RETHINKING BLACK ART Often times, the conversation sparked between a piece of art and its viewer emanates from a space of connectedness with the piece. Even though many people may be able to articulate their attraction to a work of art, other times, we cannot describe why we gravitate towards it. Sometimes it is the colors and shapes that resonate with our subconscious and

evoke deep emotional feelings that can have positive, even healing, effects on our lives.

Mystic artworks, particularly mandalas, are designed to enhance the quality of your mind through a process of meditative disciplines that may increase the quality of your life. Art speaks a language that transcends limitations of our various conditionings, even when the work of art is derived from a specific secular, cultural or racial standpoint. Traditional African art is one of the truest examples of this, and over the centuries has become sought after by art collectors and spiritual practitioners alike.

The so-called “Black artists,” products of the postcolonial experience, carry within themselves a finetuned mind that constantly redefines their work and environment as they forge a new paradigm in the world of art. Even though a great majority of the artists from the African Diaspora are heavily influenced by the traumatic after-effects of post-colonial oppression, many are drawing from a different, more glorious past — an African legacy rich with the victories and

When I was Born acrylic on canvas ©2008 by Abba Yahudah

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Wisdom and Her Sun acrylic on vinyl ©2008 by Abba Yahudah

triumphs of an advanced civilization that laid the foundation for life as we know it today.

This new wave of artists resists the system that enslaved their ancestors. For them, like their predecessors, their art is an extension of their experience in an oppressive society designed to de-humanize and destroy them. In this, they claim a legitimate revolutionary stance, using their art as a voice and a weapon in their fight against a corrupt system.

As an artist that happens to be of African descent, I don’t necessarily identify myself as a Black artist.

However, we live in a society that continues to nurture the racial divide with stigmas and stereotypes about Black and White. Therefore, we are bound to encounter the labels prescribed by recycled prejudices that have perpetuated racism throughout the centuries.

Growing up in Jamaica, where over 90 percent of the population of nearly three million people are of African descent, I had no label such as “Black artist.” And although it’s a country rich with African traditions, the Jamaican population is, nevertheless, steeped in the sub-conscious conditioning of white supremacy and inferiority complexes, as illustrated in some citizens’ excessive skin bleaching and hair processing proclivities.

Due to the domineering influence that European mass media has had on Africans’ perspective of themselves and the world around them, my father — my first art teacher — went to great lengths to instill in me a pride of Africa and a deep and lasting love for her art, music, 42

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culture and people. He loved Africa and knew quite a bit about her history and civilizations. He enforced a principle and discipline that stipulated drawing only people of African descent, asserting they were more difficult to draw, and once I mastered drawing them, drawing other races would be like butter melting in the sun. He also reminded me that European artists were not busy filling up the world with positive images of our people. Therefore, it was my responsibility as an African to use my art to put my people in their rightful place.

His message hit home and I got it!

Even as a young boy developing my artistic skills, I could clearly see the importance in the values that my father was teaching me. As the years rolled by and I grew into myself, the love of Africa increased my consciousness of self and sense of purpose, and I fully realized with great appreciation the essential values of the lessons learned from my father.

TRANSCENDING BOUNDARIES I believe that art should transcend boundaries of gender, race, class and culture. It should transcend the medium it was created in, the artists and their philosophies, the society and its limitations, to connect with the viewer in any generation or dispensation of time. We cannot dissect and fragment a piece of art in order to grasp its meaning, or affirm its importance.

The composition in itself — as a whole — is the piece, which is not unlike the personality of an individual with its own moods and dispositions. It can rub you

July 9

Island Reggae Festival

San Jose, CA

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July 16

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Bayfront Reggae/World Music Festival

Duluth, MN

in many ways depending on the setting, the light, and most importantly, the mood you are in.

I also believe that art allows the artist to freely communicate his deepest feelings and insights, from the depths of his own experience. If artists can be aware of how their art impacts people and environments, they may use their creative talents to advocate positive change. The artist is vested with a responsibility that must naturally be tied to a sense of morals and values from the higher level of Divine purpose.

Abba Yahudah's Bio An African Jamaican male with a feminist perspective, Abba Yahudah is a conscious visionary heart brother. He is committed to the rebirth of the Goddess and deeply empathetic for the suffering of black women, as well as the pain of the larger collective body of African people. The African Diaspora, Ethiopianism, mysticism and the Rastafarian experience inspire his art and writings. He believes in the ultimate unity of all spiritual traditions, but as a Jamaican — unable to escape the Catholic and Baptist missionaries — he has been particularly influenced by Christianity. He could be considered a Gnostic Rastafarian, in the sense that he has retained the jewels of truth in Christianity, but has radically dissected the false patriarchal ideologies that subjugate the feminine principle.

exposing him to typography and layout. Several of his works were published in local and national media such as Sights and Sounds, The Apprentice Writer and Student Voice. While living in New York, he enrolled in Parson’s School of Design in 1985, majoring in graphic design. A year later, he enrolled in the School of Visual Arts, majoring in design and illustration. In 1987, Abba Yahudah worked as an art director/illustrator for one of the larger design firms in Manhattan. He designed and illustrated for companies such as Sony, Sharp, Revlon, Maxwell House and Pepsi, to name a few. In 1996, he opened the first Rastafarian Gallery in Park Slope, Brooklyn, calling it “Lalibela” after the monolithic churches of Ethiopia’s New Jerusalem.

Abba Yahudah currently resides in the San Francisco Bay Area and divides his time between Jamaica, Oregon and the Bay Area. His art has traveled internationally to Italy, Spain and Ethiopia, exhibiting at the Habesha and Lela Art Galleries; and Jamaica, with an exhibit at the University of the West Indies. He has also exhibited at the Smithsonian Museum of Natural History in Washington, D.C., and numerous galleries in the San Francisco Bay Area. He has had an amazing and very successful show at the California Institute of Integral Studies. He is also a talented musician and loving father.

He has felt the pain of his heritage and has spent most of his life developing an artistic identity that transcends borders, labels and stereotypes — not an easy task for an African Jamaican male.

Abba Yahudah recently published his first scholarly endeavor, A Journey To The Roots of Rastafari – The Essene Nazarite Link, self-written, compiled and illustrated. Apart from running a full-time branding firm, Abba Yahudah’s present endeavors include working with Oakstop’s Trevor Perham and the legendary historian, artist and author Dr. Samella Lewis’s grandson, Unity Lewis, to design and develop the third volume of The Black Artist on Art book series.

He also has a new manuscript that he is presently editing, to be published in 2017.

Born in St. Catherine, Jamaica, to a family of artists and builders, Abba Yahudah vowed early on to devote himself entirely to art; making everything he did a creative exercise. By the age of ten, he developed a very detailed eye, showing remarkable skill with the pencil, and able to draw the identical likeness of anything he saw. He migrated to the United States in 1981 and at the age of fifteen, took his first job as a sign painter, intimately

abba@gotbrandsolutions.com www.abbayahudah.com www.gotbrandsolutions.com www.inesscents.com www.italcertified.com www.sabidesignbuild.com www.oakstop.com www.rallyupmusic.com

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Jeffrey Samuels

Rastaman Size: 48" x 36", Medium: Acrylic on Canvas Description: This painting is of a friend of mine named Albert Artwell. He is a fellow artist and one of Jamaica's finest intuitive painters.

Albert’s eyes inspired me to paint this piece.

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The Spirit of Domino Size: 48" x 72", Medium: Acrylic on canvas Description: This piece speaks for itself – dominos is Jamaica's favorite pastime.

The Marching Men Size: 48" x 72", Medium: Acrylic on canvas Description: This piece is of the Jamaican Military Band. What drew me to do this piece was the color — I just could not resist.

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July 17 - 23

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Reggae Sumfest

Montego Bay, Jamaica

July 22 - 24

Oroville Rock Reggae JamFest

Oroville, CA

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The Day’s Catch Size: 6" x 9", Medium: Acrylic on canvas Description: This is a typical day in my community (Whitehouse, Montego Bay, Jamaica). It's a quiet fishing village, just a 10-minute drive from the town of Montego Bay. This depicts fishermen selling their day’s catch.

Jeffrey Samuels’ Bio “I didn’t choose to become an artist,” says Samuels, “art choose me!”

Born in the small fishing village of Whitehouse in Montego Bay, Jeffrey Samuels is a child of the sea, with deep roots in rural Jamaica. His love for people is evident, and is reflected in his work as a favorite subject. “I’m fascinated by the human form,” he declares, “and that’s my gift.”

Much of Jeffrey’s works are vibrant expressions of the mundane lives of everyday people. He skillfully captures the emotions and feelings of moments often overlooked by others, with the curious eye of one who sees beauty in everything.

As a young man, Jeffrey created small artworks that he hung at home or gifted to friends and neighbors to adorn their homes.He doesn’t consider himself an artist with a noted philosophical vision or background, nor 50

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with deep insight into the things he paints. According to Jeffrey, he paints because, “in my mind’s eye I see a work of art. For example, I will look at someone and see an image that I will paint into a masterpiece. I will also look at a sunset and see a lasting memory which I will preserve on canvas.”

The fact that he’s had no formal fine art training is one of the reasons he’s considered by many to be a gifted artist. Even though a man of humble means, Jeffrey has painted his way to some of the world’s most prestigious homes, including the White House. Two of his most famous pieces are Michael, which was given to the Jackson family; and President Obama, which was presented to the U.S. President upon his 2015 visit to Jamaica.

Each piece of Jeffrey’s work is a reminder to us that once you discover your passion and decide to consciously live it, the possibilities are endless! email: dsamuels74@yahoo.com www.jeffrey-samuels.artistwebsites.com Telephone contact: (876) 463-8354

AndrĂŠ Jones, a.k.a Natty Rebel

King Alpha & Queen Omega Description: This painting was done in the summer of 2015, the night after Reggae on the River festival concluded. The portrait of Haile Selassie and Empress Menen are done in the traditional Natty Rebel style, using a combination of Ethiopian Orthodox influences and Photorealism. The background highlights my growing interest in sacred geometry. The Star of David surrounds the heart, the heart surrounds the King and Queen, and the natural elements border the star with the sun and moon.

Priest Protection Description: This painting was an addition to The Home Away From Home Exhibition (2014) that took place at Lake Merritt, Oakland, CA, in celebration of the Ethiopian New Year. The painting has a very humble yet powerful spirit. This piece was inspired by the many priests I saw during my trip to Ethiopia and displays their ancient decorative umbrellas.

Mt. Mikey Description: In 2006, choreographer and Natty Rebel PR-man Ras Mikey C. moved to Ethiopia. The painting was inspired by an amazing photo taken of Ras Mikey while he was walking in the Simien Mountains located in northern Ethiopia. This painting captures the regal Ras Mikey in the foreground, while giving great attention to the mountains in the background.

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July 29 - 30

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Midwest Reggae Festival

North Lawrence, OH

July 30 - 31

Maple Ridge Caribbean Festival

Aug. 5 - 7

ARISE Music & Arts Festival

Maple Ridge, BC

Loveland, CO

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Lion Colors Description: One of 10 paintings in the 2015 Lion Collection, this colorful lion was handled in a much different style than the rest. Leaning more towards Neo-expressionism, this piece was done in less than an hour, in a raw and brutish manner. Sometimes a painting should look like a painting and not a photo.

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Selassie Mural Description: Arguably one of the largest paintings of Haile Selassie in the world, this painting stands 22 feet high and is located in Philadelphia, PA. The mural is painted on the wall of One Heart Art Center and Performance Hall. There is a big outdoor stage in the middle of the center for local performances and big reggae shows such as Bennie Man, Anthony B. and Midnite. The painting of Haile Selassie seated on the outdoor throne was intended to appear as if His Majesty is watching the show.

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Afro Girl Description: In love with the Neo-traditional style of painting, this piece was done as a tribute to all the women of color that can grow an afro. No seriously — this painting was a brief study on what goes on in the minds of women of color. Where she has been, what she has been through and what keeps her going. There are so many mysterious and beautiful things going on inside her afro while she simultaneously fights to break the mental chains.

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Bob Marley Description: One of 10 paintings in the 2015 Smokers Collection is the portrait of the Honorable Robert Nesta Marley. Out of all of the pictures of Bob Marley smoking (and there are many), this has to be one my favorites. This painting was done from a photo taken by the legendary photographer Dennis Morris.

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Self-Portrait Description: After flying to Dar es Salaam, Tanzania, the next stop was a ferry ride to the magical island of Zanzibar. There is so much excitement when an American goes to a Tanzanian ATM and realizes that 1 US Dollar = 2000 Shillings. I was a millionaire for the first time!

Shortly after coming from the ATM, my daughter took this picture of me. The most impressive part of this painting is the reflection in the sunglasses and the detail in the hands.

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André Jones’ Bio André Jones, also known as Natty Rebel, is an illustrator, designer, muralist and all-around modern day Renaissance man. Using his spiritual gift of the visual arts, André redefines urban communities with his emotionally captivating works. These works can be found on clothing, canvases and buildings worldwide.

André was born and raised in Northern Virginia, right outside of Washington D.C. His parents were supportive and gave him a positive upbringing, which has influenced his passion for life and the creative arts. André nurtured his artistic craft at Virginia Commonwealth University, where he graduated with a Bachelor of Arts in Commercial Arts.

André continued to paint murals and print t-shirts for summer festivals, but had to take odd indoor jobs during the harsh winters. In 2011, he was finally fed up with the cold of the East Coast, so he moved his business out west to California. Natty Rebel clothing and artwork was quickly embraced at the reggae festivals of Northern California. His work has been displayed in galleries in Vallejo, Oakland and San Francisco. André Jones a.k.a Natty Rebel continues to create fine works out of his garage, which he has converted into his studio. His passion for art continues to drive him to produce visually stimulating imagery all over the world.

His freelance career began in the mid-‘90s when he founded the graphic design company Natty Rebel Unlimited. André’s artwork and silk-screened t-shirts quickly became popular on his college campus, helping to build his brand and a loyal fan base. Subsequently, that same year after graduating from V.C.U., he moved to Brooklyn, NY, to fur-ther his artistic endeavors. His trendy clothing line Natty Rebel and art hit the streets of NYC, gaining the attention of local New Yorkers as well as contemporary icons such as, Mos Def, RavenSymone and the Marley Family.

After four years of teaching and creating public art in New York, the name André Jones had disappeared and the artist known as Natty Rebel had fully emerged.

The combina-tion of Natty Rebel’s talent and youth services secured him a trip to Ethiopia in 2007, where he was commissioned to paint a 20x30-foot backdrop for the Adama Ethiopia Millennium Celebration.

Shortly after returning from Africa, he left the hustle and bustle of New York and moved to Pennsylvania to join the Philadelphia Mural Arts Program. André’s largest mural is at Walter Palmer Jr. Elementary School Gymnasium in Philadelphia. He not only created several murals while living there, but also taught art classes at several schools and published his first book entitled The Illustrated Sounds of Philadelphia. The book and its artwork gained notoriety and several gallery exhibitions, including the African American Museum in Philadelphia.

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Aug. 4 - 7

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Reggae on the River

French's Camp, CA

Aug. 13

Chicago Reggae Fest

Chicago, IL

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Ras Elijah Tafari

Christ and the Abuna and HIM Description: Christ and the Abuna and HIM was done with pencil and uses symbolism as well as actual historic references to explain the relationship of His Imperial Majesty and the Church of Christ. The Nazarite known as Iyesus Kristos is disguised as the nature of the Ethiopian Christian: he is the Abuna, and the Black Clothe represents his high place. Kristos — being the essential humble Rastaman, Son of the Most High — is the bridge and house of Our Lord, Emperor Haile Selassie I. Haile Selassie (translated to mean “the Power of the Trinity”) is the fullness, the embodiment of the Father, Son and Holy Spirit. The Holy Spirit unites the Father and Son, and sustains the Church and Rastaman in Livity. From within the Holy Spirit, we are washed and reborn — represented by the rain and the doves — and by which faith was manifested by He who rideth on the wings of the wind. The Father, Jah in flesh, entered the nations coming out of Heaven upon the wings of the wind in a chariot of fire. This was made evident nearly 50 years ago in Jamaica when Christ in His Kingly Character, King Haile Selassie I, arrived after the Rain. Rastafari!

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Cultural Revolution Description: Cultural Revolution is the first major piece that I Empress and I did together. It is for an upcoming album from Lionheart Sounds that focuses on the changes and balance needed within this new high-tech world. It is about being wise as we surf the Earth on a keyboard. On the left are technology’s positive elements and potentials that benefit of mankind, and on the other side, the dangers. In this time, the Rastaman must break the cords and wires of Babylon, while using the microphone as a symbol of modernity, to progress in accord with development.

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Door and the Key Description: Door and the Key is about how when ones have read the books, as students of the Most High, we sight the lion that bestows the key of everlasting life. On the way to the Door, above and way out, look first to Emperor Haile Selassie I, who conquers the illusions of white dominance and tells us to look within — therein is the truth that will let you through the spiritual door and out the physical door.

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Crystal Clear Description: This piece was just picked up by Fikir Amlak. It is clear — the Lion and the Lamb are complete in H.I.M. Crystal Clear, King of Kings.

The Prayerful Emperor Being Coronated Description: His Imperial Majesty Haile Selassie was first given his kingly name on Coronation Day, November 2, 1930. “Haile” meaning power or virtue, “Selassie” meaning The Trinity. He was crowned as the King of Kings, Conquering Lion of Judah, Light of the World, Root of David, Elect of Jah. He was crowned next to Empress Menen, who was the first empress to have been crowned at the same time as the emperor.

Today and Tomorrow: The Essence of H.I.M. Description: As I look at pictures of H.I.M., I think about which picture best describes The Lion of Judah’s essence. What picture shows him happy and says a thousand words? I think it would have to be the picture of H.I.M. and his son stepping on the bombshells that had just fallen moments before, and they remain standing as a symbol of good over evil.

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Jah in the Garden Description: Jah in the Garden was recently picked up by Mr. Kali, a.k.a Kila Kali, for his single “Hungry,” which talks about Frankenstein food and food problems — asserting that it is often better to fast. I wanted to make an image that showed how in the beginning of Earth, Jah was in The Garden and made The Garden — it is the Most High that has created the food. Return to The Garden, return to Jah, return to Eden.

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Green Lightning Description: Green Lightning is about the supreme love and joy children bring to their fathers, who hold an undying desire to see their children safe and sound. It is the same as the love of the Most High. Right now, so many Rastamen are not able to be with their youth, so this is about the kingly lightning and thunder — the heavens declaring they are our blood, they are our cubs. Let the Father’s will be done.

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Songs Fa Jah Description: His and Her Majesty on the elephant is a combination of three events: The Coronation, His Imperial Majesty’s arrival in Jamaica and H.I.M.'s trip to India, where He rode around the Taj Mahal on an elephant. I was inspired by Abja's album Songs Fa Jah, and wanted to make a painting where everyone is singing praise to His and Her Majesty. In the background, I have painted four spiritual houses (left to right): The Taj Mahal, a temple, a Church and a Mosque, to show that H.I.M. is one who could unite all nations. This became the album cover for Abja, titled after that tune.

Ras Elijah Tafari’s Bio Ras Elijah Tafari is a painter and musician for The King of Kings, Emperor Haile Selassie I, Jah Rastafari. He is an Egyptian who is blinded by the face of the Conquering Lion of Judah, and in love with Africa and Ethiopia.

Painting album covers to murals and witnessing poetically about culture, Ras Elijah is active in organizing within the movement. He now lives in Puerto Rico with his empress and seven children.

To see his art or listen to tracks check: www.raselijah.com www.soundcloud.com/ras-elijah-tafari Contact at: lionartproductions@gmail.com 68

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Roots, Rock, Rhythm —

The Universal Heartbeat

by Shiva Rea

Breathe together, sing together, move together Photo by Alan Alcid

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T

he primacy of rhythm begins in the womb as we are conceived by rhythm and infused with the “dum dum” of our mother’s heartbeat.

The first musical instruments were used to play the rhythms from our body, breath and nature’s sounds.

Rhythm itself not only has a positive effect on our heartbeat, pulse rate and blood pressure, but also produces positive respiration, equalizes brainwaves, reduces muscle tension, regulates stress hormones, boosts immune function, stimulates neural pathways and, most importantly, connects us back to the mother rhythm. The world’s oldest forms of healing circle back to movement, chant and music.

As a movement anthropologist and yoga teacher traveling the globe, I began integrating roots rhythms, reggae and dub music for healing into yoga, based on my experiences with trance rhythms in Jamaica, Ghana, Mali, Morocco and around the world. In my teachings, I try to serve a larger movement of collective awakening through the power of love, our own rhythmic intelligence — our heartbeat — and the power that bass frequency can hold on our bodies.

Through a class I offered (“Roots, Rock, Yoga — Prana Vinyasa and Bass Power"), I met Reggae Festival Guide magazine “drEditor,” Anthony Postman. He approached me with his fascination for the common thread between yoga (which is the uniting of our own hearts, minds, spirits and bodies, as well as with Creation) and reggae, with its message of one love and power to unite, often reflecting Jamaica’s own motto: “Out of Many, One People.”

Roots Transmission I first saw Bob Marley when I was nine years old in 1976 at the Paramount Theater in Oakland, CA. Babylon was raging then, and I already had memorized most of Bob’s lyrics that matched those tumultuous times. I knew from the first dum-dum dum-dum that “Get Up, Stand Up” was coming. I will never forget the transmission I received from seeing Bob dance — as if possessed, moving by spirit — locks flowing in full abandon and rocking the universe.

Wisdom Drum Photo by Jenay Martin

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Aug. 18-20

Calgary ReggaeFest

Calgary, AB

Sept. 17

Rez Roots Festival

Kykotsmo, AZ

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Sept. 18

California Conscious Music Festival

Rohnert Park, CA

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Bambas Dois, Niyabinghi from Jamaica meets Brazil Photo by Cássio Abreu, licensed by CC by 2.0

Years later, I found myself in Kingston. As a young anthropology student from UCLA’s World Arts and Cultures Program, I received a grant to go to the Jamaican School of Dance. During that summer studying roots Afro-Caribbean dance forms, I experienced Kumina and spent a summer documenting this trance movement form through its most famous priestess, Imogene “Queenie” Kennedy.

Kumina is described as an “Afro-Jamaican religious cult” that emerged in the 1850s, in the postemancipation period from indentured servants (economic slavery) who came to Jamaica from the Congo. The core of Kumina is an all-night ceremony, or Myal, that is conducted for the descent of the ancestors into the dancer’s body, which becomes an instrument of the spirit world to then communicate with the living. Kumina rhythms are based in a large low-pitched male “king” drum called the Kbandu, played in partnership with the female "queen" drum, Playin Kyas, which calls in the spirits through higher pitch. As one current74

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day Kumina leader has said, "A queen needs a king drum. There is no queen or king without the other."

Miss Queenie was born in 1920 in St. Thomas, Jamaica. She was raised by her grandmother, who carried and taught the memories of her Congolese roots. Olive Lewin outlines some of Queenie’s story in her book, Rock It Come Over: The Folk Music of Jamaica, as the following describes. Queenie experienced a direct initiation as a young woman when the ancestral spirits took her to a huge, hollow cotton tree, where she spent 21 days without food or water. It was inside the belly of the tree that she learned prayers and songs from her spirit guides in the ancestral language of Kikongo, from the Congo. From this initiation by the unseen world, Miss Queenie emerged as a full Kumina Queen, or priestess of ceremony.

I was able to go to Kumina ceremonies with Queenie and experience the power of rhythm live and direct. In the sweaty intensity of an all-night ceremony, family,

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friends and members of a Kumina “nation” danced around a central pole in an anti-clockwise direction as Kumina rhythms, songs and offerings call the ancestors to descend — a blessing and a primal force.

Queenie was a loving, fierce guide and carrier of the spirits — as was the late 19th century/early 20th century female leader, Nyabinghi Muhumusa of Northern Uganda, who was believed to be possessed by the ancient Kushite Queen Nyabhingi. Nyabinghi was a dreadlocked guerrilla revolutionary, fighting British colonialist invaders/occupiers in Uganda. She was revered as a woman of power, known for playing and moving to the powerful, mystical trance drums eventually outlawed by the British colonialists. Later in Jamaica, one of the elemental rhythms in reggae also took up the name Nyabinghi, with the intention that every beat of rhythm itself would break down the walls of Babylon, and destroy all downpressors.

The rhythms of Kumina, and especially Nyabinghi, form the original heartbeats of reggae music. In 1950s Kingston, Count Ossie integrated traditional Jamaican Kumina drumming into the creation of Nyabinghi music culture, which in turn was incorporated into the revolutionary sounds of Bob Marley’s reggae evolution.

The Universal Heartbeat Earlier this year, I taught at the Wanderlust Festival at Lake Taupo in the heart of New Zealand. This was on February 6, Bob’s birthday, which happens to be the same day as Waitangi, NZ’s Independence Day. When Bob came to New Zealand in 1979, his music and message had a huge influence on the Maori people, who fiercely resisted colonial forces and still fight for land rights today.

Hearts beat as One Photo by Alan Alcid

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Nov. 7 - 12

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Four Seasons Party Cruise

Miami, FL

There we were, on the other side of the world, practicing the rhythmic yogic flow of breath and movement to the sounds of Bob Marley’s enduring roots rock rhythms, when some of the local artists and yogis began to add Maori chants. In moments like these, the healing power of the rhythmic syncopation and beat is so tangible, bringing us back to our natural source, as we move and chant together. The rhythms of Nyabinghi and the heartbeat blend into a universal sound that transcends time and space.

We feel the unifying power of life when we move to the roots rhythm — it is the same one heart, one love realization that is known and practiced by natural mystics throughout the world. Yoga, in its myriad of forms, is that which unifies one within one’s self and into the collective. Yoga aims to take us out of small mind into big mind, from limitation to liberation. It is just as the one love message and sound of reggae may bring us into greater consciousness, and so aims at breaking the chains of mental slavery; for us all to realize that there is much more that may unite us, rising above the forces that may divide.

Fast-forward to our next reggae festival. There, we may once again enter inside the rhythm of the roots, the mother source and liberator — the memory of where we come from. Listen deep. Ancestors are calling. Yoga — the unification of our consciousness within ourselves and with others — can be practiced everywhere.

Seen.

Movement is life for Shiva Rea, M.A, global Prana Vinyasa teacher, activist and innovator in the evolution of Vinyasa Yoga around the world. From large-scale festivals and conferences to unplugged retreats, Shiva has taught thousands of students, teachers, movers and shakers how to integrate yoga as a way of life. www.ShivaRea.com

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

SO CHECK BEFORE YOU GO & HAVE AN IRIE TIME!

Jan. 23 - Feb. 13

Reggae Legends Birthday Bash 2016

Kalamazoo, Michigan, USA

Feb. 4 - Feb. 6

Bob Marley's Birthday in Israel

Tel Aviv, Isreal

Feb. 6 - Feb. 7

Reggae Fusion Fest

Pittsburgh, Pennsylvania, USA

Feb. 7 - Feb. 9

Ultimate Louisiana Party-Mardi Gras in the Treme

New Orleans, Louisiana, USA

Feb. 26

Sleng Teng Festival 2016

Kingston, Jamaica

Feb. 27

9 Mile Music Festival, 23rd Annual

Miami, Florida, USA

Mar. 5 - Mar. 6

Stepping High Agro-Ganja Festival

Negril, Jamaica

Mar. 11 - Mar. 13

ATX Wildfire

Austin, Texas, USA

Mar. 15

Pacific Island Roots Showcase

Austin, Texas, USA

Mar. 26

Jerrys Tiki Bar Spring Break Reggae Fest

Ponce Inlet, Florida, USA

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Apr. 2 - Apr. 3

I-Queen

Bridgetown, St. Michael, Barbados

Apr. 14 - May 14

Woodland Hippie Fest 4th Annual

Woodland California, USA

Apr. 15 - Apr. 17

Austin Reggae Festival

Austin, Texas, USA

Apr. 16 - Apr. 17

Field of Haze Music and Lifestyle Festival

Oroville, Florida, USA

Apr. 16

Reggae Splash

Hampton, Virginia, USA

Apr. 24

Dis Poem Wordz & Agro Festival

Portland,, Jamaica

Apr. 29 - May 1

BRT Weekend

Huntington, California, USA

May 7

Miami Beach Reggae Fest

Miami, Florida, USA

May 8 - May 9

Legendary Bunny Wailer Live In Atlanta

Atlanta, Georgia, USA

May 13 - May 15

Sunshine Reggae Festival

Lauterbourg, Bas-Rhin, France

May 14 - May 15

Chesapeake Bay Reggae Fest

Hampton, Virginia, USA

May 14 - May 15

Rave about Africa Reggae Roots Beach Festival

Kotu, Sand Beach, Kotu, Gambia

May 21

Roots Reggae Houston

Houston, Texas, USA

May 26 - May 27

Youth Theatre Festival

Toronto, Ontario, Canada

May 27 - May 29

Camp Reggae

Turtle Town, Tennessee, USA

May 27 - May 29

Kentucky Reggae Festival

Louisville, Kentucky, USA

May 29

Best of the Best Concert

Miami, Florida, USA

June 10 - June 11

Positive Vibration - Festival of Reggae

Liverpool, United Kingdom

June 11

Point Sebago Reggae Fest

Casco, Maine, USA

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June 16 - June 19

A Taste Of The Caribbean

Montreal, Quebec, Canada

June 17 - June 19

Sierra Nevada World Music Festival

Boonville, California, USA

June 17 - June 20

Ziontific Summer Solstice Music Festival

Woodford, Vermont, USA

June 18 - June 19

Africa Oye

Liverpool, Merseyside, United Kingdom

June 18 - June 19

Roots Reggae Culture Festival Volume I

New Orleans, Louisiana, USA

June 18

Roots Reggae Houston

Houston, Texas, USA

June 22 - June 26

Victoria's Ska & Reggae Festival, 17th Annual

Victoria, British Columbia, Canada

June 24

Slightly Stoopid with SOJA, The Grouch + Eligh + Zion I

Berkeley, California, USA

June 25

Beres Hammond & Freddie Jackson LIVE

Philadelphia, Pennsylvania, USA

June 25

Marley & Friends Culture Fest

Brooklyn, New York, USA

June 25 - June 26

Universal Reggae Festival

Saint Denis, Ile de France, France

June 26

Reggae Night XV

Los Angeles, California, USA

June 30 - July 3

High Sierra Music Festival

Quincy, California, USA

July 1 - July 4

International Festival of Life

Chicago, Illinois, USA

July 1

International Reggae Day Festival

Kingston, Jamaica

July 1 - July 3

Summerjam Festival 2016, 31st Annual

Cologne, NRW, Germany

July 8 - July 10

NW Roots Festival

Enumclaw, Washington, USA

July 8 - July 10

Soca Reggae Festival Winnipeg 2016

Winnipeg, Manitoba, Canada

July 9

Island Reggae Festival

San Jose, California, USA

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July 9 - July 31

TD Irie Music Festival

Mississauga & Toronto, Ontario, Canada

July 13 - July 18

Bababoom festival

Marina Palmense, Fermo, Italy

July 14 - July 17

California Worldfest-Reggae & Blues

Nevada City, California, USA

July 15 - July 17

Lakesplash Reggae Festival

Twann near Biel/Bienne, Bern, Switzerland

July 16

Bayfront Reggae & World Music Festival 11th Annual

Duluth, Minnesota, USA

July 17 - July 23

Reggae Sumfest

Montego Bay, Jamaica

July 20 - July 24

One Love World Reggae Festival

Latisana, Italy

July 21 - July 24

Seasplash

Pula, Istra, Croatia

July 22 - July 24

Northwest World Reggae Festival

Scio, Oregon, USA

July 22 - July 24

Oroville Rock Reggae Jamfest

Oroville, California, USA

July 23 - July 24

Green Woods Reggae Revival

Greenwood, Maine, USA

July 23

Omaha Reggae & World Music Festival

Omaha, Nebraska, USA

July 23 - July 24

Reggae on the Mountain

Los Angeles, California, USA

July 25

Virginia Jerk Fest

Virginia Beach, Virginia, USA

July 27 - July 31

LB27 Reggae Camp

Hatvan, Hungary

July 27 - July 31

Reggae Jam Festival

Bersenbrack, Niedersachsen, Germany

July 29 - July 31

Mid West Reggae Fest 25th Annual

North Lawrence, Ohio, USA

July 30 - July 31

Black Forest On Fire

Berghaupten, Germany

July 30 - July 31

Maple Ridge Caribbean Festival

Maple Ridge, British Columbia, Canada

July 30

People's Festival 22nd Annual

Wilmington, New Jersey, USA

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July 31

Adamari Caribbean Festival

Ontario, California, USA

Aug. 1 - Aug. 7

ONE LOVE Gathering (Free)

Vidra Lake, Valcea, Romania

Aug. 4 - Aug. 7

Reggae on the River, 32nd Annual

French's Camp, California, USA

Aug. 5 - Aug. 7

Arise Music Festival

Loveland, Colorado, USA

Aug. 5 - Aug. 6

Caribbean Afr'am Festival

Killeen, Texas, USA

Aug. 5 - Aug. 6

Reggae in Wulf 2016

Friedberg/Wulfertshausen, Germany

Aug. 5 - Aug. 7

Reggae Sun Ska Festival

Bordeaux, Aquitaine, France

Aug. 6

Charlemont Reggae Festival

Charlemont, Massachusetts, USA

Aug. 11 - Aug. 14

BoomTown Fair, Chapter 8

Hampshire, England, United Kingdom

Aug. 13

Reggae Fest Chicago - One Day, One Love!

Chicago, Illinois, USA

Aug. 13

Reggae Sundance

Eindhoven, Netherlands

Aug. 13 - Aug. 20

Rototom Sunsplash

Benicassim, Castellรณn, Spain

Aug. 13

Waterfront Reggae Festival

Providence, Rhode Island, USA

Aug. 14

Six Flags 11 Annual Caribbean Concerts

Jackson, New Jersey, USA

Aug. 15 - Aug. 20

Overjam International Reggae Festival

Tolmin, Slovenia

Aug. 18 - Aug. 21

FESTIJAM

Arrens-Marsous / PYRENEES, France

Aug. 19 - Aug. 20

Calgary International Reggae Festival

Calgary, Alberta, Canada

Aug. 19 - Aug. 21

Irie Vibes Music Festival

Long Creek, South Carolina, USA

Aug. 19 - Aug. 20

Ya Maka My Weekend

Rock Island, Illinois, USA

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Aug. 20

Rastafest

Toronto, Ontario, Canada

Aug. 26 - Aug. 28

Uprising Reggae Festival

Bratislava, Slovakia

Aug. 28

SC Reggae Jerk Wine Festival

Charleston, South Carolina, USA

Sept. 2 - Sept. 3

Dry Diggings Festival

Placerville, Florida, USA

Sept. 2 - Sept. 4

One Love Festival

London, United Kingdom

Sept. 10 - Oct. 11

Houston Jerk Fest

Houston TX, Texas, USA

Sept. 10

Soul Rebel Festival, 15th Annual

Boulder, Colorado, USA

Sept. 17

Rez Roots Festival

Kykotsmovi, Arizona, USA

Sept. 18

California Conscious Music Festival

Rohnert Park, California, USA

Oct. 1

Jefferson City Multicultural Fall Festival, 16th Annual

Jefferson City, Missouri, USA

Nov. 5

Bayou Bacchanal

New Orleans, Louisiana, USA

Nov. 5

Houston Reggae Festival

Houston, Texas, USA

Nov. 7 - Nov. 12

Four Seasons Party Cruise

Miami, Florida, USA

Nov. 13

Grace Jamaican Jerk Festival

Sunrise, Florida, USA

Nov. 25 - Nov. 26

Africa Meets Reggae International World Music Festival

Lagos, Nigeria

Nov. 30

Palm Beach Jerk and Caribbean Culture Festival, 13th Annual

West Palm Beach, Florida, USA

Dec. 14 - Dec. 18

Closer to the Sun

Puerto Morelos, Mexico

Dec. 31

Baton Rouge Mardi Gras Fest, 3rd Annual

Baton Rouge, Louisiana, USA

Dec. 31

Bob Marley Birthday Celebration, 29th Annual

Vancouver, British Columbia, Canada

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