Issue 6 - Island Stage Magazine

Transcription

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ThinkLikeAGirl
Kelissa
Brina
Miriam Simone
Chibase Productions
Alaine
MonCherie
Chyna Nicole
Hail the
Queens!
22.
30.
35.
43.
12.
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Letter From the Editor
Greetings!
We are excited to present you with our final magazine issue of 2014. This year
we have been blessed with so much support and Love, and we want to thank you
from the bottom of our hearts!!
Once again, we want to offer our thanks and praises to the women who are
making their mark in the industry. There are so many! Island Stage will continue
to introduce them to you, highlight them and acknowledge the hard work these
women put in every day to bring you the gift of Music and Culture.
We are VERY excited about 2015, and we have many suprises in store for you!
Make sure you are subscribed to the magazine. Share it with your friends and loved ones. There are special perks
that come for subscribers only! You could win merch, or tickets to a festival or a concert and more!
Please continue to support your favorite artists by purchasing the music and attending the LIVE shows.
Take good care of yourselves and each other!
Enjoy!
Love & Blessings,
Susan Underwood
Musically
Speaking
by: Lloyd Stanbury
TECHNOLOGY AND THE FUTURE OF
MUSIC BUSINESS IN AFRICAN AND
CARIBBEAN COUNTRIES
UNESCO World Forum on Culture & Cultural Industries, held October 2 4, 2014 in Florence, Italy.
Island Stage Magazine
This article is a summary of my intervention in a panel
discussion on “Cultural Industries, Employment and
Growth”
Countries from the Caribbean and African regions,
and other developing countries, have demonstrated
for many years their ability to produce globally
competitive music products and services. Only a small
percentage of musicians and entrepreneurs from these
countries have however attained profitability and
generated steady employment.
The panelists were asked to examine how culture
contributes to economic growth and job creation.
My contribution is a perspective derived from
personal experience as a legal and management
representative of artists, a music business trainer,
researcher, and entrepreneur, and focuses on the
issue of digital technology and the future of music
business in African and Caribbean countries. To
consider this issue it is critical that we note the
following:
The last decade has brought rapid changes and
innovation in digital multimedia, the Internet,
and mobile communication technologies, with
an unprecedented impact on the way music and
entertainment products and services are produced
and presented to the public. These changes have
brought about new and constantly evolving business
models, particularly within the top 20 music markets
of the world. For example, we have witnessed
the decline of the CD, the DVD and other physical
entertainment content carriers, and the rise of digital
file downloads, which are now being replaced by
content streaming.
1. That production and presentation of music
facilitates cultural output from other creative
disciplines such as dance, theatre, film, broadcasting,
and the visual arts.
2. That the music and entertainment industries
provide employment and entrepreneurial opportunities
in over 100 distinct occupations, ranging from
performers, artist managers, booking agents,
designers,
technical service providers, and event
promoters, to various types of writers and other
content creators.
In order to be globally competitive, and to grow
cultural economies, it is now imperative that increased
emphasis be placed on access to new technologies and
relevant training for practitioners and entrepreneurs in
the music and cultural festivals sectors in Caribbean,
African and other developing countries. The advent of
new technologies have made it POTENTIALLY easier
for musicians and small entrepreneurs in developing
countries to produce, promote and present their
products and services beyond geographic boundaries.
3. That music and entertainment products and
services can de divided into two separate but related
categories, namely: (a) recorded content, and (b) live
performances. That there are different considerations
to be addressed in production and delivery in each
category.
I do think it is important for us to reconcile these
technological factors in the context of the UN
(UNESCO/UNDP) Creative Economy Report of 2013,
which highlights the potential of developing countries
to benefit from economic growth, social inclusion, and
employment generation through the cultural industries.
4. That music and cultural festival activities directly
impact tourism services in accommodation, air and
ground transportation, and the provision of food
and beverage, which result in an expanded revenue
generating effect.
Issue 06 November/December 2014
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8
Photo- Left to Right
Lloyd Stanbury, Jamaica - Olga Kizina, Russia - Ana Carla Fonseca, Brazil - Giovanna Segre, Italy - Xavier Greffe, France
Missing from the photo are Marco Tognetti, Italy, and Na Yi Yeshi Lhamo, China.
In order to optimize these opportunities and benefits
within the music and entertainment industries of
Caribbean, African and other developing countries, the
following are critical issues to be taken into account:
ii
multimedia technology.
There needs to be general recognition of the
range of occupations directly and indirectly
involved in the production, promotion and
distribution of music and entertainment products
and services. In other words, there needs to be
clear acknowledgement of the fact that the music
and entertainment industry extends beyond the
performers and primary producers of content, to
include a range of specialist
management and
technical service providers.
ii
We also should bear in mind that in many
developing countries segments of the music
and entertainment community do not enjoy
harmonious relationships with government,
particularly where there is evidence of government
corruption that artists speak out against in the
creation and presentation of their works.
ii
There is need for the strengthening of civil
society organizations involved in the music and
entertainment industry, by building their capacity
to utilize relevant digital multimedia, internet
and mobile communication technologies that are
absolutely necessary for cultural producers to be
competitive.
ii
The implementation of partnerships between
music and entertainment operators and Internet
and mobile communication providers to facilitate
more affordable access, and the development
of mutually beneficial content promotion and
distribution activities, is necessary.
ii
There is the need for increased training of music
and entertainment operators in the use of digital
ii
Domestic economic growth and employment
generation in the music and entertainment sectors
of most countries in the Caribbean and Africa,
are only possible through international trade,
particularly by way of performance touring, and
the presentation of international cultural festivals.
To increase performance touring and international
festival activities, there is need for a greater level
of understanding among cultural practitioners of
the process to secure international work permits
and visas, where these are required.
ii
There is the necessity for government/private
partnerships to provide increased formal training
in the business management aspects of music
and entertainment in Caribbean and African
countries. There is also need for government/
private partnerships towards the negotiation
of international agreements to facilitate easier
movement of creative, management, and technical
personnel from their production bases, into
regional and international markets.
In light of the tremendous impact on the
production, promotion and presentation of music
and entertainment content due to digitization, the
Internet and mobile communication trends, the
failure to address the technological needs of music
operators in developing countries, will prove to be the
single largest barrier to the growth of business and
employment within their creative economies. If we fail
to embrace and effectively use new technology, the
benefit to be derived from the creative economies of
developing countries will remain nothing but a dream.
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10
[email protected]
“Your Mind IS the Limit. Not the Sky”
-Diana King
Photos © Yetunde Babaeko
Interview by: Susan Underwood
Diana King is a dreamer that cannot be tamed, a
quintessential singer, songwriter who packs adnominal
willpower and boundless belief in the ability to achieve
whatever you dream.
Diana compares herself to a long distance runner;
after sprinting from the starting line with mega hits
Shy Guy, I Say A Little Prayer For You and L-LLies; she calls AgirLnaMeKING, her ‘second wind’.
Released on her own record label ThinkLikeAgirL
Music, this latest endeavour offers fans and music
lovers an insight into Diana’s life and music reiterating
her unique style which is contemporary, yet deep
rooted in Jamaican tradition. AgirLnaMeKING
encompasses Diana’s distinctive way of converging
Jamaican dialect with Reggae, R&B, Soul, Dance and
Pop, that has made her a standout artist since the
release of the first hit Shy Guy.
AgirLnaMeKING began as a journey that
encompassed true grit; inspiration and the healing
that Diana needed to overcome her fight with Multiple
Sclerosis (MS), which threatened to end her career.
She overcame the pain by immersing herself in writing
and producing music, which was both therapeutic and
inspiring. The challenge didn’t deter her, but affirmed
her resolve to rebound and proved to be a catalyst to
fight and win.
Island Stage caught up with Diana to talk about life
afer the major labels, and to get a peek into what she
is up to next!
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13
Island Stage: I remember when you launched
ThinkLikeAgirL Music in 2010. One of the major
labels (Sony or Warner) was hassling you about
posting your music to social networks. It was
like, you made the decision right then and there
to create your own label, and you did it!! I,
along with many others sat back and watched
you do exactly as you said you would, with utter
amazement and respect!
just have turn up and do what you do. I found that
when I first incorporated my label and was looking
for funding, all of my potential investors were mostly
interested in what they could TAKE. They all wanted
a piece if it - A BIG PIECE - which is contrary to what
I wanted for me or my label. It became clear quickly
that I was on to something but for now I would have
to go it alone.
I want to own my intellectual property and I want any
artist I may sign to also own theirs.
Tell us about the challenges you have had to
face being independent, after having been
signed to 2 majors - Sony and Warner Music.
I am extremely grateful for my accomplishments
and experiences with my past major labels, I have
wonderful unforgettable memories and may not have
been known if it wasn’t with their help but my model
is just different from theirs.
DK: Before I start, I want to give thanks to you Susan
and Island Stage for this interview, I truly appreciate
it and I wish you all the best.
Yes, that was a weird but enlightening experience.
It’s baby stepping right now but I know there is a
place for a label like mine. I know there are people
and artists out there who think like I do.
I was so excited at the time. Here I was, thinking that
these are my songs so I am free to upload them to
Facebook or Youtube - NOT! Yes, I wrote and sang
them but I did NOT own the masters. I was pissed but
the labels were right. The contracts I had signed said
so. So immediately I got an idea - I would become an
indie artist.
Island Stage: You were diagnosed with Multiple
Sclerosis (MS), which threatened to end your
career, and you have inspired so many of
your fans to never give up through it all. Walk
us through what it was like to receive that
news and how you were able to rise up even
through the physical pain, (not to mention the
metal aspect in getting this news) and release
AgirLnaMeKING in 2011.
It took years after the initial idea to free myself from
my last major deal but finally I did it and officially
started my own label in 2010.
DK: When I was told the news about my health is was
hard to digest. It got stuck at my throat. For some
people in my position, they swallow it and it goes right
down. It can even speed up your demise if you let it
take you over.
Being independent is extremely challenging but well
worth it.
It’s that type of fulfilling work you dream of or hear
and read about. The biggest task is being responsible
financially for everything which is quite the opposite
of being on a major label. Being with a major is hard
work as well and while you still end up paying you
don’t have to think about those upfront costs, you
In retrospect, it’s one of those life experiences that
starts out as the most awful thing but ends up being
just the thing you needed because of the wisdom you
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are left with. Not even at my absolute worst did I ever
remember feeling so extremely low.
When it hit me, it took out my left side and both my
legs so I couldn’t walk. The numbness then started to
creep up my chest so it was hard to breathe. Doctors
originally thought it was a stroke and it took weeks of
tests to figure out what was really wrong. As the time
rolled by I kept asking myself over and over “It this
really IT? A wheelchair, seriously? But I have so many
things to do” - I was in disbelief and depressed. It
was driving me insane.
One minute I was laughing like “Come on Universe
STOP PLAYING!” and the next, I just wanted to stay in
bed in the dark and just weep and break things. Just
wither away.
I sent everyone away because I didn’t want to be
seen like that but I couldn’t even bathe myself.
Imagine going from 100% energy and a full tank, to
empty and zero in minutes without warning. It was
the real definition of “killed my vibes.” - I considered
myself a strong woman. I had been through some
of the worse things that could happen to a girl and
had been on my own since I was 13 years old. I had
survived all of that and so it confused me how this
THING was getting the best of me. Deep down I
knew there was something here to learn, but I wasn’t
getting it, I couldn’t, because I was busy feeling so
sorry for myself.
One day months after, I just got tired of allowing
myself to feel so defeated, and I got up and tried to
walk. And I shocked myself - I walked! Not so good
at first but I kept getting up and on my next check
up, I walked my best walk into the doctor’s office to
his great surprise.
He had said I may never walk again. When I was
leaving he asked me a question. He said , ‘Do you
know why you can walk”? I said “No” and then he
said, “It’s because in your mind, you know you can
walk” - and THAT’S ALL I needed to hear - I got my
lesson.
All this, is why the album AgirLnaMeKING is my
favorite. Simply because of how it came to be, and I
didn’t “fix” anything about it. It’s perfectly imperfect.
Shortly after that, I went back to school to get my
Pro-Tools certification. I had all these songs in my
head that I wanted out, so everyday I did my best
“walk” to school and I completed the program,
invested in a home studio and went to work writing
when something even more amazing happened.
Island Stage: What is your vision for
ThinkLikeAgirL Music ? What type of artists are
signed, or would you like to sign?
DK: ThinkLikeAgirL Music (TLAG) is unconventional,
a rebel. It is said, I am an artist who cannot be
categorized because I go in and out of genres. The
type of artist who doesn’t win a Grammy LOL. This
can be very challenging for a traditional label. It Is the
THING that attracted the majors to me and they loved
IT but hated it at the same time. I could not be tamed
like that, but I do not mind being “miscellaneous”
because fitting in is not what motivates me.
The more I wrote, sang and recorded, the better
and better I felt, mentally and physically. All my
symptoms started to disappear and all without any
prescription drugs.
I refused to take them for several reasons:
1 - because at the time I already felt defeated,
This label started off being personal, with just myself
in mind - a way for me to remain authentic and own
my music. I have my own sound and style. I do not
follow the crowd nor subscribe to what society says
I should sound, dress or be like. My desire is to use
TLAG as a platform to work with artists like myself
who have no boundaries, no limits and no fear.
2 - the various permanent and scary side effects,
3 - because what the good doctor said on my final
never to return visit had turned a light on in me
And 4 - In my mind, if I took drugs for this thing then
that would mean I did have MS “for real real” and I
did NOT want to own it.
Artists with a recognizable signature that comes with
them and who are true to themselves and not in it
just for the hype. Artist’s who do not see a box and
who know exactly who they are and love it.
I did not allow myself to fully believe what the
doctors had originally said. I think #4 did it for me
don’t you? But it was like magic! a miracle to some.
Three years ago, TLAG was about my music and
the freedom to do what I feel in my heart. But it is
morphing into something else right before my eyes.
Today, I want to work with female artists including
queer artists because being female and or lesbian
is as challenging as it gets in this business and just
in general. It’s very important to have an artistic
space like this to feel empowered and just BE all
that you are without judgement. This would make
ThinkLikeAgirL Music the first of it’s kind.
The diagnosis had killed my vibes but it did not my
take my spirit and I stayed in the studio all day all
night as if I was possessed. And when I did stop,
I found that I had written and produced about a
hundred songs by myself. It’s a phenomenon. I
couldn’t tell you how I did it and probably could never
do it again, and to this day I don’t even know the
names of the chords I played. It was a combination of
spooky and awesome.
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16
Some say my vision is idealistic, that it won’t work and won’t make any money, well … I’m not greedy or here to
exploit and I want to contribute positively to music and changing the world. I want to do work with meaning and
purpose and this is a way. It’s really simple, I believe in equality. I’ve never thought anyone inferior or superior to
me. I believe in being fair and honest. I believe in sharing all that I have learnt, all that I know. What I want for me
is what I want for you, for everyone else. I want to do things that help people. This is how I think and I know I’m not
alone. I know the right people will be attracted because this is how the universe operates.
I see TLAG more as a movement and not just a label, where an artist can be an artist freely and all involved can truly
feel respected, appreciated and good about themselves and the work they do AND get paid. A place where we all
can be become better humans. Where there is mutual trust and people can invest their time, their talent and or their
money not because they only see dollar signs but because they believe in and support what we stand for.
The label is run by myself and my partner Simone Harris who has a Masters in Music Business. This vision ; dream
is so BIG, it scares me but if you think small, your world will be small. We are so ecstatic about witnessing what
ThinkLikeAgirL Music will become.
Island Stage: ThinkLikeAgirL Music recently started working with singer songwriter KAT C.H.R. and the
face of alternative music in Jamaica - Tell us about KAT C.H.R. and her music style.
DK: KAT C.H.R is awesome Jamaican dope sauce, and the first signed artist to the label. I met her about 10 years
ago on social media. She’s an alternative singer/songwriter, multi-talented, down-to-earth and represents exactly
what ThinkLikeAgirL Music is about! Artists who stand out and aren’t afraid to create across genres while being true
to themselves. We recently released her EP ‘Gold’ and the people love it. It features four tracks - GOLD / MANGO /
OVER MY HEAD and TURN AROUND. On them KAT delivers her paradoxical musical style, one she calls ‘Alternative
Lovers Rock’ She’s is a joy to work with, truly authentic and definitely a star. An embodiment of the type of artist I
love and want to attract more of for ThinkLikeAgirL Music.
Island Stage: This past summer you were invited to Nigeria to produce the remix of PRAIZ’s hit song
Mercy. The remix featured the SHY GUY hook. Was this your first trip to Africa? Tell us about your
experience there.
DK: I feel every artist dreams of a song like ‘SHY GUY” This song refuses to die and I’m most grateful and proud of
it. I can say, it has taken me everywhere and given me organic fans from age 1-100 worldwide. After all this time,
it was my very first trip to Africa. I had the best time being in the motherland. It was short, only five days in Lagos
and most of it was spent working on the song with PRAIZ and doing promotions. But it actually felt like I was back in
Kingston. There were faces everywhere that looked just like people I already knew in Jamaica.
The energy of everyone I met and worked with was beautiful and unforgettable. Just being there was a dream, and
even though I didn’t get to see much, it was moving. I brought along my best friend who had said to me over 20
years ago “King! if yu eva go Africa, mia cum!. Even if a ina di suitcase.” The whole team had a blast and I got the
job done. I cannot wait to go back there to perform.
Island Stage: In 2012, you were the first
Jamaican artist to publicly announce that you
are gay. It is pretty clear to most of us, what
the general feeling is in Jamaica regarding
homosexulity. What has life been like for you
since that announcement was made? Do you
think that there would be a difference if it had
been a man making the same announcement?
DK: I’m a private person but I needed to do it for
my own peace of mind. Not acknowledging was bad
for my health because of the stress it brought. I was
screaming inside. But it also felt like it was my duty.
Still, a big part of me thought that nothing good could
come from saying it out loud especially for my career
and being Jamaican.
But coming out surprised me in a wonderful way.
Instead of the 100% ridicule I expected, I actually
received much more encouragement, thanks and
praise. I always dwell on the positive side of things.
I wish I had done it sooner at the start of my career
but I’m happy I didn’t wait till my death bed. Some
doors have closed but I don’t miss them. Maybe they’ll
open again one day but so many more have opened.
I’ve been to places I’ve never been and all I can ever
be is thankful. It’s a small price to pay for keeping it
real. I believe if I was a man it would be much harder
to do what I did. LGBTQI people are oppressed daily
but transexuals and men get the worst of it publicly,
especially in JA. I’m so grateful for the courage I
found before the stage of regret. Speaking and living
my truth put the icing on my ‘I Don’t Give A Crap
What You Think Of Me - I Love Myself’ cake, because I
never did care - I just had this one secret. Now I feel
authentic, free and light. Nothing to hide and ready to
fly. There are few greater feelings.
Island Stage: I have been reading about, and
seeing videos surfacing more and more of gay
youth in Jamaica who are literally hiding in
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gullies and ditches, and some starving because they are afraid. Do you think that the people of Jamaica
will ever try to have tolerance and love for their gay brothers and sisters?
DK: It is very sad to see. Jamaica is full of contradictions. A mixture of fear, ignorance, denial and hypocrisy.
Picture this, I remember as a young artist about 18 years old, I was becoming very popular, when I was “outed” in a
Jamaican paper that I was a ‘Sodomite.’ Back then I had a good laugh and ignored it because I didn’t know myself.
And guess what? They were so right! Jamaica SAW ME and told me I was a lesbian long before I knew it but if I had
owned it, said it or tried to live it openly then, I probably wouldn’t be here today.
How do you see something in a person naturally but then turn around and be a bigot about it. How do you oppress
and deny them their human rights when you already know who they are? Ddeep down I do not believe Jamaicans
really have a ‘problem’ with us, but they act like it because it is expected. It’s a bowl of confusion, actions without
thought. I can be very critical of this issue. It doesn’t make sense to me but I do get it. I’ve seen people become
Judas in minutes to a close gay friend or family member in public because of fear of what may happen to them as
well if they defended them.
A very close girlfriend of mine was gang raped for looking too long, more than once at a guy’s girlfriend.
Rape - a method used to “correct” you if you are suspected of being a lesbian. Rape, from babies to old women is
another big issue in Jamaica. It almost seems normal and expected for women. We are taught to think and behave
this way by our society from early. At home, church and school we learn that if raped, it’s your fault and we are
taught to hate, especially anything different. It’s so deeply rooted in us, when it comes to the topic of LGBTQI,
intelligent people become stupid and even homosexuals behave homophobic. We never talk about sex in the way we
should so it becomes an obsession. We don’t talk about Science either because it goes “Against GOD” - and I find
that it is a human behavior to always have someone else to look down on to feel superior.
And so, we, the LGBTQI community are at the bottom, the worse thing one could be, so even an “ugly” person inside
and out by today’s standards, even a rapist, thief or murderer will feel they are better than ‘a me’ simply because
they are straight. Poor people, black people, Rastas, all discriminate when they themselves know it so well because
they are discriminated against. What a way to think - or rather, not think.
To me it’s simple, keep it real, keep it current and keep it FAIR. It’s gonna take a while for Jamaica to stand up
for what is right and just in general. There are so many more important things that need great attention for the
betterment of all of us, that no care is shown for. Still, I remain hopeful and will keep trying in my own way to
make a positive contribution to change. Even if that means simply being myself. I hope that even in a small way I
demonstrate that though we may be different we are also the same.
I do not just want to be ‘tolerated’ though.
I want to see that day when all humans, ALL Jamaicans are treated equally. It’s time we realize that united, we will
prosper AND divided, we will suffer. I will go out on a limb and say, we can try, but will never prosper nor feel good
inside standing by watching and allowing our fellow Jamaicans to suffer and die not because they are bad people but
because they are different.
passion for, the thing that makes your mouth water,
the thing that’s in your heart, the thing you were
MADE for. The way I see it, anything you do can fail so
why not take a chance on the thing that you love. And
because anything is possible, you may just fly.
We are good hearted people at the core and we must
not take part in the oppression of others. It’s time we
live up to our motto “Out of many, ONE people” and
know that together, we are stronger.
And as always, no matter what! SPREAD LOVE and
GOOD VIBES. MuchLUV - DK
Island Stage: Any thoughts or comments you
would to share with us on the recent Reggae
Revival Movement?
FREE Download ‘Jeans N T-Shirt’
DK: It gives me joy to see other artists progress
especially the upcoming generation AND though it’s a
bit bias, especially if we come from the same place.
I respect these artists and I dig their music. I have
nothing but support and wish them all the best.
Island Stage: Any plans soon for another Diana
King album release?
DK: I’m working on new music as we speak. I’ve
been toying with the idea AGAIN of this one time
just sticking to one genre. Like doing an all Reggae
or Dance album but I always revert to being me - a
“mongrel” meaning, a strong brew of genres seasoned
with Reggae. I guess I can’t do anything ‘straight’
LOL. Only time will tell. It will be a surprise.
FREE Download ‘Closer’
Island Stage : What is your message to the fans?
DK: As always, GRATITUDE. Thank you for your love
and support. Thank you for seeing ME and sticking
by me still. My head is bursting with so many things
I could say but this sticks out - We are taught to DO
what we can learn and get paid for - NOT what we
are born or made for. Life is short, my message and
hope for you is that you will LOVE freely and FORGIVE
quickly. That you will not be silent when faced with
injustice of any kind. That you will find the COURAGE
no matter what society dictates, to be true to yourself
and to do the “thing” that you dream and have
http://www.dianakingdom.com
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20
Brina!
World Reggae
Singer
© Sarah Hosney
Brina is the voice of World Roots Reggae Music
from Jamaica, an artiste steeped in the sounds and
rhythms of her Jamaican culture sharing her music
with the world.Her songs come alive on stage, a truly
vibrant and captivating performer her lyrics and music
are refreshing and uplifting. When Brina steps in front
of an audience, she beckons them to feel enlightened
and empowered.
Descended from The Maroons, Brina’s deep connection
with drums and African music is as natural as her
vocal expressions of freedom and justice. Fusing
together elements of her rich cultural and musical
heritage using Reggae, Nyabinghi and other musical
styles from the global African Diaspora, Brina brings
a positive healing message to the world through her
songs, singing of justice, equality, liberation, oneness
and love.
In April 2012 Brina released her iconic debut album
“Under One Sun” with the aim of putting Roots
Reggae Music with a spiritual message back on the
world map.
With her songs receiving airplay all over the world,
Brina continues to push boundaries by also singing in
Swahili - the video for “Skiza” was released in July
2014, which was followed by the Swahili language EP
“Reggae Sauti Za Kiswahili” in September 2014.
These songs are receiving massive airplay in Swahili
speaking Africa!
Island Stage has been following Brina for a few years
now, and we want to share her inspiring work with
you!
Susan’s conversation with Brina on the following
pages.
PAGE
23
Island Stage: You are descended from The Jamaican Maroons and your deep connection with drums and
African music can be heard in your music. Have you had the chance yet to journey to Africa?
Brina: No, I haven’t had the chance of visiting the continent of Africa as yet, but I hope to go to there soon. I get
messages from fans every day in east Africa asking when I am going to come. We are planning for some shows there
in the near future.
Island Stage: You have done well since releasing your first singles in 2010. You have worked with the
likes of Jimmy Cliff ,The Congos, Toots Hibbertt, Sly Dunbar, Dean Fraser, Dubtonic Kru and Raging Fyah,
just to name a few. You have performed major festivals in Europe including Reggae Geel in Belgium and
Rototom Sunsplash in Spain. You released your debut album Under One Sun in 2012. Does this all feel
like success? Like a dream come true?
Brina: Every day is a success! Once I wake up in the morning and realize that I am breathing, alive, in my right
mind and have the strength to rise out of bed I give thanks for the success over the opposite of the aforementioned.
Once there is life there is hope and with that second chance I have another opportunity to become the Change I
want to see in this world. Every day I have an opportunity to sing I give thanks, all these things and more and all the
beautiful people you mentioned I have opened for and worked alongside – and more; have all helped to make the
journey a radiant one so far and a fulfillment of the role I have in this life through music. It is an honour to be able to
say that I have something in common with all these people you mentioned. The dreamlike state I experience is when
someone from the audience reasons with me about the performance or the words that I was singing. They become
fans of my music and begin to take note of the movements of my journey. I know that one sand grain at a time I am
turning things over and with that I know that the positive things about my music will fall on fertile hearts and minds.
Island Stage: In 2013 you wrote and recorded the official campaign song for Dr Vandana Shiva’s global
seed freedom environmental movement. Please tell us more about the movement.
Brina: The seed freedom Campain is a global campaign Led by Dr. Vandana Shiva from India to alert citizens
and governments around the world on how precarious our seed supply has become – and as a consequence how
precarious our food security has become. The disappearance of our biodiversity and of our seed sovereignty is
creating a major crisis for agriculture and food security around the world. We must act before it is too late. Seeds
are the first link in the food chain and the repository of life’s future evolution. As such, it is our inherent duty and
responsibility to protect them and to pass them on to future generations. The growing of seed and the free exchange
of seed among farmers has been the basis to maintaining biodiversity and our food security.
So I felt the need to to join in through music and creativity to help reclaim our seeds and to protect our Seed
Diversity and Seed Freedom. The song came out of a very honest place when I was asked to do the campaign song
the best I could do was to sing from the experience I had as a child growing up being able to relate to food coming
fresh from the “gyaden” to the table of my grandparents and to our home as well, it was the way of life! And to be so
gripped by the drastic changes that the world is seeing through food control and restrictions, made me realize that
these companies cant take away truth nor can they take away creativity and art and what best way more than to sing
about the freedom of seeds knowing that the message would soak into the hearts minds and souls of people so that
the next generation can see we left a good example
for them to follow.
perform at the SA High commission events in Kingston
Jamaica and then to Africa Day celebrations attended
by all the officials and African Nationals on the island.
All of this reinforced the identity, which I love. That
I am an African born in Jamaica! Proud. Wanting to
find my voice, my language, and my roots…. Oh from
there to the wife of the mix engineer (who was mixing
my album in California) who is Kenyan picked up on
one word that I pronounced oddly to mean another
term; to my idea to begin a dedicated and meaningful
African project which is to sing in as many languages
that I can master singing in. Following the inspiration
of Miriam Makeba who sang and spoke so many
languages… what can I say. As a child I had many
influences and when I was young I was made to feel
proud of my image, identity and deep-rooted culture.
And if I was not encouraged enough there was lava
flowing within me that made me decide to not just
be, but to use these talents and gifts and use the
knowledge I find and the language I was attracted to,
to send a message.
Island Stage: Just this past September 2014,
you released a Swahili language EP “Reggae
Sauti Za Kiswahili” These songs are receiving
massive airplay in Swahili speaking Africa! What
inspired you to write an entire album in Swahili?
Brina : I met a boy from Kenya when I was a child!
Hahaha As we got older I was to reunite with him and
on the second time he read me a lullaby in Swahili.
While writing songs for my album I was affected by
the things happening around me in Jamaica and in
the rest of the world. Many of these things puzzled
me because I was most saddened by the way children
were being treated and left behind and forced to fend
for themselves. For the special ones who survived the
turmoil of a painful childhood, and made it big in lifethat is Success! For the ones who are forgotten and
left to die I grieved. My sister has been a survivor of
SS type Sickle Cell Disease all her life into adulthood
now and I have watched my parents take care of
her day in day out, with or without money… with
the help of others and without and this I admire my
parents for their commitment and unconditional love
despite the complications, I have seen my parents
give and continue to give a loving home and a roof to
many young people, homeless children and absentee
mothered /fathered babies. The lullaby stuck in my
mind, I thought I would write a lullaby for the children
of the world but especially Africa and especially too
because my Kenyan friend had first told me in Swahili
a language that I picked up on and was drawn to,
because of the phonetic simplicity. I was also attracted
to the beauty of the Maasai Tribe! After the song was
written I was blessed to have the involvement of
visual artist from Kenya living in Jamaica who first did
the part translation for me for the first song, which
I call Lala Vizuru. The rest is history and a beautiful
development too, after being asked multiple times to
Island Stage: I read that using driftwood from
the Caribbean, you and your husband and
business partner Kieran, built a small Tribal
Global Studio in your cottage in Stony Hill on
the mountains above Kingston. That, to me is a
dream come true scenario for an artist living in
Jamaica or anywhere else, for that matter. Tell
us about that experience. Can we see pictures
too?
Brina: It is a dream come true. Uniting our hopes
and ideas of the kind of music we wanted to create
and to also create the place where we could have the
freedom to develop and make this music was a very
significant blessing. Yes lets see if we can find some
photographs from back then. When we say driftwood
it was my creative artistic input decorating the place
with driftwood collected from our numerous random
stops at beach sides while driving around the east
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26
coast of Jamaica. While Kieran built the vocal booth with Plywood, driftwood, recycled materials and nuff elbow
grease.
Island Stage: What are your thoughts on the Reggae Revival movement?
Brina: Reggae has had no need for a Revival. “I am one but together we are the chosen few” – many are called but
few are chosen. No matter the genre or the journey of the people some music and songs are timeless. Reggae is life,
the culture of a people. As the people change, culture develops and morphs while the global community changes. So
does Reggae Music. I remember my teacher Michael ‘Ibo’ Cooper OD, founder member of Third World saying to me
and fellow classmates from Edna Manley School of Music e.g.; Kumar of Raging Fyah, all members of Pentateuch, all
of Blue Print and many others… ) He would remind us that we have a responsibility to develop on the music- simple.
Not to water it down or change it, nor to reinvent the wheel, but to develop on the music.
Music being such a strong part of my Jamaican culture is reflective of the life that is being lived. I want to add my
voice to our music from where it began from the first ever commercial recording by Lord Fly (Bertie Lyons) called
‘Whai Ay!’ – He wrote the song because he had a bunch of punctures while driving home from a north coast event
with a carload of musicians. It was his experience that led him to pen the lament on the spot. Much of our music is
lived through the eyes of our Artists be they good or bad comical or prophetic. I am lending my voice to the legacy
taking it to a place where people experience it in different dimensions and to keep raising the banner higher like
Jimmy Cliff did, like Bob Marley did, like Lucky Dube contributed.
Island Stage: Who’s in your player right now?
Brina: Right now there are 10 albums from Joni Mitchell that are all on repeat in my player- I have been studying,
listening internalizing appreciating her music very closely. She is a great musician and composer every time I listen
to each album I am excited and filled with many hair-raising ideas.
Island Stage: What’s next for Brina?
Brina: Growth development, more stages to stand on, audiences to meet, edify share with and greet through music.
I’m itching to start my second album which I am positive will reflect the growth as an individual who has developed
over the years reflecting discovery and connection with the universe humanity and nature.
Music is life and it’s the language I speak best when I’m on a stage.
Thank you for the feature and interest and support of my works IslandStage. I just wanted to say that! I will continue
to be the change I want to see using music as my tool one sand grain at a time.
Peace and Love, Brina.
Click to purchase album
www.brinasings.com
www.tribalglobal.com
Skiza Official Video
Free Download “Skiza”
Scent Of Cedar by Lasana
Bandelé speaks of life, of love and
desires, of courage, of hope and
reconciliation, of joy, of freedom,
of human rights, justice and the
rights of all, of heart and soul,
of beauty and light, of dreams,of
relationships, of politics and
places in the sun where dreams
roam the streets and mountains,
endlessly. This volume is musical.
Inspirational. Heartical. Modern.
Fresh. Prolific. Enjoy the ride!
Kelissa
Kelissa
© Shaydz
Kelissa McDonald was born and raised in the hills
of St. Andrew, Jamaica. At an early age, Kelissa
developed an inclination to listening and making
music, largely influenced by reggae and Rastafari.
With her parents as the lead vocalists in the reggae
band ‘Chakula,’ there was constantly music pulsating
from her home. Her music has evolved into an
expression of her background as well her stimulating
living experiences in Tanzania, Ethiopia and Ghana.
At the moment Kelissa resides in Jamaica where she
continues to make positive and conscious music as
an avenue to express her diverse experiences and to
inspire and uplift others.
Interview by: Susan Underwood
Photos : © Reggae Reflection
Island Stage: Your parents, coming from the
band Chakula, obviously nurtured the music in
you. I also hear balance in your lyrics. What was
it like growing up with your talented parents
and siblings?
Kelissa: Growing up in such a musical and artistic
family really set the foundation for my music and
artistic endeavors. My parents taught my siblings and
I to exercise our artistic side, but equally encouraged
us to excel in academics. Growing up in a Rasta
family really set the tone for my lifestyle and moral
values – a respect for all living things and their
territories, with particular focus on Africa and African
liberation. This also influenced my music and my
lyrics. My family has been a big source of inspiration
and influence. I give thanks for such a strong
foundation.
Island Stage: You have spent extended periods
of time on the continent of Africa, countries
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31
including Ghana, Ethiopia, Tanzania and Nigeria, just to mention a few. Tell us about those experiences
and how it has influenced your music, from riddims to lyrics.
Kelissa: My travels have been another major factor influencing my musical and artistic ventures. I had the amazing
opportunity to live and travel around Africa which opened my horizons to new soundscape. The world of music
became so vast and inevitably had an impact on the way I create and write music. Outside of Rastafari, I feel like
Africa has become an important part of my identity, and in turn colors my musical expression.
Island Stage: How many instruments do you play?
Kelissa: My first instrument is my voice. I also taught myself the guitar. I am extremely passionate about drums
(hand drums – djembe, kete, congas etc) and thoroughly enjoy getting lost in the rhythms they create. I believe
music is a language, and though I play these instruments, I’m not even close to being fluent!! I look forward to my
musical journey and all the learning I have ahead of me.
Island Stage: You spent time at University in California. Tell us about your time there.
Kelissa : I attended Whittier College from 2007 to 2011. During that time I had the opportunity of studying in Ghana
for a semester, my first time to West Africa. That was probably my favorite experience that came out of University
life. African studies were so much my passion at the time that I designed my own curriculum through the Whittier
Scholars Program, merging African studies with the Arts. I also co-founded the Black Arts and Cultural Dance (BACD)
group in which we hosted several events per semester. With the dance group as the main focus, we also provided a
platform for musicians, poets and other dancers to share their talents. This also created a space for me to explore
my artistry in music and dance and reaffirmed my decision to pursue music as a career. While engaging in all of these
artistic activities, I also really enjoyed the intellectual challenges that college offered.
Island Stage: Alot of artists can only dream of travelling to Africa and experiencing the different cultures
in so many places. Please tell us about your 50 Days in Africa project. How did that experience shape you
as an artist?
Kelissa : 50 Days in Afrika sees two filmmakers and a musician travel across 6 countries in Africa to explore the
artistic industries and to make the connections between Africa and the Diaspora. In the year of Jamaica’s 50th
independence, as young people, we recognized that there was a gap – that Jamaicans and Diasporans really don’t
know much about their roots. Having previously visited Africa, we understood the gap and sought to enlighten others
by shooting a documentary of our experiences on the continent. We travelled to 6 countries (Nigeria, Ghana, South
Africa, Tanzania, Ethiopia, Kenya) and interviewed a diverse set of artists such as musicians, fashion designers,
filmmakers etc. and visited historical and cultural sites. I also got the opportunity to perform on several occasions
in each country – which acted as a platform for us to open dialogue about out project and how people could get
involved. As my first official tour, I was glad it was Africa. This was another of the many opportunities in my life that
have shaped my identity and music, and reaffirmed my LOVE for the African continent.
Island Stage: 2013 and 2014, we have seen you all over the place!! You have done many shows in
Jamaica, US, UK and most recently toured with Chronixx, Dre Island and Zincfence Redemption. What are
some of the challenges artist have to face while
touring? Are there different sets of challenges in
US vs Europe for example?
Kelissa: I believe that any work we do, especially work
we love, we will always come across challenges. This
is how we grow and learn. While touring we definitely
encountered many of these opportunities to learn,
especially as young independent artists. I believe that
challenges are placed in our lives as lessons, and many
of them later turn out to be blessings in disguise.
Everywhere you go has different challenges, but it
is all about how you approach these challenges that
determines the outcome.
Island Stage: What does the Reggae Revival
Movement mean to you?
Kelissa: To me the “Reggae Revival” is Jamaica’s
expression of the universal shift in consciousness.
Undoubtedly, there is a shift in mindset that is taking
place all over the world and I believe that this is our
expression of that phenomenon; it is like a lens we
look through based on our cultural affiliation. Reggae
has always been a music of enlightenment, of truth,
rights and justice. Furthermore, reggae has always
been alive and kicking – it never died, never will!
I think the revival is happening more so within the
people, the listeners who are now reopening their
minds and hearts and ears to reggae music. And I
also believe, maybe unknown to them, that people
are seeking truth and upliftment, and they finding it
through this particular musical expression and lifestyle.
Island Stage: Winna! That song surely needs to
be on mainstream radio! Reggae overall needs to
be on mainstream radio. Today, ( and I will use
USA as an example)…. there are MANY artists
in mainstream who are using Reggae riddims
in their music more and more. It seems that
they keep their lyrics more on the ‘pop’ side of
things. Do you think that we are getting closer to
mainstream with the message in Reggae?
Kelissa: Personally, I don’t think reggae will ever be as mainstream as pop
music, hip hop etc. not because I don’t think it has the potential to, but I don’t
think the messages within reggae music are commercial enough for mainstream
media. Remember, within mainstream music, record labels are trying to sell
products – cars, alcohol, clothing etc. and they also use the music to influence a
lifestyle to support their many commercial industries. Reggae music is historically
a revolutionary music that counters many of the intentions of mainstream media.
So while it may cross over sometimes, as in the case of winna, I don’t think it will
ever be as mainstream as other music genres as the music industry and business
stands right now. If the structure of the music business changes, where we are
selling more positive lifestyle and products, I think reggae has the potential to be
the leading genre within mainstream music and media.
Island Stage: What are you currently working on? What is next for
Kelissa?
Kelissa : I am constantly working on new music.. Whether I am on the road or in
the studio, there is always a dog to sing. I have been consistently working on my
album since beginning my career in music however before the release of my debut album, I am looking to release
and LP early next year as an interim project to enhance my presence within the industry. I am also working on my
own productions through my own label, Anbessa Music. This has been a source of great joy for me creating music
from scratch and building to create some masterpieces that I cant wait to share!
Island Stage: Any shout outs, or message for your fans?
Kelissa: Thank you to all the supporters of the music that fuel my passion for creating more and continuing on this
musical path. Give thanks to the team who keep the journey on track and the mission growing. Haile bless!
Watch Kelissa - Europe 2014 Dread &
Terrible Tour
Video--------------->
Miriam
Simone
Miriam Simone is one of Europe’s hottest up-coming
female Reggae artists, hailing from Amsterdam and
Surinam. To-date she has released four music videos,
and several singles, performed at major Reggae
events, collaborated and shared stages with some of
Reggaes biggest artists.
In 2010, Simone decided to launch her solo career.
She then co-founded the music label Dredda
Records. In July, 2012, she release her debut EP
entitled “Follow My Dreams” ,This EP included the
singles,”Disappointed” and “You Know How To
Love”, produced by Bobby “Digital” Dixon, with whom
she is currently working on her debut album. The
singles received high rotation on Jamaican television
and cable networks, including Hype TV, CVM TV
and RE TV. Radio stations in Jamaica, such as Irie
FM, Hitz 92 FM and Roots FM also welcomed the
Dutch/Surinam singer with open arms. Her single,
“Disappointed”, won the What´s the Verdict award
for best online international song of 2012 on Roots FM
(Jamaica)
To-date Simone has shared stages with some of the
most renowned Reggae artists in the world, such
as Sizzla, Chronixx, Jah 9, Tarus Riley and I octane
and performed at major events such as Capleton´s
show St Mary We Come From, Trenchtown Rock,
Tarrus Riley & Friends, along with several other
shows in Jamaica, Surinam and Amsterdam. She
has also collaborated with Jamelody, Fyakin and has
unreleased songs with Sizzla and Capleton.
We caught up with Miriam to see what she’s up to.
Island Stage: You have been signing since the
age of 4. Did you always know that you wanted
to pursue a career in performing Reggae Music?
Miriam: NoI always listened to all sorts of music. I
didn’t know that i would sing reggae music when I
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36
was that young.
Island Stage: What has your experience been like as a woman in the
industry? The festival line -ups always seem to be heavy on the male artists.
Do you feel it is more difficult as a female?
Miriam:It isn’t easy for a woman in the industry. I ran behind on my scheduled work
when I was depending on different producers. That’s for me, the main reason that I
am very proud of my upcoming album. It has been produced by my own label and
production team- Dredda Records in my own studio. It’s very difficult for a woman
because it’s a man’s world.
Island Stage: You have performed in different countries around the world.
What are some of the differences within the genre/industry, say for
example Reggae in Amsterdam vs. Reggae in South America?
Miriam: Reggae in Amsterdam is very intensive because the people that are
connected to it need the upliftment that reggae brings to survive in a tight system.
People dance and sing along ,it’s great to perform in Europe. Reggae in South
America lives, you hear it everywhere. In South America people love Roots Rock
Reggae more than mainstream reggae.
Island Stage: How do you feel about the current Reggae Revival Movement?
Miriam: Its Jah blessing, I think its great. The conquering lion is working and calls
out all his children from different nations to sing and come together as one and do
the work. I know that its Jah Jah his army who deh a work right now and all the
teachings and education the reggae revivals bring helps and uplifts and teach so
many individuals including myself.
Island Stage: You are working on your next album “Mount Zion” We can’t
wait! Tell us about the music and when we can expect it to be released. Do
you plan to release a single from the album?
Miriam: My upcoming album Mount Zion is a full reggae album with different styles
blend into it. Its a very special project for me because it has been recorded in
Surinam and it’s an album that has been produced by my own production team “
“Decko” and “ Marro” from Dredda Records. It has been an life journey for me and a
piece of that journey I put into my album. I am more than satisfied with the results
of each song. I am very excited and the same time very curious.-Rivers was the
first single but more will follow.
Island Stage: You have been influenced by R&B, Hip Hop and Gospel. Do you
feel that it is easier to record and sell in those
genres as opposed to Reggae?
Miriam: I don’t know if its easier to sell R&B or Hip
Hop. I love R&B and Hip Hop but used to listen to it
more often when I was about 14 or 15 years- that’s
around 20 years ago lol! I still have a R&B flavour
in my sound because Soul is my sound. But music
wouldn’t be complete for me without reggae. It is the
drum and bass that makes my soul sing. Even though
its difficult to sell Reggae music I do what I want to do
that’s all that matters to me.
Island Stage: We fight in the US to get Reggae
played on mainstream radio. Does the music get
rotation in Europe in the mainstream?
Miriam: Sometimes my music
gets mainstream rotation on
different radio stations in
Europe but most at the time
true internet radio streaming.
Free
Download
“Rivers”
http://www.dreddarecords.com
PAGE
38
MonCherie
New Caribbean R&B/Pop singer, MonCherie,
has been building anticipation for the
release of the official music video for her
first single, “No Santa.” Now, the wait is
finally over, and the tune which adds a sexy,
Caribbean twist to Christmas songs, has
been unveiled for the world to see. Viewers
can watch the video on her official website,
Moncheriemusic.com and on YouTube.
“No Santa” brings a different flavor to the
holiday season, which generally centers
around children, toys, knitted sweaters and
of course, Santa Claus. With playful lyrics
and high octane beats, the track is sure to be
a crowd pleaser. Not to mention, the video
will showcase MonCherie’s vocal abilities and
feature some of the hottest dance moves.
“People are always talking about Santa
Claus, gifts, Charlie Brown Christmas CD’s
and a bunch of kid stuff,” MonCherie said.
“We decided, we don’t want Santa, we want
to have fun and party. Therefore, our goal
with the song is to give people something
with a unique spin that is fun and that they
can dance to.”
Born and raised in Castries, St. Lucia,
MonCherie always believed she was destined
for stardom. At the tender age of five, she
picked up a microphone for the first time
and immediately gained the adoration of
those she came in contact with, especially
on her native island of St. Lucia. She went
on to represent her country in numerous
pageants, including an island -wide pageant
in St. Martin, where she was awarded best
promotional speech and Ms. Congeniality.
The country adored her presence, burning
passion for music, and positive outlook on
life. Now, she wants to share with the world
some of what has made her so beloved on
her island. This starts with her music. She
has already built a loyal fan-base across the
Caribbean, and as a current New Jersey
resident, fans in the states are also eager for
her material.
“I am so excited to share my music with the fans,” she said. “It has been a
long road for me, and I have endured many trials and tribulations. I have
experienced working with people who did not have my best interest at heart.
Now, I am confident that I have a great support system around me, and
people who want me to succeed.”
“No Santa” is the first of a plethora of tracks MonCherie has under her belt,
and in 2014 more songs are to follow. And not all of them are party tracks.
An aspiring St. Lucian ambassador for music and tourism, MonCherie wants
to share a wide range of her experiences and messages. She wants to inspire
, and she also wants to empower women worldwide.
“I don’t consider myself a role model per se’, but I want to show people
that anything is possible. It doesn’t matter where you come from, who your
parents are, or what you have been through. Only you can stand in the way
of your success.”
When did you realize you wanted to be a singer?
Being an entertainer has always been a part of me. I picked up a microphone
for the first time when I was five, and since then I never put it down. I would
sing and perform in pageants and I just developed a burning passion for
music.
How would you describe yourself as an artist?
I feel like I am bringing a new sound to this generation - house, reggae,
mashup. It is pretty exciting. I am not only singing, but I dance as well. I feel
that as a representative of this generation, I am bringing back the culture to
contemporary Caribbean music. My music is an infusion of pop, African and
West Indian influences. My goal is to bring different cultures together, and
also open doors for other Caribbean artists to do the same thing I am doing
in America.
Tell us about the songs you have out now?
I currently have a song out called “No Santa”, which is a very fun, nontraditional holiday song made for the clubs. Generally for Christmas, we hear
songs about Santa Claus, kissing under the mistletoe and stuff like that. As
an alternative to that, I wanted to make something you can dance to. I also
have a song coming out called “Billy Boom”. This is another fun dance tune
that pretty much says, no matter what you are going through, whether it is a stressful day or issues in a relationship,
sometimes you just have to let loose and blow of some steam. Go out to the club, have fun. I created the theme of
the video, which was inspired by the country music scene - like when hillbillies just go out and have fun and dance
without a care in the world. In the video, we have mechanical bulls and lemonade stands, but everything is with a
Caribbean twist. It is very fun.
Overall, what kind of content can listeners unfamiliar with your music expect from MonCherie?
I have my share of party tracks, but I definitely will be tackling social issues pertaining to women, relationships and
life problems. There are many things that people are going through and I want to be able to speak to them. However,
on the other hand, I like to have fun and enjoy life. So, listeners will also hear many feel-good, happy songs.
Who are some of your musical influences?
Lady Saw, Patra, Beyonce’ and Rihanna
Aside from music, what are some of your goals?
I love music, but I don’t see it as my purpose. I see it as my platform to reach others and make a difference. One of
my goals is to be an ambassador for my country, St. Lucia. I also want to work with young women by helping them
to realize their potential for greatness. I want them to know that they can achieve anything they put their minds to,
no matter what their circumstances are, they can accomplish their goals if they don’t give up.
Watch ‘NO SANTA’ Video-------------->
Island Stage
Spotlight
A
L
A
I
N
E
Vivacious Singer, Songwriter and Producer, ALAINE, has established
herself in the reggae and world music industry as a true talent.
Her bubbly, warm personality, effervescent smile and unforgettable
songs have placed her in a league of her own.
Born in New Jersey, USA and raised in Jamaica, Alaine grew up
studying piano, acting and singing on stage, radio and television.
As a child she was a member of the Jamaica Folk Singers, starred
in commercials and made her big screen debut in the 1988 movie
“Clara’s Heart” starring Whoopi Goldberg.
After Graduating from University with an Honors Degree in
Management and Psychology, Alaine moved to New York City
where she worked in investment banking while simultaneously
pursuing a career in songwriting. She sang hooks for Roc-AFella recording artist Cam’Ron in the songs ‘Live My Life’ (Leave
meAlone) (Roc-A-Fella 2002) and Yeo from Music inspired by
Scarface (Def Jam 2003).
When a promotion in 2004 meant that she would have to give up
her musical aspirations, Alaine gave up the security of the banking
industry, and headed home to Jamaica, to follow her dreams of
singing. “Life is all about leaps of faith, and I’m so glad I
leaped” exclaims Alaine.
She hit the ground running; recording songs with many of the
Island’s top producers and immediately gained airplay and
recognition among industry insiders. Her eloquently penned lyrics,
sweet soul-penetrating voice and heartfelt delivery of timeless
reggae love songs with an unmistakable R&B flavor such as ‘No
Ordinary Love’ ‘Sacrifice’ and ‘Rise in Love’ struck a resonating
chord with her audience and her ability to write hit dancehall songs
such as ‘Wine’’ Make Me Weak’ and ‘Gi yuh what u want’
highlighted her versatility and appealed to the appetite of her
fast rising fan base, which led to her touring Central America, the
Caribbean, Europe, and Asia.
Alaine released two successful albums in Japan; Sacrifice (Avex,
2007) and Luv-a-dub (Koyashi Haikyu, 2009). Many of her songs have been included on leading reggae compilations
to date.
2010 saw Alaine’s career further expanding with the formation of her record label 1Thirty1 Records. ‘You are Me’,
the company’s first release was a powerful song inspired by the violent events which took place in Tivoli Gardens
in Western Kingston, Jamaica.
Alaine was driven to tears as she
watched and heard the violence un fold
so close to home, which instinctively
led her to her piano where she wrote ‘If
I love you like I love me and if I treat
you like I treat me, what a world...
when I see you are me.’ The song was
included on VP Records’ Strictly the
Best Volume 42’ compilation. It was
voted song of the year at the Kingston
10 Reggae awards in Kenya while the
music video, directed by Ras Shac,
maintained the number one spot on
the MTV Base Africa dancehall charts
for several weeks. Alaine also made
her first trip to Africa, headlining the
sold out ‘Sepetuka’ Concert in Nairobi
Kenya, where she performed to a crowd
of over 12,000 ecstatic fans for which
she was awarded performance of the
year at the Kingston 10 Reggae Awards
as well. Alaine has since performed
for tens of thousands more in both
Tanzania, at the annual Serengeti
Fiesta Festival and in Uganda at the
2013 Pepsi Concert. Alaine also inked
an endorsement deal with Caribbean
telecommunications giant Lime in 2010.
The year culminated with the release of
the smash hit ‘For Yur Eyez Only’, a
combination with superstar Shaggy and
produced by dancehall super producer
Tony Kelly. The song was used by
Lime as the theme song for their ‘Lime
Mobile TV’ promotion and steadily took
the number one position on reggae
music charts all over the world. A music
video directed by Jay Will was released
in December of the same year and
continues to receive rave reviews.
Alaine has continued to grace stages worldwide while releasing new music on a constant basis. The ever humble
artist has released several smash hits including such songs as ‘No Disturb Sign’, a remix of Beres Hammond’s
original with the same title, ‘All or Nothing’ and ‘Bye Bye Bye’, for which a chart topping video was released in
March of 2012. Alaine collaborated with Kenyan artiste Wyre on the chart topping single “Nakupenda Pia” in 2013.
The video for the song has garnered almost a million viewers online and the song continues to be a fan favorite.
Alaine has had a chance to write music for other artists including writing for reggae great Marcia Griffiths. She cowrote the smashing single “Tight Up Skirt” for upcoming female Jamaican sensation Samantha J. Alaine also cowrote Tarrus Riley’s mega hit “Gimme Likkle One Drop” off his latest album. Alaine continues to give back by
contributing to various charities around the Caribbean and in Africa. Almost a decade after her return home, this
beautiful, gifted musician, in the words of her songs is’ Still Smiling’ and continues to Rise ‘ Up Up Up’ even as she
prepares to release a full length album in 2014.
Instagram: www.instagram.com/alainesinga
Watch ‘JAH Is So Good’ Video------------------------>
Chyna Nicole
Born in Harlem (New York City) (Tania Nicole Williams) of proud Jamaican
parents from Waterhouse, (Carl and Yvonne), Chyna-Nicole read the back
of Michael Jackson’s album covers at the tender age of 5 and begun her
song-writing techniques.
The rich musical culture of Waterhouse is instilled in Chyna although
birthed in the US. Her father was the first apprentice to Legendary U-Roy
and was an artist himself recording for Legendary Reggae producers Joe
Gibbs and Duke Reid. Chyna’s Mom also was a part of the rich musical
tradition as REGGAE’S FIRST GRAMMY AWARD WINNING Michael Rose
and the group Black Uhuru rehearsed in their back yard in early days.
“He used to take me to studios in the mid 1990s after my first release.
So I’m lucky to have two fathers, one, Carl Williams, who is the reason
I am singing on Reggae, and Chuck Turner, my Musical Dad, who helped
develop vocal ability and tried to get me exposure. He took me around to
studios to get noticed”.
Kingston, Jamaica.
From choreographing dance routines in high school (Connecticut), to
recording R&B demos while at Howard University, Chyna’s passion for
music remained consistent. Her first release was in 1994 “Love Me
Tenderly” performed with Lukie D under her father’s label, Little C in
Chyna was penned the name “China” in high school by friends at Kolbe Cathedral. It’s in her HS yearbook! She
renamed her own artist name -Nicole Williams- which on the 1994 release LOVE ME TENDERLY and later changed her
artist name to CHYNA NICOLE for future releases.
Upon graduating from Howard University majoring in Radio/TV/Film and working for various media arenas (NY)
including Showtime Networks, WNET, VP Records, and Westwood One Radio, she relocated to Kingston, Jamaica to
record an album with local producer Carl Williams (her father) in 2000.
Although the album did not materialize, Chyna Nicole obtained the role of a disc jockey at Zip103FM. Her music
selection of old school Hip Hop, Reggae and Dancehall with her gravitating personality lead her to be one of the most
popular DJ’s in a short time span.
During that time, Chyna Nicole toured UK and Canada as a back up vocalist to Mikey Spice on tour with Frankie Paul
and Ken Boothe with Marcia Simpson of Ajang.
Chyna Nicole also worked as an Announcer on IRIE FM where she co-hosted The Entertainment Buzz interviewing the
likes of Marcia Griffith, Berries Hammond and many more Reggae Icons. With rising popularity, producers welcomed
her to record.
Fast forward…
On September, 17th, 2013, Chyna Nicole released her first debut album
“20 YEARS IN THE MAKING & READY FOR THE WORLD” through
Nico Star Music.
Her chart hitting singles “Take Me To The Moon” released under
Mightyful13 Records and “Sing A LIttle Love Song” (Chilla Music/Nico
Star Production) both made the top songs of 2013 on the Foundation
Radio Network NY Charts www.clintonlindsay.com. Production on the
album includes the likes of Reggae legend Bunny “Striker” Lee and
Downbeat Studio One to name a few. Album available here: https://
itunes.apple.com/us/album/20-years-in-making-ready-for/id695425180
The latest single “Cheers for Education- They Will Soar” is the latest
project for student to receive scholarships in the Caribbean. Percentage
proceeds to go www.palas1.org.
Chyna continues to write, record, sing, and teach. With many song
collections, she continues her dream of reaching the world with her music
while educating children on US National Common
Core Standards and authentic experiences. Her
mission is to rebuild the communities in US and
Jamaica with resources for the education of children.
“Children are the future! Nourish them, motivate them, lead them and they will SOAR!
A big part of my vision is to integrate arts in education both academically and through
charitable causes” Jewelry, earthly tones, beauty, and purity defines her music to
“rock and come in” or just create musical upheavals on the dance floor! Stay tuned!”
Download MASQUERADE OF THE HEART
Musical Influences:
Michael Jackson, Sir Coxsone Dodd, Bob Marley, Babyface, Sanchez, Denise Williams, Karyn White, Phyllis Hyman,
Slick Rick, Whitney Houston, Janet Jackson, Mariah Carey, Anita Baker and more.Mightyful13 Records releases new single Oct 7, 2014 Chyna Nicole is currently recording highly anticipated new songs
Sly & Robbie riddim for Nico Star Music & featured Mightyful13 Records/Riddim International compilation CD.
www.riddiminternational.com
ChiBase Productions Launch Party
Getting Ready to Conquer the World with Music
Ms. Ecton: When I was starting the label, my mind
went to why African artists were having trouble
making it past their land of origin. Are they selling
themselves short? When they do make it outside
of the African continent, why are they not popular?
These were my first thoughts but when I took the
tour through Africa I realized I can be the bridge to
help these artists promote, market, and release their
music in U.S. market. I found that there are so many
undiscovered talented artists in Africa. I noticed there
were other beautiful people that could sing better
than some of the artists that are known in the U.S. I
found that there are rappers with the skills that can
match what artists are doing here. When you hear
them rap, you could swear you are listening to artist
from the states. It blew my mind. At the same time
I could see the poverty, destruction, the government,
the propaganda. I didn’t just see the beauty of Africa,
the music, the talent. I saw everything. So the
concept of ChiBase changed when I came back from
Africa. ChiBase is not only a label, but we also want
to manage them, bring them here to tour. We want
to expose the brand of ChiBase, as one-stop shopping
for African artists. We can help get these artists more
exposure.
Interview by: Maliika Walker
The evolution of music began in the birthplace of
civilization, Africa. When I think of the first ever
musical sounds, I immediately picture the African
drum. Some of my favorite artists hail from the
continent of Africa. Artists such as Fela Kuti,
Angelique Kidjoe, and Miriam Makeba have all had a
profound effect on music listeners across the globe.
Not only is their music heard all over the world but
they have influenced generations of musicians.
Africa is home to over a billion people yet very
few artists are known outside of the continent.
ChiBase Productions is ready to change all of
that by unleashing the music of Africa on the world.
Ms.Chetachi Ecton started the label three years ago
but is now ready for the label to chart its course in
music history. Ms. Ecton brought on Cristy Barber
as the label’s Senior Vice President, who will be
leading the launch of the label in 2015. Ms. Barber
is a Grammy nominated industry veteran who is well
versed with introducing foreign artists to a world
audience having had a hand in such careers as
Damian Marley, Beenie Man, Supercat, Spragga Benz,
as well as countless others.
Maliika: Labels usually release the music
but management and touring were handled
separately. However with ChiBase, artists can
find all of these services under one roof. This
could only help the artist by having one cohesive
strategy and marketing plan behind them.
After meeting Ms. Ecton I have no doubt the label
will succeed in establishing Africa as the beacon of
today’s great music and entertainment. I recently
got the opportunity to speak with Ms. Ecton about
her inspiration for starting the label, her vision for
ChiBase, and her non-profit organization (WIN).
Cristy Barber spoke with me as well regarding her
plans to launch the label in 2015. Get ready for
ChiBase Productions.
Ms. Ecton: Exactly. Let me give you an example. We
go and discover an artist in a village somewhere and
they will have a very beautiful song, a very beautiful
voice. Their voice is not the only thing ChiBase is
looking for because if they can sing and their voice
is beautiful then we can market them and that voice
can bless other people. We are looking for artists,
with talent; we can market and promote, to make
Maliika: Was the potential impact of exposing
African music to a global audience something
PAGE
52
Chibase Launch Party
something out of them. The artists can then turnaround and help other people.
Maliika: You are already a successful business woman. The music industry doesn’t have the greatest
reputation. Was there any doubt with establishing a a place in the music industry?
Ms. Ecton: At first it was a hobby but now I envision it to be a very successful hobby that will help a lot of people.
We have sense weeded a lot of people out of ChiBase who did not support my vision. We are now setting up a
structure, rooted with a good foundation that will ensure ChiBase has the right people in place to execute our plan.
We can now begin this journey.
Nothing was happening the first two years. The company did not have the structure necessary to be successful.
I have had some bad experiences in the first two years. I have had people say they were going to be my label
manager but ended up just taking my money. I have had people say this album is going to help the label make a
statement in the marketplace but all they did was deliver music not up to my standard and take my money. Some
people were telling me that they were going to be my A&R and need this amount of money. I didn’t have experience
in the industry so I was trusting people I thought was worthy of that trust but they were all thieves. I finally sat
down and said enough is enough and and decided how we were going to operate. Multiple people have told me that
there is no money in selling music and that is true. I have done the research but it’s not about selling music here,
it’s about branding the artist. That is what it’s all about. We are going to go out there and discover the right artist
that fit our mission. This world is about helping people, about paying it forward. When I die I am not going to be
buried with all I have. Nobody that dies today gets buried with all their possessions or what they have in their bank
account. It’s about what do you have that you can bless other people with, while you are alive, that can touch and
affect the lives of other people. I’m afraid that if I die today, I would have died not doing everything I was meant
to do. Every night I ask God please do not take me because I have not done what you put me in this world to do.
God did not just put me in this world to take care of my family and make sure the people around me are taken care
of. I think he put me in this world because I can help make a difference in people’s lives. ChiBase will find the
artists who will bless the world with their voice by making people happy but will also pay it forward by helping the
disadvantaged. I’m not saying we are going to change the world, but we would like to help people one day at a time.
If we can bless one or two people with music then so be it. That is what ChiBase is all about.
Maliika: Cristy, you are an executive who had introduced American audiences to music from the
Caribbean for decades. What is your plan for introducing ChiBase artists to the marketplace?
Cristy Barber: You just hit the nail on the head. I have spent my twenty-three year career trying to introduce third
world music to the international stage. The ironic part about all of this is everything started in Africa, not just us as
a people but music originated there as well. Ms. Ecton’s vision and goals are exciting, a key reason I am glad to be
a part of this journey. I think her fingers are on the pulse of what’s happening in the industry. Everybody is talking
about they want to do something but not sure what to do. (referring to approach to branding an artist). What I
can bring to the table is one of the things I am known for. A good example would be the compilation albums, that
I have been Grammy nominated for. I like this approach because both undiscovered and discovered talents would
do collaborations with foreign acts. I think it is a great way to expose the music. I also like the idea that when Ms.
Ecton started ChiBase she took a trip to Africa and she met with managers and artists of different countries. She
wanted to let them know what she was doing and also check out the talent that was out there. No matter how big or
Ms. Ecton and her
children
small a country is in Africa you know there is some great talent out there that just needs to be exposed to the rest of
the world. I do have some ideas on finding the talent and I am excited to discover what’s out there. I always keep
in mind what I said about reggae music; the more people get involved, the more successful they are, the more good
business they do the better it is for us. So I am hoping that with ChiBase more people would want to get behind an
African movement. Whether it be African artists, actors, filmmakers, scientists, musicians, whoever it is. I know
that we are going to do some amazing things and bring some amazing people to the table. We have already begun
discussing some of the things that we are going to do. It’s going to be really interesting and I am excited.
Maliika: I am excited as well. Do you have a timeline of when you may bring the ChiBase compilation to
market?
Cristy: I am hoping to have our first project by next Spring. Spring is always such a great time for music. That also
gives me time to research some information and we can come together as a team and decide who and how we want
to target. I also want to bring some other powerhouses to the table as well. The compilations I worked on in the
past were a team effort with great people so that is my hope for this compilation as well. I love doing projects like
this.
Maliika: I love the Set Up Shop Volume 1 compilation that was released on Ghetto Youth’s last year. You
successfully combined music from established artists while introducing new artists at the same time.
Each of the new artists are now respected artists in their own right. When I think of the potential of the
ChiBase compilation, I think what new artists will they be introducing to us?
Cristy: There are definitely artists that Ms. Ecton has a relationship with already and other artists we have
relationships with as a label. The project will not just be undiscovered talent but known talent as well that are
popular in Africa now. There is also bigger talent. I am looking at three tiers of talent for this project. That’s what
makes it so interesting. Let’s take the Def Jamaica project for instance. We had one track on there that had two
unexposed artists on it. It was part of the concept where we said we were going to have two acts that no one heard
of and we were going to put the reggae and hip-hop artists together. That’s what I mean by the different levels. You
can have someone like a Pharrell or Jay Z but then also have artist no one has ever heard of. African artists have so
much to offer.
Maliika: Ms. Ecton talk to us about the WIN Foundation. What are the Foundation’s top projects? What
are the top needs of the foundation?
Ms. Ecton: There are no sponsors, no donors. I have been sponsoring the organization on my own. Nobody has
given me anything. We continue to pay for education for children, medical care, help churches. I have helped
thousands of people. A lot of people would stand before you give testimony to the things I have done. The top need
right now is to finish the construction on the school we are fixing up. The kids will be back to school this month
and we want them to come back to a brand new school. We need them to have school supplies, including school
uniforms. Teachers need supplies to teach the children, including boards and chalk. When we went to this school,
a year and a half ago, we couldn’t even get into one of the classrooms because of very poor sanitary conditions. I
thought how can children learn under such poor conditions. We have cleaned it up and the contractor is putting on
a new roof to the school. I told them I wanted the school done in three weeks. That means all construction, school
supplies, school uniforms and proper shoes. The goal
is for the kids to return to a brand new school. The
foundation does not have any political affiliations, just
me helping the people that need help.
The WIN Foundation also provides health education to
people back home. Just think about it. When we all
return home, we reach for carbohydrates and starchy
foods. The result of eating this way can lead to high
blood pressure and diabetes. Diabetes is the leading
cause of kidney failure. In the villages back home
(Nigeria) kidney failure can be a death sentence.
My mother has diabetes and high blood pressure. I
launched an education arm to inform the women
in the villages back home so they understand the
effects of this type of food. Preventive education can
lead to changed behavior that can help them not get
diabetes. My uncle died of kidney failure because he
didn’t have access to dialysis. So maybe we can help
save one or two people by educating them.
photo right: Ms.Chetachi Ecton
WIN Foundation
Chibase Productions
PAGE
57
“Pinnacle: The Smoking Gun”
EXTRACT Chapter 7: “Gong”
The Pinnacle Years (1940-1956)
The Original Gong Family caused something of a
stir back in April with their compelling article “The
Crabs & the 500 Acre Bucket.” Well since then, it
transpires that they have been working flat out for the
last 6 months, spending countless hours travelling,
investigating and writing their forthcoming book “The
Gong: How Rastafari became Brand Jamaica.”
...These 3 men were, on paper, the legal owners of
Pinnacle for the next 11 years, yet they made no
attempt to rid the land of its residents, Howell and the
Rastafari.
Instead, a large proportion of the Pinnacle land
was, immediately following the 1945 bailiff visit,
transformed from growing fruits and vegetables
to an enormous Ganja plantation. Although small
amounts of Ganja had been grown at Pinnacle before
1945, predominantly for sacramental and medicinal
use within the community, it became a global-scale
enterprise almost overnight, supplying vast quantities
of the contraband herb to the lucrative US and UK
markets.
A spokesman for the family gave Island Stage
an insight into what we can expect when the 13
Chapter tome hits the shelves early in 2015 “What
we now have on our hands is potentially a biggie;
it certainly corrects much of the misinformation out
there and poses many questions that may make
for uncomfortable answering on the part of several
individuals and organisations...but 60 years is long
enough to hijack, bastardise and suppress one man’s
legacy – hisStory will read very differently going
forward.”
We could of course speculate wildly about how and
why this came to pass, since one man could clearly
not commence operations of this scale without both
friends in high places (which we know that the Gong
did not have) and the logistical network to physically
move that volume of product on a weekly basis. If
you believe the newspapers’ portrayal of Leonard as a
comical, ridiculous figure in a 3-piece suit, riding on a
donkey, then I think we can rule out that one too.
As anyone who has been following the situation
over the last few years will know, one of the most
contentious issues for Rastafari is the ownership of
Howell’s former Rastafari haven at Pinnacle – and
in that regard, the family say that they’ve certainly
found what they regard as “The Smoking Gun.”
So if we are not going to purport to answer the
outstanding questions regarding the Pinnacle Ganja
trade, all that remains is for us to re-introduce some
characters that we introduced earlier, and allow you to
draw your own conclusions.
The Original Gong Family have provided Island
Stage with an exclusive extract of one of the book’s
chapters, which reveals (partially in any case), what
that Smoking Gun is..
PAGE
59
Firstly, Albert Chang
himself1; as President
of the Chinese
Association, Chang
was a highly reputable
man in the Chinese
community within
Jamaica. Born in the
Canton region of China
in 1892, he would
have been brought up,
according to one of the
fundamental tenets
of Chinese culture, to
distinguish and bring
honour to his family
name. Chang’s will,
in demonstrating that
this was paramount in
his thinking at that time, includes a clause requiring
his children to set up a memorial fund in his father,
Wai Tai’s name, with which to provide financial aid to
Chong Ha, his home village in China’s Kwang Tung
province, in order to assist with education, housing
and medical costs.
beings can improve their condition through personal
and communal endeavour; humaneness for other
individuals. Finally, and most importantly, a concept
known to the Chinese as “zhi”, which is the ability
to see what is right and fair, or the converse, in
behaviours exhibited by others.
It makes sense that Chang, seeing through the
intense propaganda that permanently surrounded
The Gong, would recognise the integrity of the good
that he was trying to do for his people. He could
probably also see the financial and philanthropic
benefits to be gained from helping Howell to
establish Pinnacle. But when the situation started
getting out of hand, with the entry of some new key
power players, Chang would have known it was time
to extricate himself from the situation, in order to
maintain his family’s good name and reputation.
Without seeing court papers for the alleged “lengthy
legal battle” mentioned in The Gleaner in relation to
the bailiff’s visit to Pinnacle in 1945, it impossible
to judge what form that extrication should have
taken. Only two documents survive which tell a
particular story of what happened to Albert Chang’s
involvement in this messy state of affairs. The first
is the Police Commissioner’s letter to the Colonial
Secretary in March of 1944 (whilst Leonard was
on remand for the murder of his wife) stating that
Chang was trying to sell Pinnacle.
1. Wanting to get a better idea about the type of man Chang was likely to have been, in terms of his
ideologies and business ethics, we spoke to a Chinese gentleman of comparable standing and experience
about the likelihood of Chang’s vilification over the Pinnacle land transaction being warranted and his
The second is Chang’s own will, instructing his
Executor and Trustee, the Administrator General
of Jamaica, to transmit his property, known as
Pinnacle, to the Board of Trustees of the Boys
Scouts in Jamaica. This would be uncomplicated, if
not for the fact that the majority of the will bears
no evidence that Chang has ever seen it; only two
pages are marked by his hand, one is annotated with
the location of his village in Chinese writing and the
considered view supported our own theory. The gentleman we spoke to is, like Chang, a China-born expatriate businessman, with several high-value businesses within the region, and as such, is also a man of
high regard and social standing within the local Chinese community.
Chang, most likely raised with a Confucianist
philosophy, would perhaps have recognised in Leonard
Howell a compatible ideology to his own – many of
their basic ethical concepts were closely aligned: the
importance of the family unit; the belief that human
PAGE
60
final page bears his signature2. The annotated page
appears to have been folded in half twice, as though
it had been in an envelope, whilst the other pages are
somehow unmarked. It is possible that Chang had
instructed his solicitor3, W. A. Scholefield (of Lake
& Nunes, later Lake, Nunes & Scholefield) to draft a
new version of his will when he died, but passed away
before he could sign the newly drafted version. But in
that case, surely the previous version in its entirety
would be the valid one, not a version with unsigned
pages.
It is almost certain that Albert Chang got into the
Pinnacle arrangement for the right reasons, but
wanted out when it was getting nasty. How he got
out, and what the paperwork says in retrospect, after
his unexpected death in 1946, is certainly a cause of
intrigue.
So after a swift
change to the land
title, we find a
gentleman called
Edward Rasheed
Hanna4 entering the
picture, seemingly out
of nowhere. Hanna
was the Jamaicanborn 2nd son of a
Lebanese merchant
who had relocated
to Jamaica with his
wife and eldest son a
year before Edward
was born in 1894,
in order to escape
persecution at the
hands of the Ottoman
Turks. Edward’s
father, Rasheed,
owned a modest shop in Kingston, which supported
his family until, along with the Wolmer’s school that
his son attended, it was flattened in the earthquake
of January 1907. When Edward was 14 years old,
the entire Hanna family left Jamaica for the US5,
where Edward completed his education and became
a US citizen, serving in the US Navy during WWI. It
is not known when the rest of the family returned to
Jamaica, but by the time Edward got back after the
war had ended, his father had established a smallscale dry goods business. Upon admitting his sons into
partnership of the business in 1920, the firm rapidly
grew to include several commercial enterprises across
If there was any clause referring to Pinnacle in
Chang’s will, it is our considered view that it would be
most likely to have recorded the transaction between
Chang and Howell and formally transferred the title to
Howell upon Chang’s death. Or if, as the authorities
repeatedly state, Chang was the rightful owner of
Pinnacle, with no liability to Leonard Howell, then
Pinnacle would have been one of his most valuable
assets and, in light of what we know about the type
of man that he was, he would have bequeathed it in
one of three ways: firstly it would have gone to his
family, as with the rest of his estate (although if he
saw disreputable or menacing behaviour going on in
respect of Pinnacle, he would not want his children
involved); secondly he would bequeath it to another
Chinese man, perhaps a business associate in return
for an outstanding favour between the two men; or
finally, if he was feeling in deeply philanthropic mood,
he would have left it to the Chinese Association of
which he was president, in order to benefit his own
community.
2.The signature on Chang’s will does appear to match the one on his wedding certificate in February 1919.
3. We are willing to accept that Chang may have appointed Lake and Nunes as his solicitor, but only if there
were no Chinese solicitors in Jamaica at that time – if there was a Chinese solicitor qualified to practise in
Jamaica, Chang would definitely have appointed him, in support of the Chinese community.
PAGE
61
the island which, by 1946, employed hundreds of
people.
4. With thanks to Maxine McDonnough for the additional information on Edward R Hanna
5 .On the immigration records the family were recorded as Syrian, presumably in reference to Greater Syria,
Colonial society considered Edward Rasheed Hanna
to be an exemplary man; trained book-keeper,
business director, and from 1936, Justice of the Peace
for Kingston. In short, this was a well- connected
and powerful man of considerable means, with an
extensive logistical network including boats and
container shipping, certainly capable of moving
wholesale products around the world.
an area which included Lebanon, that was under the control of the Ottoman Empire until after WWI
An e-petition has been launched by the family which
has been devised to force the Jamaican government’s
hand into immediately ordering a full and open
enquiry (which must include members of the Original
Gong Family and external independent legal heads)
into how Leonard Howell’s land was brutally taken
from the self-sufficient Rastafari and slickly placed
into the hands of money-hungry private developers,
whom even in the 1940s apparently had friends in
high places...please sign the petition here, and let’s
get those files open -
Monty recalls that his father rarely spoke in negative
terms about anyone, but Edward Rasheed Hanna was
one of only three exceptions that he can remember,
the other two being an as yet unidentified man called
So what could have caused these 3
men in particular to incur the Gong’s
loathing?
According to Monty, the persistent stories of
menacing the community and dealing vast
quantities of Pinnacle Ganja across the globe
are “foolish talk”. But even he has to admit that,
cumulatively, crooked police officers, selectively blind
spotter plane pilots, trucks with armed guards and,
most suspiciously of all, land owners who turned a
blind eye to their “illegal squatters” for over a decade,
all paint a pretty damning picture.
Sign the e-petition
Having already lost his children their mother, seen
dozens of the community’s menfolk incarcerated, and
finally been faced with forcible eviction from the entire
property (destroying the homes and livelihoods of
1,000 loyal and hard-working people), Leonard would
have been powerless to stop the ride upon which he
unwittingly found himself.
PAGE
62
Island Stage would like to thank the following people.
Without their contributions, this issue would not have
been possible.
Simone Harris
Lloyd Stanbury
Reggae Reflection
Scott Robotham
Maliika Walker
Ivan Thomas
Dredda Records
Tribal Global Records
Fitzroy Francis
Anne-Marie Oyugah Morrison
The Leonard P. Howell Family

Issue 6 - Island Stage Magazine

Transcription

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