Front Cover
 Front Matter

Title: Backayard magazine
Full Citation
Permanent Link: http://ufdc.ufl.edu/UF00103222/00001
 Material Information
Title: Backayard magazine
Physical Description: Serial
Language: English
Publisher: Backayard Publishing, Inc.
Place of Publication: Kingston, Jamaica
Publication Date: 2010
 Record Information
Bibliographic ID: UF00103222
Volume ID: VID00001
Source Institution: University of Florida
Holding Location: University of Florida
Rights Management: All rights reserved by the source institution and holding location.
Resource Identifier: issn - 0799-1797

Table of Contents
    Front Cover
        Front Cover
    Front Matter
        Front Matter
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Full Text

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Chief Editor Amilcar Lewis
Creative/Art Director Noel-Andrew Bennett

Managing Editor Madeleine Moulton (US)

Production Managers Clayton James (US)
Noel Sutherland

Contributing Editors Jim Sewastynowicz (US)
Phillip Lobban

3G Editor Matt Sarrel

Designer/Photo Advisor Andre Morgan (JA)

Fashion Editor Cheridah Ashley (JA)
Assistant Fashion Editor Serchen Morris
Stylist Judy Bennett

Florida Correspondents Sanjay Scott
Leroy Whilby, Noel Sutherland

Contributing Photographers Tone, Andre Morgan, Pam Fraser

Contributing Writers MusicPhill, Headline Entertainment,
Jim Sewastynowicz, Matt Sarrel

Caribbean Ad Sales Audrey Lewis
US Ad Sales EL
US Promotions Anna Sumilat

Distribution Novelty Manufacturing
OJ36 Records, LMH Ltd.

PR Director Audrey Lewis (JA)

Online Sean Bennett (Webmaster)

9C, 67 Constant Spring Rd. Kingston 10, Jamaica WI.
email: ja@backayard.com

Brooklyn, NY, 11236, USA
e-mail: usa@backayard.com

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It seems that every time our country makes one positive step forward, we take a million
negative steps backward (and for a country with about three million people living in it,
that's a lot of steps we are all taking). International media and the millions of eyes around
the world don't care if it's just that one bad apple. We are all being judged by the actions
of a handful of individuals, whether it's the politician trying to hide his/her indiscretions,
to the hustler that harasses the visitors to our shores. It all affects our future.

How do we go from owning, and celebrating our country, people and culture, to
destroying our land we love, then murdering and robbing these same people that make
us proud? Whenever someone works hard to better themselves or situation, there is
always some one lurking in the shadows at your gate in a corolla who wants to see you
fail! Why is that? How did we get to this place?

We have lost so many artistes to senseless 'crab in a barrel' violence. In 1976 we almost
lost Bob Marley -- rumored to be for political reasons. In 1987 we did lose arguably one
of the greatest musicians next to Bob, Mr. Peter Tosh a three-man gang demanding his
hard earned money, and when the demands were not met shot him twice in the head.
The list goes on; Nitty Gritty shot in Brooklyn, New York, Pan Head shot after
leaving a dance in Spanish Town, Daddygon shot at a bar, which later turned out to be
a supposed case of mistaken identity, and if the deaths of our natives were not enough,
South African reggae-musician Lucky Dube, was gunned down in what appeared to be
an attempted hijacking, in Rosettenville, south of Johannesburg. Now O'Neil Edwards
from Voicemail, shot several times while entering his home.

What is the common thread with all these senseless deaths? Reggae is one. Being
famous seems to be the other. Here's an idea, let's ban music all-together, live under
oppressive military militia and have equal wages for everyone who wants to work, have
the mischievous, thieves and killers punished by immediate death or limb-loss.
That regime seems to work in other places, maybe it will work here since we have
nothing else to lose. EL



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2. Bebot Robot Synth Unless you have
been living as an ubber naturist or have
just alienated yourself from technology,
there is this device they call iPhone -- or
as some like to call it the jesus phone.
More recently the iPad was released
(no relation) which is like a big iPhone.
For these devices there are these
mini-softwares that work on them called
apps. Normalware is one of the
developers of these apps. and they have
released a digital synthesiser app. called
Bebot Robot Synth -- a feature-packed,
polyphonic musical synthesizer with a
unique multi touch control method.
The relevance of this dear budding
producer -- it gives you the ability to load
and discover new synth sounds to help

3. 11PC 2000 XL Flash USB Drin'es

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4. Audi Grand Piano Live instruments are
super-critical to delivering superb sound
quality (there is yet to be a digital
synthesiser to reproduce that). But we are
sure no one saw that coming from
German automotive manufacturer, Audi.
The Audi Design Studio Team in
Munich, decided to turn its attention to the
most beloved musical instrument since
the voice-box -- the Grand Piano.
"Generous surface areas ensure formal
clarity; there are no decorative
applications, the edges and lines are
sharply drawn, the joints logically
positioned. All these are important
aspects of the Audi design," says
Designer Philip Schlesinger, who i
implemented the project at the Concept
Design Studio in Munich.
"When viewed from above, the lid is seen
to be recessed into the main case, and in

5. Alkal lPC500 llidi Producilon Ssl.em

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6. Sure SM57 Microphone Can there be
a better snare drum microphone? Perfect
for hundreds of uses in the pro or home
recording studio the Sure Sm57 is a
classic and is ideal out on the road for live
recording too. Maybe this is the one mic
that you would choose if you could only
have one as it's so versatile and cheap!

The SM57 is a cardiod (unidirectional)
dynamic microphone with a contoured
frequency response of 40 to 15,000 Hz,
perfect for clean reproduction of vocals
and instruments. But the SM57 is most
renowned in the music industry as the
standard microphone of choice for snare
drums and guitar amplifiers. Go to any
stage or studio and you're likely to find
SM57s pointing at the amps and snare.
SM57 LC, without Cable $100
via: www.zzsounds.com

1 K]

7. Nleumann US7 ilicrophone ::
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Num ann i I-:, : i'.-: .I : I ;i:I. : i i : i

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Price: 3,429.00
via: zzsounds.com

8. Yamaha NP30 Portable Grand Piano -
You want to learn the piano, right? You
need a keyboard that lets you get right to
the music, not some complicated
"composer" or "workstation" where you
have to read the manual just to turn it on.
The Yamaha NP30 Portable Grand
Digital Piano offers great sound, great
feel, and a great price, without all the
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needless extras. You'll start mastering
piano right away, and have a blast in the
Price: 3,429.00
via: zzsounds.com
8. Yamaha NP30 Portable Grand Piano -
You want to learn the piano, right? You
need a keyboard that lets you get right to
the music, not some complicated
"composer" or "workstation" where you
have to read the manual just to turn it on.
The Yamaha NP3O Portable Grand
Digital Piano offers great sound, great
feel, and a great price, without all the
needless extras. You'll start mastering
piano right away, and have a blast in the
Price: $270.00
via: zzsounds.com

you build more quirky sound patterns for the side view, the curve of the treble side
your beats, and it works on your phone or is not interrupted by a joint line. Besides,
portable device (Apple products please). the keyboard has no wings at the ends,
Get yours today for only $1.99 at your the cast frame is in gray instead of the
favourite iTunes store, usual bronze color, and the felt damper
strips in natural white instead of wine red."
Price: $139,867.00






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Ahh, Jamaica...land of wood and water, sweet
reggae music and track & field. Track and field?
Yes, track and field. Jamaicans have been
world-class in that particular sporting field for
several decades now. Long before the
phenomenon known as Usain Bolt laced up his
first pair of cleats, we had athletes such as
Arthur Wint, Donald Quarrie, Herb McKenley and
countless others flying the black, gold and green
flag high. However, even with that success,
Jamaicans are known mostly as a sprint
factory with not much attention being paid to
long distance running.

Alfred 'Frano' Francis has been working hard to
change that. Born in the mid-fifties in the misty
parish of Portland, Frano developed a love for
running while attending track powerhouse KC
(Kingston College), attended KC during an era
when they dominated Boys Champs. After
leaving school Frano worked at Air Jamaica
for 15 years, during that period he felt the need
to get involved with some physical activity. He
started running at the Police Officers' Club. He
then, on the advice of a friend, began running at
the Mona Dam. "I went up there in the early 90's
and met up with some friends with similar

interests and the Jamdammers running club
was formed." After forming the club, the
members began entering events overseas
representing the country of Jamaica and the
Jamdammers at varying locales across the
globe. However, the club did not receive much
press locally until they organized and executed
the Reggae Marathon.

The concept of the marathon came from the
members in the club who were generally
disappointed with the Jamaican International
Marathon which was held after the
Cement Company's marathon was
discontinued for lack of sponsorship.
So in 2000, Frano and the rest of the
Jamdammers went to the Rock & Roll Mara-
thon in San Diego. This marathon is noted for
having at least 40 bands enroute to the finish.
As a group they felt Jamaica had the music,
the athleticism, an exotic enough location
(Negril) and much more -- the country itself
needed a first class marathon.

The group worked on it and held the first event
in 2001 with a lot of support from the Jamai-
ca Tourist Board. "Frances Yeo, who was the

events manager at the time, was very helpful.
The American Heart/Stroke Association,
brought about 500 people for the first one, the
ratio was more foreigners than locals at that
time. "For that marathon we brought down nine
Kenyan runners and got a call from St. Vincent
from Pamenos Ballantyne saying that he was
coming to the race and he actually came and
won." Frano added. From its inception the
Jamdammers running club has always been
aware of what a runner goes through during a
marathon, and that awareness led to its first
class runner-care on the course.

Dr. Ducasse and her team from the Ministry of
Health and the Sports Medicine Association
was a big help to the running of the marathon
over the years, and also reflects on the level of
support that the government has given the race.
"That first year they were fixing the Negril road
when we went down there it was all marl after
you pass the hotel strip. I must compliment
Bobby Pickersgill who I think was the minister
responsible at the time for transport and works.
They laid a strip of asphalt by the morning of the
race -- that showed us that they connected with
what we were doing." As mentioned before the


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"A lot of people in Jamaica view any road race as a marathon." Frano
explains. "A marathon is exactly 42 kilometers or 26.2 miles, in addition to
the main marathon we also have a half-marathon and now a 10 kilometer
run that help to bring in a wider audience." The Negril community has
embraced the race wholeheartedly as on race day. The marathon uses
over 300 volunteers, and the majority of volunteers are from the
community. This type of volunteerism is, in the wider perspective, the
reason behind the whole success of the Jamaican track and field
association. It has been because of volunteerism that the 2010 version
of the Jamaica High School National Championships (as the Boys
Champs now combined with Girls version are now called) had 400 and
more volunteers all working for free for four days. Economically, the
Reggae Marathon has had a huge impact on the Negril community. Last
year people from 18 different countries came to Jamaica to not only to run
the marathon but they also vacationed here. "We have gotten maximum
support from the Negril chapter of the Jamaica Hotel & Tourism
Association (JHTA) from people like Carolyn Wright and Evelyn Smith to
Mr Issa himself. I remember the first day of the marathon, he checked on
all his hotels to see if they were filled and it was positive. From that day to
today he has given us the use of Couples free of cost." This locale
provides a beautiful platform for the planners to operate. The setting up
of the race is a three day affair, you have registration for the event and an
expo where people are invited to come see Jamaican craft and experience
our food. When the visitors register and they get a complimentary T-shirt
and they can then buy Jamaican cultural artifacts. Frano adds. "We also
host the 'World's Greatest Pasta Party' rated by ourselves because we
have traveled the world and a pasta party is a normally a pre-marathon
celebration but it is nothing like what we do. We benefit from having
Sandals, Riu and Super Clubs competing to the best job making pasta.

Our staging area is the Long Bay Beach Park which we transformed from
a football field into a 'finish' area. When people finish the race they get a
medal, coconut water, a Red Stripe beer and several other local gifts.
The participants have the option to get massages right there on the beach
or for those who fancy a swim to cool off."

One of the things that have come out of the event, is the use of it (the event)

their grand prix series or as what they call it Road to the Reggae
Marathon series which has a lot of schools who train no matter what
distance they specialize in. "They utilize the 5k and the 10k as background
training and strength training. We have had significant runners come out
of it such as Wainard Talbert and now Kemoy Campbell and Latoya Gold
who have made a name for themselves both regional and internationally."

Wisely the Reggae Marathon officials do not charge an entry fee because
they have expressed that they don't want to only have runners that enter
from a competitive stand point but for persons also interested in
maintaining a healthy lifestyle through running. This year will be the 10th
edition of the marathon and the organizers are determined to make it even
better than past editions. Reggae Marathon is held on the first Saturday
in December every year and the marketing campaign for each event begins
13 months in advance. The expo in New York is normally when the first
campaign is done. After that it is Boston, San Diego, Atlanta, Miami and
L.A. -- while PUMA international markets the event in Europe.
Reggae Marathon got rated as one of the top ten marathons in the world
by the London Paper based on runner-care and execution. They use
championship timing since inception similar to ones used in London and
A lot of people in Jamaica view any Boston. This is handled by the well respected timing company
to f p pe i Jma maat Sports Management Associates from the United States.
road race as a marathon.
A marathon is exactly 42 kilometers Major sponsors over the years have been: Jamaica Tourist Board, Burger
King, PUMA, Digicel, Jamaica Macaroni Company, Pepsi, Gatorade,
or 26.2 miles! Jamaica Amateur Athletics Association (JAAA), Sport Development
Fund (SDF), Air Jamaica, Coldfield Manufacturing, Island Dairies
initial staging of the race had mostly foreigners participating, however, in among others. A truly unique event, the Reggae Marathon is a perfect
the nine years since the ratio has changed significantly as they have had mix of what Jamaica has to offer. Perfect weather conditions, wonderful
a lot more Jamaicans running the marathon. This is because the settings and images, mixed with reggae music, sets the tone for both
Jamdammers have been building not only the Reggae Marathon but a visitors to the island and local on-lookers and participants to fully enjoy the
calendar of road races leading up to it. spectacle. Come out on the 4th of December and see for yourself why its
race's tagline is "Come for the run, stay for the fun."

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Words: Leigh-Ann Worrell

The heat from the sun's rays were no match for that
coming from the stage at the sixth edition of Digicel Reggae
on the Hill, held in Barbados.
By all accounts, the crowd of just about 15,000 people that
packed the Farley Hill National Park fully enjoyed the all-day
Local acts like Prosperity, Twin Man and Oracle got the
event off to a great start with a steady stream of their own
reggae offerings. Another local artiste, Easy B was another
crowd pleaser, and set the stage for other well-known
homegrown reggae artistes like Brimstone, Albert Olton,
LRG, Daniel and Hotta Flames.
Skillfully rounding off the local talent was Buggy Nakhente,
whose set was just as popular and anticipated as any
Jamaican performer on the Hill's lineup.
He inspired the crowd powerful renderings of The Way it
Is and /See Dem among others. He was closely followed by
Lisa Howell who brought it home for the Barbadian reggae
artistes with a selection of covers and originals from her
latest project.
Guyanese starlet Timeka Marshall was the first foreign
act for the day. Backed by Barbadian band Masala with lead
singer Philip 7, she appeared after 1 p.m., and by this time
the hill was filled with reggae lovers, many of them armed
with picnic baskets and coolers. Marshall also sang originals
like Feel Fah and a cover of Jah Cure's Call on Me with
Phillip 7, which the audience seemed to like.
Winner of the 2007 Digicel Rising Stars Romain Virgo
pleased the ladies with songs Can't Sleep and Love Doctor
as well as ghetto anthem Who Feels it Knows It.
Etana blessed with the stage with positive vibes including I
am NotAfraidand Warrior Love.
As the sun dipped in the horizon, a heated day got even
hotter. The veteran artiste Maxi Priest belted out hits like
JustA Little Bit Longer and Close to Youto name a few.
"Jah's messenger" Luciano kept the vibes going with
Messenger Give Praise and Jah Live from 2008's Jah is
My Navigator He was followed by emerging artiste Hezron,
whom the crowd seemed quite impatient with.
Richie Spice was also a hit with the crowd.
Although a very calm performer, he lived up to his name on
Sunday evening with skillful renditions of More Life, Earth a
Run Red, Grooving my Girl and together with soca queen
Alison Hinds, King and Queen.
Then it got oh so busy! Reanno 'Busy Signal' Gordon gave
the crowd a repertoire of energetic dancehall songs like Step
Out and Mek She Stamma as well as slower reggae songs
One More Night and Night Shift, which the crowd practically
sang verbatim.
'Mr. Singy Singy' Tarrus Riley brought the house down as
lovers rocked steady to songs like Love's Contagious,
Superman, Human Nature and Stay With You.
He also reminded men to treasure what they have with Getty
Gettyand StartAnew.
Konshens guest appeared for an unforgettable rendition of
Good Girl Gone Bad.

photos: Headline Entertdnmentl



ANUNA (Jamaca)
By Tami Chynn & Lubica
photos by: P Fraser



Anuna: Elegant, sophisticated, cultured, chic and trendy.
Now this wasn't a just a regular old jaunt through a
beat-up thesaurus to describe any old mundane thin,
these were actually the first words that came to I,.
mind when I saw the anutna fashion line up close for the
first time. Being a veteran of several different fashion
shows and events, I am definitely not a stranger to see-
ing beautiful women adorn themselves with sexy cloth-
ing however this is the first time I actually saw outfits
that I feel that any woman would be comfortable in.
The women responsible for anna are Jamaica's very
own diva Tami Chynn and Slovakian born but
Canadian bred Lubica, who was already well known in
her adoptive home island of Jamaica for her
stunning swimwear and seductive dresses. The anuLna .
line is available at the retail store
Kerry manwomanhome and online at www.lubica.com
Big up to Guest Editor Pamela Fraser,
Sheldon Brown, Mattson Cuthbert, Matthew Walt and
Kimberlee (make-up artist).

The Final War

Death Before Dishonor Th-e rI- r.h -,.j \ -,:F.: .-.-:.:- I,,-i :~ir ... .:.I I .:h -,,.
Chins Death Belore Dishonor; aptly dubbed The Final war, was held at Its
now infamous venue Pier I, in Montego Bay. Black Kat won this year In a
surprising turn-around victory over Sentinel from Germany.
For more on the various sound system clashes around the world, visit
irishandchin.com and backayard.com


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TRU-JUICE st. Catherine r
Naturally for anyone to properly K
speak about nature, they would have
to experience it first-hand. As
readers of BACKAYARD know very
well, we are very much about the
promotion of natural / healthy living,
and what could be a more integral
part of healthy living than what one
puts in his or her body?

This is why we took it upon ourselves 'i
to investigate the components of one
of Jamaica's more popular 'natural'
brands Tru-Juice. As you may or
may not know, the Tru- Juice brand
is a part of the wider
Trade Winds Citrus conglomerate
which is also responsible for the
Freshhh Fruit, Juice Drinks and
Wakefield Juices.

Trade Wind Citrus, based in the
community of Bog Walk,
St. Catherine arguably the largest
parish in Jamaica. Acres upon acres
of citrus groves, a nursery for
budding plants (where it is equipped
with a mist house where seeds are
germinated and an insect-proof
green house where the mother trees
are produced), a juice plant and a
packing house on its complex.

Based on our observation the real
key to the whole operation is the
care and respect that each plant
seems to receive. From the budding,
where only the plants proven to be
resistant to certain viruses are used,
the harvesting (where all plants are
hand-picked) to the washing & selection and finally the juice

Each process is done with a personal touch, to ensure each fruit is
up to standard. Being the 'nature buffs' we are, we spent most of
our time in the field literally.

It was quite interesting observing the picking process of the 'prized'
orange crop (which is used for export). These gems are acquired by
omitting the hundreds of early fruit that have fallen early fruit fall
reduces tree strain and limb load leaving the remaining fruit
healthier and larger than their fallen brethren.

The picked fruit is then packed into cartons, put into trucks and
then carried to the packing houses. Did we mention how large the
complex is? Stay tuned for the next part in this series where I
explain among other things: the orange's attachment to Jamaican
culture, the importance of the Tru-Juice brand to the Jamaican
Diaspora and (of course) the many health benefits of orange and
its extracts.



Fresh Juice only comes from
Freshly squeezed Jamaican Oranges

Support Jamaica... Buy Jamaican!!


Proudly produced to Jraicam




j A. AC



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dec0e I wate tod- o ehn nm sc Itogtaotbcmn

Aelig *hs *on me hav abu thm ele and thei crft Each hal

of~~~~~~~~~ ~ ~ ~ ~ ~ ~ 0he Yon Veern prdcto tem hav difrn stre as 0o how Yon-0easpouto rdt icuesnssc s o
they ~ ~ ~ ~ ~ 0 fis 0000 inole 0n 0h 0ui in uty 'R st Im otr'- - - -0'tg ern ag ei p l IS idI'

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You didn't see him


ost people have a hard time trying to wear two hats at a time. Whether trying to balance their family life, with
their professional life, or attempting to drive and text at the same time. It is generally very difficult for people to
perfectly split their attention equally between varying endeavours. Can you imagine trying to tackle three equally
different tasks within the same competitive industry? Difficult, right? Not if you were born Chevaughn Clayton -
lead singer of C Sharp, 1/7 of the Notice production team and more recently acclaimed solo act.

Chevaughn (as he is popularly known) decided that music
was what he wanted to do in life, and he figured this out while
leaving primary school at the tenderoni age of nine.
"I actually grew up around alot of women so initially I
wanted to be a gynecologist (Strange, huh) due to the fact that
I wanted to take care of the many women who were important
to me." Chevaughn explained.

Chevaughn started singing at JCDC festivals from primary
school through to high school. When he did the
Tastee Talent Competition in 1997, that was when he
seriously started to respect his purpose in art. While in high
school, Chevaughn saved all his competition money in
order to go to Edna Manley (school of art and music) which
to him was very important. "There were so many different
things to learn there. My first vocal teacher was
June Lawson after doing two years with her; I did a year with
Michael Harris." He says. "After a while I was learning from
Maurice Gordon, Ibo Cooper (from Third World) and
several other teachers who were teaching about Western
music, popular American and European music. Learn to
respect all genres as well as build on your creativity so when
it is time to write for yourself you can use the different genres
to assist you."

He graduated from Edna Manley in 2006, in that same year
was asked to become a member of C Sharp. He was also a
part of the Further Notice band (which eventually became
Notice Production) from his days on campus. Chevaughn has
been touring with C Sharp from 2006 (his final year at Edna
Manley) and although he is most clearly the link between the
two entities. Notice, to date, has never produced a project for
the C Sharp band. "The keyboardist in C Sharp has a
recording company called 'Barb Wire Music', so he normally
does the production for C Sharp and everything is a link
between 'Barb Wire' and C Sharp." Chevaughn explains. That
creative energy was displayed on tracks like 'No More' -
widely regarded as the group's breakout hit, 'Don't Come
Searching' and 'What Is the Matter with the World'. 2006 was
the same year that Further Notice band decided to start
producing tracks for artistes aside from themselves.
Chevaughn's work with Notice Production began with the

'Nyabinghi' riddim and has continued with several other
riddims released mostly geared towards the overseas market.
Dancehall fans would know Notice's more recent releases
such as 'Gallis' riddim with songs such as Ding Dong's 'Man
A Gallis', Serani's 'My Empress', Ras Penco's 'Player Haters'
and Bugle's 'Dem Too Fass'. However by far Chevaughn's
biggest stamp on Jamaican music scene so far has to be the
Notice produced 'Holiday' which he did in collaboration with
Ding Dong. "It was a day looking like how today looks (partly
-cloudy with a chance of rain), was driving on the road and I
came here (Notice Studio) and Unga was playing a track. As
he played it, I started singing about a sunny day and bunch of
different things. Then Unga said something about a
holiday and it started from there." Chevaughn and Notice
actually fashioned that song to be similar to how American
hip hop producer DJ Khaled does his songs, with a barrage of
different artiste on one track. However once Ding Dong heard
the track with the recorded melody and chorus he
immediately vibed with the song and it was eventually
decided to have him as the only guest on the song. The
'Holiday' song and video became a staple for the summer of
2009 on the cable stations, radio and party scene a like and
might even be 'resurrected' somewhat for the atmosphere of
this upcoming summer party series.

Even though it might not seem like it, Chevaughn is not quite
ready to be known exclusively as a solo artiste. He sees
himself as just exploring options and recording songs that
C Sharp probably would not do. C Sharp as group has just
been 'adopted' by the Bank of Nova Scotia in Jamaica for a
year in order to assist the band and their music. In terms of
working with the production label, they have just released
Chevaughn's video for 'Tables' which features former Digicel
Rising Star winner Chris Martin, Ding Dong, and Craig from
the dancehall group Voicemail. That along with several other
soon to be released singles both as a solo artiste and with
C Sharp add to that the many different new productions to
come from the Notice label, Chevaughn has a supremely busy
time in front of him and if it's one thing this man has proven
so far, is that he is more than capable of 'juggling' several jobs
at once, which is critical in this present day music market. B



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I went to New York and I bought a little tape and had the
rddim, the "House Call" riddii. and me and Brian Gold and
Maxi Priest sit down inna hotel and write di song. Same night
we went to the studio, this was while the record label going
crazy because things are not done like that in America. y-ou
first submit a demo. people listen to it and then dem sell
alright we a cut di single. It tek a while it is a process.
\\e were doing it the Jamaican way. w\e sell ok \e a gull
studio tonight so we ago write the song inna di day.
She i(Vivian Scott) was jus freaking out, but w\e knew \ e had
a hit. So I did the track in New York and forgot all about it
because back in Jamaica I was busy bus\-. I got likkle buzz and
everybody. want a song. so a 'hol lot of phone calls coming
in. So I got a call from her one night "'Oh. you are my savior."
and this and that. She started talking about howr her boss dem
love it and it going to be di lead single and how dem a go get
David Morales to do di remix. It still never hit mi at that time.
we ajus some likkle island boy. I had no idea of w hat it means
to hate a hit in America. People come off of tour and tell mi
I have biggest tune inna America. Then mI life jus change'

Again! (Everybody Laughs)
Yeah. it really change nowt (Lmiglis) So vou telling the
people around you. vuh know -uh girlfriend and ting. ever\ -
day that tings will get better. Then it got better The one thing
\\id America, once \-ou get a hit and your name associated wid
di ting everybody want a piece of that.
I had a manager in England and she would send mi a monthly
schedule wid two days off. I was in Netw '\rk for a \ear in
total. At the time I was working wid a lot of young American
groups because most people wanted to try- the reggae
dancehall ting, so alot of work was being passed around.
Another reason, was that while we were charging US $1').000)
on a project. our American counterparts were charging
$100.0(00. So we were making a lot of mistakes and I think
that affected the Jamaican music for a w while Because those
of us who were being asked to do remixes. kinda moved away\
from di core of di Jamaican ting. \\'e \ere trying to second
guess the American market. so even \when \we w ere making
di songs. \\e were making it thinking that we w ere tr\ ing to
get to that market but that market is a market \we don't know
You have to respect people like Steelie who were being true to
what dem know as dem hardcore audience \Vhen Steelhe mek
a dancehall song he was hearing it playing on Sil\erha\ k to
that Silverhawk audience, he remained true to that audience
and it work fi him. \\'hen -ou think about this crossover ting,
crossover is like yuh nuh think 'bout nobody\ else, is a kinda
cop out. \\'hen people nuh like it, you can seh "\\ell is a
crossover ting," meaning you wasn't really supposed to like it.

Like the saying it 'wasn't made for you.
Exactly. when American dem hear it. the\ are like "Ok." the\
might think it's nice. But they are not going to use it So I
think we wasted a lot of time like that, butt it wa a wonderful
time. I got to work wid a lot of people w\ho become \er\
powerful. I turn my TV and see people I hung out wid it is
kinda surreal. I spent some time wid Nlaxi Priest on the road
and you go to one of these T' stations. u h see e\ eirone \\ho
had a hit song there.

So \that do you think of nowadays artistes?
A lot of youngsters in Jamaica are drawn to thie \ hole
Holl'iwood lights and di Boys II Men vibe. \\e have lost a lot of

wonderful voices to that American wannabe culture.
Dem never contribute dem voices to reggae. and in a \wa I
blame di whole fraternity including media A lot youngsters
never sawt themselves as having a chance here. Soimetimnes it
look like you haffi be crude or \uh haffi come from di ghetto
or \'uh haffi be a certain \wa\ to inek it \uh nuhll To be
acceptable. The ghetto 'ting represents around 3",. of the
whole county yet it is almost as if we saying if \ou not from
the ghetto yuh caan mek it! It is just so ridiculous because
most of us are not from the ghetto But nobody nuh tell people

Them try to play it up?
Yeah, \uh play up the 'ghetto' when it convenient and -uh
ha\-e people w\ho are not from the ghetto it id talent either
tr ing to hide how\ educated the\ are orl the fact the\ have an
infrastructure where people can help dem do tings.
Something the\- should be proud of. Your parents probably
work hard to get you there, send vou to good school.

Even in Jamaica here, Sean Paul represents a hol' heap of
Jamaicans. so does Nicky B. so does Konshens, so does Buju.
so does Kartel. But everybody want to represent themselves
as di lkkle 3".. and lea e out et er bod\ else But then the rest
of us now because w e nuh have nobody catering for us. \ e
have to jus tek \ hat w\e can get.

\\1iat happen recently is that \with the intention of cable.
people are saying I don't have to go nuh lteh for NMTV or BET
and they are catering to me. A lot of \you ng people are saying
ok I see where I belong. Hip-hop is such a big thing in
Jamaica. hip-hop has probably replaced one-drop or lovers
rock inna di party. People might wonder w h'y? This is di cable
generation. Di society is not only physical it is also cb-er. we
have virtual communiti- now. That is di challenge facing
producers and songwriters like mi self How do I remain
relevant? NMy relevance is that I know\ how% to make music to
my age group.

Do you have .\An final thoughts?
Right nowt. \ve are in a net' era That Is I\ fatvoull'rite topic at
the nmomnent, the paradigm has shifted in terms of thle Imsic
business The music comlpan\ of thle present and thle fuituire
is a management ciompanv cause w e losIt the main source of
income Vwhich was record sales A.s \we speak less and less
CDs are being sold For the past fi\e \ears I ha\e been of the
belief that people have been gi\-ing a\\ a\ CDs like the\ w\ouild
business cards. So it is going to come back to performance

\\]ien \ouL inest in an artiste now\. it is abl)out management
and securing a part of their earnings in the futurtle So \o
ha\e to feed them. clothe them. and put them uip if \ ou are
taking the youngg ones without t record sales to fill that gap.
Vou are recording just because \(ou need to put music iout
Later on \olu miight have an albuin and possible) break e\en.
but if you'ree making records no\t to make a profit then \ou
are not going about it the right \'a\ It not happening again.
not anv more B



Freddie McGregor

Fredrick Alphanso McGregor, 'Freddie,' or 'the Captain' as he
is affectionately referenced, has had an illustrious and
legend-worthy career, everything from touring the North and
South of America, to Europe, Japan and back again. But
before all of that, the Hayes Top Hill, Clarendon native, was
not always known as 'the Captain,' of Big Ship acclaim.
'Likkle Freddie' as he was known in the community, had been
singing and performing since the impressionable age of
seven, and even had arguably his biggest hit to date
"Roll Dumpling Roll."

It wasn't until a fated musical union between his older friends
Ernest Wilson and Peter Austin, better known as
The Clarendonians, which ushered Freddie into honing, is
talent, and finding his calling as one of Jamaica's premier
artistes. "We tek di bus from Clarendon to Kingston and she
(Ernie's mother Miss Ethelyn) reminded us that when we
see the cemetery, yuh know seh yuh reach a town and fi ask
di driver to put yuh on the patty pan bus, and when yuh come
off di patty pan bus yuh reach a Mr. Dodd's studio."

Before becoming a recording artiste, Freddie earned his
stripes as being the resident 'store runner,' earning a small
keep for his errands and garnering respect from his 'elder'
artistes but the biggest respect of all, came from one
Mr. Coxsone Dodd. "We live wid him and him family a
Pembroke Hall fi years. Basically a deal wid di music from
dem time deh, from home to studio, to school to studio, and
that jus gradually kept on happening over time and didn't

Freddie started recording with Studio One between the years
1963 to 1979, but it wasn't until an 'outside' recording with
a producer that went by the name 'Niney the Observer' at
Channel One that lead to him having the biggest hit of his
career (outside of "Roll Dumpling Roll") with another
producer named Linval Thompson. Linval and Freddie went
on to produce the Big Ship album, which propelled
Mr. McGregor into 'the Captain's' position, that we know him
by today.

So what happened after 'Big Ship'?
It never stop, jus hit tune after hit tune after hit tune until 1986
I became signed to Polydor, I was signed to RAS Records
prior to that in 1983. We had successful songs such as 'Push
Come to Shove,' 'Across The Border,' 'All In The Same Boat,'
jus to name a few. That went on for three years at the end of
that deal I became signed to Polydor, toured the UK, toured
Europe, made a live album, things could not be greater at that
time. I made the single 'Just Don't Want to be Lonely' which
entered the British national chart and stayed there at num

ber nine for a long time. That was followed up by 'That Girl
(Groovy Situation)' which entered at 46 and then we had 'So I
Will Wait For You,' we had a great time in the UK during those
times. It went on until mi start mi own label in1989.

How was the process of starting your own label?
It was a challenging move. To start a label is one thing,
making it successful is another. It tek alot of hard work but
yuh haffi start someday, yuh haffi start somewhere, and my
thing was to make the start. So mi jus brave up myself and
mek di start. As is evidence today, Big Ship I would seh is
di leading label here over many years courtesy of Stephen,
Chino, and all the artistes wah work wid Big Ship.
We continuing to make great music and trying to see how best
we can keep our music intact. Try and change the way the
people in our country live as a result of the type of music we
produce here.

This is a question I always wanted to ask. What if Stephen
didn't start producing?
(Everybody Laughs) It would work, if it wasn't him it would
be somebody else cause Noel Brownie and Dalton Brownie
are two people who are instrumental wid Big Ship. In fact
Noel Brownie was di one who took on the actual building of
the studio, one of the greatest engineers and musicians around
us. Him is really Steven's mentor as well, Noel taught Steven
alot when he was younger. God have a way of doing tings so
if it wasn't Stephen it would have been somebody maybe it
would have been Chino, maybe it would have been Micah we
nuh know. We pray for di right tings to happen and through
prayer it happen and for me this was how it was meant to be.

Speak about the pride you feel with your sons taking such
an active role in the industry.
Well yeah, the pride is mainly to live to see dem actually do di
ting and a do it well and being successful at it. Because music
is supp'im weh have no guarantee. Yuh never know wah a
go happen yuh never know how it a go turn out. Yuh never
know which song a go be a hit song as much as you think this
song might be a hit song by the time it come out, the mode of
di country might change and a different song fit di mode. So
sometimes yuh never know you jus haffi keep your fingers
crossed go for it and give it your best shot. That is basically
how I see it.

Where do you see the future of your label?
Well as it stands now is wherever the music goes that's where
we go. I am saying that in terms of the di business. If you
notice over di years, at least in my generation, we saw 2-tracks,
we saw 4-tracks, 8-tracks, 16-tracks, 24-tracks, cassette then
we have CD. Who knows what it will move to inna couple
of years. Everything has gone digital basically and we don't
know what formats are going to come through or what is
going to happen. So we have to jus prepare ourselves and
keep the marketplace lively and keep our heads above water.
We breaking grounds we work wid alot of interesting artistes
such as Bramma, Singing Sweet, Laden, T-Thunda. As yuh see
Mavado deh yah everyday wid we, Elephant deh yah too. So
we have a team of people weh we work wid so we try to keep
it within our structure and when we see talent outside of
Big Ship that is worthy we try to incorporate it and continue
to build that way. B



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J Stephen MCGregor

The last time we caught up with the then 17 year old
Stephen McGregor was in the summer of 2007 -- he was barely
'Di Genius' we know him as today. We caught up with him
recently to see how a couple years have shaped his career.

How would you say your music career has progressed?
From 2007 ..... Wow! It has progressed alot. I think the whole
sound has matured, both on my side with the production,
mixing and recording, and even with the artistes involved. I think
I understanding what I am doing better now too. Every day I
learn more about it -- I mean that was what three years ago.

Well that is a hol' heap a room for my career to progress.

Listening to your music it sounds like you are clearly
influenced by hip-hop music. How would you describe your
sound to other people?
I just try to keep it different just out of the box, yuh nuh. I am a
musician I am not a dancehall keyboardist or a reggae drummer
or supp'im like that. I am a musician so clearly I am influenced
by, and listen to, alot of different genres of music, and so I am
going to use dem in what I do on a daily basis which is dancehall.

All of those influences fuse into my sound. So you will hear some
riddim which might have a rock and rollvibe, some of dem might
have some things you only hear in jazz or supp'im like that. We
grow up on listening to hip-hop and those things, in the 90s.
Jamaica on a whole was influenced by hip hop. I remember when
DMX and Cash Money dem jus' come out it come in like dem
man deh did run Jamaica more than even di dancehall artiste
dem. All of the dancehall artistes dem used to flip and sing over
all a fi dem song 'cause that was the influence at the time.
That was what most of these younger artistes grew up listening
to as well.

In the past three years what would you say was your most
memorable international collaboration?
The ones I can talk about are the ones that happen already but I
look on all of them equally. I put the same equal effort in all of my
work. You have the Sean Paul stuff for his album, I have a couple
tracks on the Matisyahu album, I did something with
Collie Buddz and Krazyie Bone and I caan remember all of dem
right now. But as I said before I don't really have a special stand
out ting because I look on all the work equally.

Have you ever worked with anybody that you were
star-struck around?
I won't say star-struck, you work with different musicians who
you jus' admire dem for their work.

For instance Sean Paul is somebody who works completely
different from alot of the other artiste that I voice. The whole
process of how him put together his songs and how him voice
him ting different. Mavado voice different from Ele dem so what
you do you jus' observe dem and you too learn different
techniques. I mean when I go abroad and I see how di different
acts record it influence me so when I come back here I can try
certain techniques wah I see wid even my artistes and it
help our ting.

Why did you start to record yourself on your productions?
It is experimenting really, for the most part, experimenting and
expression. Di first song "Caan Friend Again," clearly it was
expression, but it really wasn't supp'im mi could a write and gi
somebody else to sing. It really wasn't relevant to anybody else.
Usually that is the case, I normally come up wid alot of ideas and
melodies and give dem to other artistes.

Alot of songs that I have produced that is how dem come about. I
put down di ground work and link di artistes wid di chorus or di
skeleton of di song and dem jus finish it off. But a case like that
I couldn't really give a man that song to sing cause it wouldn't
mek sense.

Are you actually looking into becoming a recording artiste like
your brother or your father?
As I seh is jus' experimenting, I mean we have di talent and we
can do music so its just doing music and trying to do different
stuff. Di people dem appreciate it so far and our job as musicians
and producers is working for di people so we have to continue
doing that.

With the work-load that you have what do you do not to get
overwhelmed by the situation?
It is jus' a frame of mind. I jus know seh di work have to be done
so I haffi always be in that frame of mind. When I wake up I
know that I have alot of things to complete so I can't really be
procrastinating about anything. It is jus' a frame of mind I have
to keep myself in knowing I have this to do or I have that to do.
I don't really look on it like "Jah know, I have bere work fi do!"
and stress out and dem ting deh. It is more exciting to get more
stuff out there.

You seem to be real into technology as well. What can you say
is the latest gadget that you use in the studio?
Well, I have a new mic... (Laughs)...day to day gadget would be
like a phone but equipment-wise would be di mic. Deh so my ting
deh from di oddah day crazy new mic experiment.

Finally what are new projects we expect from 'Di Genius'?
This riddim (the one he was working on while we interviewed
him) which is currently untitled will be out in di near near future
like inna week time. A next riddim built by me but produced by
Zj Chrome, 'Smokin' 8' him call it that coming out di same time
too. I have alot of other singles, I have couple more one-drop side
projects coming out a little bit after di summer.
Like I said before jus' some different ting experimenting and
pushing di envelope. B



Daniel MCGregor

From ever since I have been involved in music but I never saw
myself doing it as a profession basically because of my
personality, I don't like too much attention. I didn't really see
myself on a stage performing in front of a hol' heap a people. But
the genuine love of the music started when I was at
Vaz Prep in the choir. I didn't take it as anything serious, I just
did it because I could do it. As I grew up the love grew and we
always had the in-home studio where I could observe the artistes,
musicians and producers, and watch the whole
recording process. From time to time I would cut from school
to go on the road with my father on tour. So I got that touring
experience and studio recording experience from early. While
at Wolmer's High, a couple of friends and family started a sound
called Omega Disco and I was the main selector. Later down, I
think when I was in 5th form, I started recorded professionally
as a rapper., and got my first hit single in '99 while I still was at

Yeah I remember that one....
Yeah man, a thing called "Leggo Di Bwoy" wid Kiprich. Rapping
was my comfort zone at the time, yuh nuh, still searching to find
my own niche. I was always and still am a lover of hip-hop music.

So how did the name Chino come about?
The original name was Cappuccino which somebody gave to me
for, what I assume, was my cool demeanor -- but you know as
time go on we shorten it and simplify it. Most people know mi as
Chino now anyway.

How did hip-hop affect your music?
I was always good at writing because I paid attention to the lyrics
of rap, you understand. So after di success of "Leggo Di Bwoy,"
I was in Florida working wid Slip 'N' Slide for like a year. You
know dem have artist like Trick Daddy, Rick Ross and Trina dem,
and I did some recording wid dem. That experience was a good
experience but short-lived, we were not on the same page
musically. Their music was more catered to the South, yuh nuh --
quick punch type a ting, but my ting more deeply lyrical. So that
didn't work out so I came back to Jamaica. At that time Stephen
was full-time seriously into production, so we said we going to
start this whole ting. People always seh mi have a deep voice why
don't I Dj? I seh "Dj? Nah sah mi caan dj."
Get a riddim from Stone Cold Records, di same people who do
"Leggo Di Bwoy," song, and do a song called "Been There Done
That," where I was actually dj-ing and rapping on it. That was
di first track I actually tested dj-ing on and I was like, "Yeah mi
sound good." From there now I run wid it and experiment with
that side of it.

Which song would you say buss you in Jamaica?
I recorded a ting fi Kurt Riley called 'Fi Di Girl Dem Straight.'
That song to me is what mek people seh "Yes dah yute yah, to
how him a spit pon a one-drop riddim like this, mek we watch
him." That song kick off di whole Chino vibe locally. After that
Stephen just a spit out di riddim dem. We had on di 'Breaking
News' riddim 'Do So Fah' and vibe jus kept building. After that I
was on the 'Stick Up' and all of these riddims. The big one 'Red
Bull & Guinness,' -- funny enough I had that song three years
prior to recording it. I was in the studio trying to create a vibe,
Stephen a build di beat, Delly Ranx inna di studio. He heard di
beat and wanted di beat from Steven, and Steven gave him di
beat to produce. He heard mi Dj-ing di song and wanted to be
a part of it, so hence, that whole 'Red Bull & Guinness' vibe and
that was a hit.

What can you say your father (Freddie McGregor) has taught
you in terms of being a professional artiste?
He is not a man that teach us vocally like "Boy, do this..." For the
most part we learn from experience and observing throughout
the years, his professionalism. We learnt from him that you have
to be totally professional. We also learnt that humility is the key,
and strive to make solid songs that will last. As I said in
'Protected,' "mi nuh inna music fi nuh hype nor nuh fast fame.
" -- yuh understand. I toured with him alot and he is a man that
would tour fi bout three months and for every single night him
do three hours. For his three hour set, everybody in that venue
singing out every single line for every single song. That clearly
indicates that he has some solid songs that won't die and him in
di game for over 40 odd years. So that is where my
meditation and focus is so hence you hear me make the type of
music I make.

Any current plans for an album?
Alright, I have one album out so far in the Japanese territory,
because we have a relationship with a Japanese distributer, the
first album for dem was out in '07 -- a ting name 'Unstoppable.'
This July now, the sophomore album will be out it will be called
'Never Change'. Japan is really excited about that album because
'From Mawnin' is huge over there, I mean like really huge so on
the album I will have a full length Japanese version of it.

Anything you want to leave for fans?
Just look out for greatness. New singles out and yuh done know
di 2010 vibe ma,d because di vibe in '09 great, got a lot of awards
and nominations, so 2010 is a spill-over from '09. The newest
song is out 'Tell Dem Before Dem Gone', it's getting a whole lot
of love so that look like it is going to get real big.
'Throw Di Money Roun' featuring myself, Steven and
Ricky Blaze on di 'Mad Collab' riddim doing well.
'Sound Execution' produced by Shane Brown on di
Jukeboxx label on the 'Staglag' riddim a guh hard.
'Haffi Get a Girl Tonight' for Demarco's StarKutt label and
'Gallis Fi Real' on Ward 21's 'Costra Nostra' riddim a guh be hot
fi di summer. Look out for videos and Chino deh pon particularly
every major show this season, yuh done know we book like a
library. (Laughs) B


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Rating: IIII
Released earlier in the year to much fanfare, 'Bad People' could be honestly referred to
as Stephen 'Di Genius' McGregor's marker for the rest of the year. A really good juggling
riddim which invokes memories of older riddims emulating from 90's lore with the
rhythmic cadence of the beat however distinguishes itself with certain riffs more
commonly associated with hip hop. The artiste line-up is a literal who's who in the
dancehall circuit with even Cham (formerly Baby Cham) chipping in with not only one but
two well received efforts 'Cause' and 'Take it Outside'. All of the songs I have heard so far
can be enjoyed by dancehall fans however my personal favourites are:
'Have Mi Want'- Flexxx, 'We Nah Stray'- Kari Jess, 'Can Yuh Manage It'- Laden,
'Gal A Mad Ova'- Mavado, 'Good Like Gold'- T.O.K, 'Run Mi Down'- Beenie Man,
'Cause'- Cham, 'Bigger Heads'- Busy Signal and 'Bad People'- Aidonia.








Rating: III '111 i
Yet another great accomplishment from the FIRST BORN RIDDIM
Equiknoxx team, not only have they made a riddim --
which is getting good rotation, with hopefully more
to come, but they also have featured a lot of new '
artistes on the rididm. Infantry Riddim has a party Rating: III
vibe sure to get club rotation and along with the new Let me start this review by first congratulating the selector duo Razz & Biggy on their first
voices on the riddim like Navino with "Put it on" and serious venture into the production arena. The question I would have for either of them
Massika with "Anno Sometime". Also Tuff Enuf with is what took them so long. The industry needs new ideas in terms of music in order to
"Gal Pree" is a personal favourite and I think that evolve and as selectors, they should know firsthand to what I am referring to. While not
Equiknoxx had the right recipe with this riddim. This a technically outstanding beat, it does have catchy phrases which several artistes on the
creative group of producers have been rising through track utilizes to good effect. Strangely, or not so strangely depending how you look on it,
the ranks of producers and have a bright future, my favourite song on the riddim was done by the duo themselves, 'How We Stay'. Which
especially with a few of these new artistes on the rise is quite a feat considering the type of artistes who have also voiced on this riddim. 'Come
as well. 2 Scoops Nuh'- Laden and 'Love Mi a Deal Wid'- Bugle are the other songs I would recommend
from this juggling. 'First Born' was a valiant first effort which should be a good
springboard for better offerings from the duo in the near future. -AR




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Sweeping through the airwaves, Jim Screechie is
taking over from Joe Grind, but then again
Joe never had a riddim made for him. Featuring
the likes of Aidonia "Jackhammer", Beenie Man -
"Beat dem bad", Akane (from across the waters in
Japan) feat Timberlee "Move!" ,T.O.K. -
"Everybody Clap" just to name a few. Coming off
from the Infantry Riddim Equiknoxx kept the
creative talents going into this riddim and put out
another banger. Not to mention Equiknoxx's
artistes on the riddim (Shanz, J.O.E. and Kemikal)
putting out tune after tune trying to lay their own
mark on the dancehall scene. 2 Scoops

Ward 21 came real strong with its Cosa Nostra
Riddim, and having an all-star lineup of artistes with
hits from the likes of Agent Sasco (Assassin)
going for his own with the tune "Me A Go Fi Mine",
Mr Lexx "Dem A Pree" Wayne Marshall asking
the Lord to help us "Survive the Times" and Ward
21 "Pretty Gal". Not to be out done by the men of
dancehall, 'The General' of the hot gyal army
Timberlee graced the riddim, along with Tifa
moving right along with "Reject" and Natalie Storm
not taking anything back with with "Nuh Teki Back".
The riddim also features tracks from Point O as well
as Professor. Cosa Nostra is a well done hit from
Ward 21 with great musical components and
mixing. 2 Scoops

My Life Riddim has the elements to be a great
riddim, rhythmically it's a strong riddim and having
a lineup of talented artistes doesn't hurt as well.
With hit after hit coming off this riddim like
I-Octane's "My Life", Tarrus Riley and
Agent Sasco "Why You Do Me So" as well as
G Whizz -"Nah Give Up" just to name a few.
This riddim is littered with talent and is a must listen,
it's a welcomed relief from the constant violence we
listen to in our songs and definitely a showcase of
some talented artistes out there. 2 Scoops

Without a doubt, definitely one of the most listened
and played riddim of the year so far. This is all due
in large part to the hit song "Clarkes" by Vybz Kartel
feat Popcaan and Gaza Slim. Even with that being
said, the riddim produced by Dj Chrome (Cr203
records) had one of the maddest collaborations,
Elephant Man and Bounty Killer with the song "How
we do it" a collaboration which although was long
overdue an enjoyed one never-the-less. The riddim
also features collaborations by Charly Black,
Chi Ching and Ding Dong with the track
"Cleanliness" as well as Mavado, Chase Cross,
Flex and Kibarki with their collab "Straight" with a
host of other collaborations. Overall Dj Chrome has
a hit that's going to continue getting airplay for a
long time to come. 2 Scoops






( -1 i S. 1 -1. 14



.~ I

w hl, ril Irir' derrI w

t 7 1






i 1i-


r-I. 11

Big Tune

100%v inyl







LirI Hir iIE Ulml ~umwunm i


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Certified Divas video launch (Quad Night Club, Jamaica)

Death Before Dishonor 10 (Pier 1, Jamaica)










Kamera Trick Riddim launch (Village Cafe, Jamaica)

Drake Find Your Love video shoot (Kingston, Jamaica) photos by: Pam Fraser

Various (Kingston, Jamaica)


Pito[oo. HOW

PArOXIS 11%"'
Mdi.oflonouclCd- [ MT-WA 3

D a. L is, orv Se-. a mdi hvat iii tlwt is the kvy- 2. it's -'a' titibe kke IUL
acre N'4111 r~~tl~lrt. ~ i- ttlivt-.
ants inna yuh milk. .1 o,! yL l1 iparI III hils g 5iexi ll40 y Iottlaithfi
a socot-llo 1. i, Ilthat b1) ,0 ,2.. ia io mi..g if -a cidit 'a so' iit's so'
thr" irt o' -'

5 abyOrsll lhI 1-fol. 1- I 4 1 44411 kllltjti- ljbllv i Ity i.4-
12 1 -1 1 I1 li e
badda, .1I, uot-ww oLm-4v bad Jl11ui
badinan OthiuR
badmind, nilg. feelinrg ot dowimcnct lt irt- rresetftil lol lugilg arollts IiJV

balance. L Ifloq. -e A it .irangbt
base, jln l ls1 e rIr 1ILArhmllo,, 'il Ilso V11117'
here, slang. 14 Not L 1 I') I rliftu
betta, Lollilvlite
bibow,. 11. slptt 0ijt. S A-il gr et irtigs to
big jP .1. hbout o11. w11ld gnreilioS twI
bill back, Nlallg, lItAAL' roi tllufaitiritk
bilias I cay
blem up, f v). to in-,x
bti~cdc~aa1...1i- r. lo it ih'tj41
bodda 2lPIItoo. jbKothIer,
bomboclaat ,clloq. expletive
bredda. 10111141 hLnithelL
brecirin, IlIAI'L I- I! I iIr
bruk, jr to ilr&k
brUk Out, iollonti. xi1 jol ut. brvak outi
bubbk, toi 4 Ille ikk L the, tk iJlil title, 1'. 1 i. 40 llroj'e,

41, .1. 21 -to givle tfull UL.e wIxua1111 i~.r.n 1".1.t
buss, 1. to Iirrlak out, fllelali
buss di place, Sillkl;g f .1.01r iiill ii tljl
bwoy, I.. -

D (aan I klrg vi cam or rr inralile t --sir letirl-lw. NI)ClI d l'(- ul -l
cyaad, (N t1 r111 lii- fii ti oF lkigk4 inlslll. to roast.
ChaM (it "dui~tter,
chi chi, '1. .i tli Lri'X
COoyah- sing. lookl Iwlr
coulda. c.outd li, v,
cree- 10111 ij. tinior w]it. paimIe, 11h111 1 i.l

crawe5ses r vosc tlti1014)1 Llla LUl h1ich

D Ja dJ Il 4,' ie, ho phl"s the lather gtir r tin d conltunluruty.
D ah. t1d : 1
oaPPa,'!, ifigtinitarv.


dehbo. cOnlIIILL[ ihlt L [eLg 41. -eIlrkri over
deh yah,.. I.1'-1l nltre
dem, (pi-oiili rhwin, 01''N. th"'.r
di 1 11) rheo
dip %lang- to 11e deported

dutty. volloti. dirtli

D eat a Food, 1401g. ItkiaIoV M1UIL1CY.
ends, voll01 l1-mnhr-. (arniliar palsme.
enuy V0I1141011 Villligb

fatety, SlrMrga ill-RUP111,11-m-1
fah4 k I to, 1, ijiis i eIlri
fassy, ]it q ll itl-r, roo -riol. a4mutliirnvls riti-rrl'd to iis
TbfsV1Iole -
fenkeh fenkeh, 141aolg. rfli L: 1101 d3.t i4 iglii
fi. rcolloi. 1. Ioi 2. to:. g. tei dg. llt l de w I- iL 1' easy.. 1I tliflics
giTz1S 'to' C-allill dOW11-
fi mi. _l[..1 -. 1 tnInv, ill ( I%% to, I0, 1r
ri wha, 7:ihzwrisaws Nxl~ id FLi ,a' it. ,u, ror hat, k~ily,
flex, stall g I.,:,rl a jlvx3 If go ou
food, nollloil 114111riIr. rresscs.
forward, '411g 4010 ihifrfi iii rfespxri 4re 4InI i ii 4 tI '4111TO LYlr tILl
frass, sl ang. trio014i1, reol-rl inoqr.LplIr 1b athvOol or otht-r siil-

Dgal. (n) girt. :4onletiule% 'spelk1,dgyil,_
galang. % go, gouni. go ahtlwul.
gali5s, (tog Iri i t mr lljio.010LirlI girst Pet
gangalee. Nl arrior
gi, (%; to go\r.
gideon, I n .i 1 tI iinllv l w) 2, F 4thl pIhr
ginnal. n iiio.,
grades- )n',. InlriLlaLra1

gu gu, rlimg 10441, ior
gwaan, colhq. go on, 6n b~b.
gWeh, I -I go jay, morev, be gone

D haffi, .1 --.. 11hive tic
head nuh good, srlang. iin, Lr;s icraytal l ILY iijiet
hol heap a. lngK IL lot Of

D iflil, inkrionial. III, INLtlA
irie. ulig u d. raol, ea

jo k ) to ~i f) 1,o l to IL~k Va~ 11,' W14 .l
D juggling. tol "Nlo 4l 1,ut' r .tNo
jUS, nih rnyu I. mt.

dot (ai titjIult
deejay, :11 1JA SO ii a Ipok0ni 1414 11-d JWWUa il atiste kth01
kibba yuh mouth, Shu.tlr t %l nIt4AII
Thpirp? 2. i(.9h * 10glthb l Allf- 4,1%0t1 [145d i l k w i~ t rri0g to rel P atjinll- killa.I i) killer.
e1111 .g, Idle a Iff 114114 deli

lata, inllrmlnal. Itrter
lei, s knt let4,
legg1 0 liuIhg. IlA gKo. Irirr.t
likkle, silnRg. littlh-. al-i lilly, colltl. smnll. little bit
livity, iLln1h. lifI` l r, l. i-
lolse, I..1.-1 r. 11 ly I.
lu.Iva ( Ij lu

maamra man1 mi ii1. eI tfeliiikiaute mile.
rnadda iinlij rri, il. i31.olL'-I
rnampy, slanr. i-c rwicighlt woman
r ash it up, :mL; lg Ir. i .11, .. ii, r ii .,-. ....
matta, in frrirul. mnitrl:
mnek, v to umake-
mi. Slang. Ine, IA. ... rn1.
I runtat ,minnll lit cf. eg cli r'iiiikm.' i tlt l|tp.. tlir 'iiarniii i' ii1ix ip-
IfUSS, i31tM.
mussi, I41itg. nuiKt lIN

nah. jrng. V) nIt,. 110, K iiN. -stiirrnillie jilld I"Ai w
natty-. slan. Riistaljriari.
neva, infornmal. Ier.
Sno ah, .. II. 'i, nsir" hell nil!'
rnuff collNH, IiliinV, i lolt
rujh. rollq dl oi'l, IlI, millteI. i iliiikg

okuibit Mlating. very lii I.e-, te iglit
oile .. di,,I !
Ova n.ci]

par,-].'i 1ig Ie wsm viirtiiei iswitl, *A rmiiep ii m iii l c iittirit cionitat wilti
pass pass. slangl. gri;ssil
peaw peaw, slang- soft
pengeleng, stlnig iiutlp --.r il.'
penny. ;v i r atili., Ct ogle, Io pti ii" lrlltioi lto
phat slaiig. sCNy. JluCliptinls..
pickney. i l rhilgd. rinogster,
pon, il*1l) lri ..1 .. Il I .i. ,i!tOlk
poop. -olL uin. LI emli wind fl titui [ilv all
pop-down ..i: fli- fiiliri,
pre. (V) In tCli h ai ctik bo ito mlitlic s i .1,..h1..c..
prekeh ..-11. i., sui
propa .1 "'I pr'nl'r.
pull it slang. ru- luet it tol !)la a s3lnmg (wlhichl is lirreItly ilayinkg) frorn tlhe
.--..i i-t. lisii % .. 11 i-arrs afitr tIe lij |revejvi it Hitrinnall Frorn ihr

purIn purn, =ilanrI tlaiiilr gernitlia.
purnany, lhlnig, xlgiilu
pussyhole, li) I r i. urii |Lrn i i. (rI ILas y.

quickie, IIn) s5xial iril'cernimrs- :iinldeIr .5 nii s).


PArOs j

ratings, slanZIg j Wi-tnt.
reverence, I ri). nieditation
riddim, colle]y. i. l ii I lI
ruff. slang. rough.

sah. r, lii .sir
sell, ( I itl i% *;.ic ) ', ri .t [e.g ell dkqrn W.hi .. telIt tlihi i, iin
sell off I ,L, gonlI
sef, (i tto srit1
Set a way, slang1. rnmithing is ilOt right
set it, ang. C tiL l stIIIIcaliIl It iliHKiiidAlmIoII .
shoob, slang. -c puIlS
Sinling :,. nnfWlluing.
sitten, *. .1..- l.I., .
sketel, >ik a lie, m ijuiijnti!c tei r f aI,
Slap, tl) Ci. loA t-e -Vn itlhl to h ]
ShOtta, (n) g rlunanu. mirksi sni.
should. rclloq. -hiunlil ivi.a
supplimi *. .1.1 rI..c ;
SUSS, -.i i. idkle talIh, groumidless ruimir.

D tek, **to ital.
tek veh yuhself. .l1n n ,c miring cicc ir rn. ,n l n irilTc i1ri.iitr..nrau i in i lfnn.
ting. i: ) I. i,
tin i lN larl ii n .l 1c m link C'i. ihinc
titi rla rig. Ini pl it omalrn' I lrant
toppa toppa -1... L rT1ann olf. rtfA r4 l-p. cri'n l' Ila rmEI.1 tojp of
tlrC [ ta : II it ll [tml'1 4)11
CU Blaig. la glli. f [L-g. C l"ru'L dcil1 ii t l li gh i... I'illisct. i.i ,i ii U
Ifig lilinig i
tuff ]. .i.. I-o.tgL] i giO l
tuffet .I i.g 1 urnighesir Is (,
tun. I i I t ri
tush, s la J l'icr a til tiL1tt pr o fir tur c.

TD lunnu, slang y il1.


Waan. .(s) to anamt.
happy back. slans c.ome Inlwk
watch face, sltkiii i ctr.e .g l i "'lW aitic ta[1e1 we doU'm i'c

weh a, ;il;n 11hal is .- I alln y hwciy 'lti 1a . all IV l, lAl ihi
wrha. [-ncinmie s i %pIledil "- a i 11lut
wha'pen, nll0i l'l wha.t ]l]iilpi *;
Wi, (pi'ro ) 1. I Wt. ) 2. will
uid. icAl l l. w i ll.
WOrd-Cally. sl6n].i. luirg plain waoll ns


Syaggla yo, k il I. Akoi Ui(. _4. >.inittiI llic lc ii, rI itig I l t iii f in t'cic Itd ]
Syah., i 11 i liere
yah-s. sliIng right hri'e.
yeh, *- 11. i really. vre
yuh, .cllI l. yOu, Llur
yldi r1t1 slru* yni' underwTiad In.'-I,
ylid t see it dlip; yn uindrrnd nt (?)

raa raa, slang. silmnlittior Idf 11 'illii airnmlinrli gun li' ivilg r rri saIing yalnni. Langg I u unil
- d. ill. .mi ctri' Ill' ti( litril( Ii. isf to C cii utihfi i smiMi e''i e oi r 1l*ee Mute, (ic) wutkh.
ori n sls i. words.
raasclaat colixi. expletiv ce'i, ulaing. cml
ragga, 1. :I arnie I1 I. 1...... i 1l 111 ik il i nll most p s (if :I'Irlrlo'e. 2. .., ilI.i.. J,
... 1 11 l4 il 31 i ..
raggarutifin ,i I rs'Uon v Io lis ia Iuggte Ir hI or rntIhrlcik re ixl
raS, I'ni llastnir an, lisitiariail

der tnd nrua d (?)

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