360ARTISTS LAUNCHES CARIBBEAN’S FIRST DANCE COPYRIGHT INITIATIVE - Simone Harris

While sitting in a lecture on Music Publishing and Copyright in 2009, former L’Acadco dancer and now 360ARTISTS President, Simone Harris, made a decision to educate dancers about their rights under copyright law in the same way that musicians can access information on how to protect their musical product.

According to Harris, “choreographers in the Caribbean region have for far too long been treated as the forgotten creators of original content….they have just as much legal protection from infringments as musicians and should be aware of their rights under law.”

Since that moment of committement to empowering choreographers,360ARISTS has partenerd with the Edna Manley College of the Visual and Performing Arts in Kingston Jamaia, eNKompan.E, Re:Designing Legal and Jane of all Trades to produce Jamaica’s first dedicated dance copyright workshop.

The workshop which was held on April 30 (the final day of Jamaica’s Intellectual Property Week) featured presentations from Phillippa Davis of the Jamaica Intellectual Property Office (JIPO), Mrs. Degrasse-Johnson, Director of the Edna Manley College – School of Dance, Valerie Sutton, creator of the DanceWriting dance notation technique, the Dance Notation Bureau, and other dance notation and dance copyright experts.

Harris and the Choreography is Copyrightable team, which includes, Neila Ebanks and Kayanne Taylor Esq., believe that this project has signaled a new day for the dance community across the region and are committed to taking Choreography is Copyrightable into as many places and spaces as physically possible.

The team has been invited to host the workshop in Barbados during the Caribbean Educative Arts Festival in October. They hope to host another workshop in Trinidad by 2011.

INTERVIEW WITH HOWARD MAPP A/K/A SIR TOMMY'S - Michelle Arthurton

MA: How many siblings do you have?
ST: There are 3 boys and 3 girls. I am the first boy out of the 6.

MA: How did your mother feel about you going into the music business?
ST: My mother could not take the boom, boom, so I went to my friends homes to play music.

MA: Are there any other family members in the music business?
ST: Yes, my younger sister Karen a/k/a K-Vibes, she sings.

MA: Who inspired you?
ST: As a little boy growing up on Maxfield Ave., I lived besides a place that held dances by a man named One Hand Brown and another across the street. These two places inspired me to go into the music business.

MA: Who are some of the artists you look up to from yesteryear?
ST: Some of the artists are: The late Alton Ellis, Delroy, Ken Boothe, all the veteran artists.

MA: Who are some of the artists you played on the set back then?
ST: There were so many of them, to go across the board no particular ... in the 70's Johnny Clarke, as a matter of fact it was whoever reigned at that time.

MA: Which sounds from yesteryear you liked?
ST: I was inspired by Joe Creed and King Tubby's.

MA: Which sound toady do you like?
ST: Downbeat, African Love, Sons of Jr., and Third World.

MA: As a sound making a mark in New York is there any sound or sounds you helped in the business to make a start or introduce to the scene?
ST: Yes. I was the first to take Road's International in a dancehall and gave them the name.

MA: Many people know you as a soundman, but there is another side to Sir Tommy's, the producer. What year did you start to produce music?
ST: I started producing in 1985 and more so in the 90's.

MA: Who are some of the artists you have produced?
ST: My sister Karen Morrison a/k/a K-Vibes, Sugar Minott, Little John, Ansel Meditations, Philip Frazier, Wayne Smith, Lady V, Lady P, Johnny P, Tuffest to name a few.

MA: How many albums have you produced on your record label thus far?
ST: I have thirteen albums.

MA: What is your take on the music business today?
ST: The music business needs straightening out. It could be better. The music, lyrics, the entire concept could be better.

MA: Which artist(s)/music do you enjoy today?
ST: I really like the work of Queen Ifrica, she is different and is a good writer. In regards to the music I like conscious and positive music. I do not go for the derogatory lyrics.

MA: I heard you play in 2004 for the first time. I was thrown back to the days in the UK with the Hi-Fi's, as your sound, style, attire and choice of music reminded me so much of that time. Why is this so?
ST: Well that was how I started out and I still maintain much of it to this day with little change of course.

MA: 2-3 months ago you played at Mush One's event, I did not see you play any C'd's nor use a lap top and I was like yesssss that is the real McKoy. What do you have to say?
ST: Vinyl is final. Cd's does not carry volume but vinyls does.

MA: What advice you would give to a sound today?
ST: I would tell them to have a sound to play for any occasion - weddings, dancehalls, parties, graduations etc. Just be flexible and know your audience.

MA: Any advice for today's up and coming artists?
ST: Yes. They need to write and sings songs that are positive. I say this because we are in an age where kids are not like those of yesteryear. The kids are advanced with the technological age and have access to all these outlets and are listening. They need to provide the listeners with lyrics that will make a positive impact on society in general.

MA: What is next for Sir Tommy's?
ST: I will keep striving to do better things, continue doing my works that I am blessed with.

Reggae Ampps Turn Up The Wattage In Brooklyn – Sheron Hamilton-Pearson

Reggae Ampps Turn Up The Wattage In Brooklyn – Sheron Hamilton-Pearson

There are a myriad of music organizations in New York, yet it seems one of the most recent is creating the biggest splash. Reggae Ampps (Reggae Artists, Musicians, Producers Promoters and Songwriters) was formed one short year ago (the brainchild of Peter Tomlinson) is currently run by a Board comprising Ed Robinson, Michelle Arthurton, Luciana Maneri, Delbert Rose and Noel Stevens.

The vision and cohesion of the Reggae Ampps members was clearly demonstrated at their 1st Annual AMPPS Award show held at The Tropical Paradise Ballroom in Brooklyn on Saturday June 26. The elegant setting provided a fitting backdrop to the attendees who definitely heeded the call for formal attire. The evening’s festivities not only sought to bring together members of the Reggae Ampps fraternity, but also served as an opportunity to warmly embrace the awardees, specifically chosen for their long-standing contributions to the reggae industry. Awardees in the category Distinguished Services in the Reggae industry included Pat McKay, Sirius XM Radio Programmer, Howard ‘Sir Tommy’s’ Mapp, Music Producer and Sound System operator and Anthony ‘Downbeat’ Rockwood – sound system operator. Junior Forbes of The Caribbean American Cultural Caucus together with Sharon Gordon and Carlyle McKetty founders of The Coalition to Preserve Reggae Music - received the Making a Difference in Reggae Music award. The Hon. Congresswoman Yvette D. Clarke was awarded for her Outstanding Services to Caribbean Music. Reggae Ampps board member Delbert Rose (Assistant Treasurer) and members, Oral Splicerr Ras Williams, Richard Dawes and Major Dapps also received awards on the night. Peter Tomlinson, the man whose vision gave birth to the idea of Reggae Ampps, received an honorable mention. Michelle Arthurton (Treasurer) and Ed Robinson (President) were also surprised on the night by their special awards from the e2onair chat room family presented by Andreas “Anmour” Holmes-Seymour. E2onair is a 24-hour Brooklyn-based internet radio station.

Kam-Au Amen provided the key note speech peppered with references to Marcus Garvey and an exhortation for those present to follow and implement the creed of self-reliance above all. Noel “Dance Master” Stevens performed a stellar tribute to the late Michael Jackson - dead for one year- a sad anniversary which coincided with the Reggae Ampps event. Dance Master’s agility speaks volumes to the obvious efficacy of his Symmetry juice! Dwayne ‘DJBandit’ Jones as the Master of Ceremonies kept the proceedings moving apace and provided seamless transitioning for the different aspects of the show.

The award show also acted as a platform to showcase the Reggae Ampps winners of the first ‘idolesque’ competition with Marcia Davis leading the medley, followed by Scepta, Splicerr and Kappa Shanti, teaser performances came from Paul Wayne, Stephen Souza, Judith Rahilly, Devon Jorge, Jerry Max, Shango Trex, I-Joe, Dan-I-Jay, Marshall One, Junior Dread and of course Ed “Knocking on Heaven’s Door” Robinson. Backing music was provided by famed reggae group The Ruff Stuff Band, while Mario Mdot Rosales and crew played dinner music on the turntables.

Dignitaries and guests in the audience included, Johnny Osborne, who gave a surprise performance of his hit song Buddy Bye and former singer with the drifters Dave Revels also performed a smooth tribute to Sir Tommy aka Howard Mapp and his wife, celebrating their wedding anniversary. In a husband and wife tag move, songbird Sonia Revels was surprised when called to perform by Ed Robinson, but ably acquitted herself. Spotted in the venue having fun were Queens NY politician, Michael Duncan, Pelman Baptiste of Noize Radio, Transcontinental Shippers CEO Bob deSouza, Cornwall College Old Boys Association President, Trevor Tomlinson, Pat Chin Owner and co-founder of VP Records, Johnny Osborne, famed reggae singer, Joanne Stephens and Judith Kitson, e2onair presenters, Empress Nanny, reggae singer and culture maven and Mary Bishop, special assistant to Congresswoman Yvette D. Clark An especially touching moment occurred with the choice of music - a dubplate special, selected by Howard “Junior Radixxx” as Downbeat stepped to the podium to receive his award. The veteran soundman was visibly moved and credited his late wife for his success in the industry. He poignantly remarked that he’d never before received an award of this kind. Ample proof that Reggae Ampps is on the right track as a membership-based organization which represents the interests of professional reggae musicians. Reggae AMPPS is committed to organizing seminars and conferences to educate members on industry issues; negotiating fair agreements on their behalf; protecting ownership of their recorded music; and developing health care and pension schemes that benefit members.

In the World that Jamaica Made: Make Your Vision Count

KAM-AU AMEN



In life one thing leads to another and so true to form my participation in the Caribbean Cultural Conference in New York opened an opportunity for me to be the guest speaker at the first annual Reggae AMPPS (Artistes, Musicians, Producers, Promoters and Songwriters) Awards ceremony. This event happened on Saturday, June 26, 2010 in Brooklyn. It was a very enjoyable night and by all appearances it will get better over the years. Among the night’s top honorees in attendance were: Pat McKay of Sirius XM; Howard “Sir Tommy's” Mapp, Producer; Anthony “Downbeat” Rookwood owner of Downbeat the Ruler sound system; Congresswoman Yvette D. Clarke; Junior Forbes, Chairman, Caribbean American Cultural Caucus; Sharon Gordon & Carlyle McKetty of the Coalition to Preserve Reggae Music. This was indeed august company and I was honored to be among them. Below are some lines from the delivery I gave as the event’s guest speaker. Judging by the feedback, the ideas were well received and I am happy that I could have provided the audience with some meaningful words.

Give Us Vision Lest We Perish
I want to ensure that my delivery is one that communicates a vision, that is, a vision for a better Jamaica (and a better Caribbean). This is something I’m very passionate about and it has been a very consistent message since my school days at the University of the West Indies (UWI), Mona. I’m at heart a Garveyite, I swear by the essential principles of this first national hero of Jamaica: 1) self-reliance, 2) nationhood, and 3) pride in self. Marcus Garvey was a pan-Africanist, and so am I. Mr. Garvey was very clear that development was not going to happen by magic, but that it was going to take serious work, and the same holds true today. Notwithstanding, this is an ideal and it is in striving for this state of being that we become our best selves.

In the World that Jamaica Made ™
After I had an exchange with Nick Da Silva in February 2010, a Brazilian artist who has created a Jamaican comic book series named “Dread & Alive” here in the US, I wrote,

there is a lot Jamaicans take for granted, and it is a national privilege that just might be short-lived. Jamaica’s patrimony in a very tangible way now belongs to the world. The better part of our national ideas articulated by the best of our folk philosophers have long migrated to create an independent Jamaica. A place that is independent of the island known as Jamaica that is to be found in the Caribbean Sea - and there is no place for the petty there. Welcome to the world that Jamaica made, where “to di werl” means just what it says. Embrace it.
My friends, this is the reality that faces us in 2010 as lovers of reggae music and the Jamaican culture. Much of what we love has been received and claimed by the world. In many instances they have made it their own. Just think of the many reggae events and festivals on which Jamaicans are merely guests. What does this mean for us who were born into the culture? Do we resist this appropriation or do we accept it? Does it make their (foreign) reggae inferior to our reggae or is it just one other type of reggae expression? We’ll have to answer these questions going forward because the answers have implications for how we conduct our business.

As much as we’d like to look inward to move forward, I believe that we will have to embrace these other developments that take place outside to make more successful strides. Friends we have very little choice.

Vision: Jamaica A Cultural Super State
I was fortunate to have entered the work world when I did, after the experience of the ill-fated Caribbean Music Expos (CME) in Ocho Rios, which set me on a path to develop training solutions for the region’s entertainment sector. In October 2001, I landed a job at the Culture Division in the Ministry of Education, Youth and Culture that saw me coordinating the Culture in Education Programme. Inspired by a January 1996 interview with Marcus Garvey Jr. on Mutabaruka’s Cutting Edge on IRIE FM, I gave life to the idea of a “cultural super state” applied to Jamaica (not Africa as was the original Garveyite intention).

I argued then and I still believe now, that the music sector has the potential to become a cash cow for Jamaica’s ailing economy (by virtue of the convergence of entertainment, media, technology and culture). When I first gave full expression to the notion of the cultural super state in October 2001 at the Culture Agent’s workshop I contended that a focus on this idea could help to bring about:

Economic prosperity for all
A world-class educated population
A healthy nation
A just society; with little or no crime
Respect for the elders and every human
These are ideals that later appeared as the national goals in the “Vision 2030 Jamaica: National Development Plan” a document prepared by Jamaica’s Planning Institute of Jamaica (PIOJ) in 2009 (eight years later). Notwithstanding, from as early as 2003 the ideas got written into the National Culture Policy of Jamaica, titled “Towards Jamaica a Cultural Superstate”, a project for which I carried some of the development responsibility at the time. Happily, the National Culture Policy was passed by Parliament in December 2003.

So what does all this mean for us? If words on paper were all that was needed to develop Jamaica, reggae music, and the rest of the Caribbean then we probably would have been developed. Unfortunately, we need more.

Dr. Michael Witter in his 2003 Bob Marley Lecture told us that any strategic development plan for the Jamaican music industry, “must be informed by the industry’s vision of its own future, and it must continue to commit its resources to realizing that vision. The industry’s vision in turn will probably derive from the vision of a few forward-looking investors, similar to the dynamic, even catalytic, role that Chris Blackwell’s investments played in the emergence of reggae as an international commodity in the 1970s.”

For those who still want data as to whether or not investing in Jamaican creativity and culture (a.k.a. brand Jamaica) makes sense, Prof. Vanus James in completing a study for the World Intellectual Property Organization (WIPO) August 2007 shows from his research that,

Each dollar of foreign exchange invested in the leading elements of the core copyright sector contributes about J$6.18 of value added to Jamaica, mainly in the form of wages and indirect taxes. These elements are: authors, music composers, and independent artistes in allied activities (not music); authors, music composers, and independent artistes in the core music industry; dance studios; and theater and related entertainment services. Each dollar invested yields as much as J$6.57 in certain partial copyright sectors, such as manufacture of other leather products, luggage and handbags, footwear… and boots and shoes from leather fabrics and other materials… [read branded merchandise]. On the other hand, the same dollar of foreign exchange in communications (say, cable television) yields only J$1.49.

He added, “this simple arithmetic” makes a compelling case, yet we have not had any meaningful action on the part of the authorities nor from enough of our homegrown investors who have the requisite capital.

Despite the struggles on the rock, it is true that within the community of world cultures Jamaica is not dwarfed. Unfortunately though, the money that Jamaica earns stays primarily in the major northern states of USA, Canada, Japan, UK and her EU neighbors under the control of foreigners. This money could otherwise be used to provide better healthcare, a more equipped education system, better roads and an overall better quality of life for Jamaica’s families. Having recognized this, a priority contribution to the national development process is to prepare Jamaican citizens to take control of their cultural products. The change needed to achieve this will only happen through strategic work.

It can no longer be considered a joke when a child says she or he wishes to become a singer, dramatist, entrepreneur or some kind of a sports person. We all see on spectacular display before our very eyes the materially bedecked stars. It should not be too difficult to imagine that from the music sector the related occupations of fashion designing, cosmetology, filmmaking, dance, marketing, tourism, culinary arts, digital design and technology services all grow to support these activities. This cycle continues as each of these areas grow. It might very well be the most apt description of Jamaica’s current situation as regards the entertainment, media and culture segments of the economy to say that the proverbial “stone that the builder refused is becoming the cornerstone of the building”. Increasingly, we have to seek our economic salvation from the creative/culture sectors such as:

Visual & Performing Arts
Music
Fashion
Events and Festivals
Audio-Visual (Radio, Film & Television)
Digital Technology (Animation, Digital Arts & Design, Game Art & Dev)
Publishing
Sports
Tourism & Travel
Amusement/Theme Parks
Gaming & Wagering
Toys & Games
Culinary Arts/Cuisine

All of these areas stand to benefit from the strengthening of the others. Unfortunately, we have not organized ourselves in ways that have allowed us to benefit from these opportunities that exist. Part of the reason for this may be a collective disregard for things Jamaican, but also our feeble efforts at converting very good ideas into reality - manifest entrepreneurial weakness. This is what Prof. James calls the paradox of entrepreneurship in the Caribbean, explained by saying that, “entrepreneurs with substantial capital are usually not drawn to invest in the key creative activities of the copyright sector, such as music; those entrepreneurs who are drawn typically have only small amounts of capital”.

My challenge then to this group of Jamaicans and well wishers in the Diaspora is, organize yourself into business units that aim to invest in the opportunities that emerge from the Jamaican cultural product both on the island as well as overseas. Do not wait on the Jamaican government! Contrary to the December 2004 music industry study done for the UNESCO Global Alliance Programme, I am now very convinced that more than any government, private individuals are better suited to turn this sector for the better, by:

Creating the intersectoral linkages (tourism, manufacturing, IT, etc)
Marketing and promoting the music product
Protecting/policing their intellectual property
Developing standards of professionalism and holding yourselves to it, and to refine new talent; continually innovating for the markets
Celebrating and commemorating industry achievements and heroes
Finding creative sources of financing
Establishing and partnering on industry training
The conclusion then is if we want greater success we should encourage education and the refining of skills, as these are primary forms of capital for the entertainment and culture sectors. The fact is, the more you know, the more you are likely to earn in these sectors. The future is in your hands. I applaud the development work of Reggae AMPPS and the other activities in which you are involved. More of this kind of effort is needed. I will also encourage you to take what you currently do to the next level. You may very well find that you can act as incubators for a range of other entities that need to emerge in support of the growth of global reggae. If you believe Mr. Garvey’s admonitions that say, “without vision the people perish”, then you have no choice but to stick steadfastly to your vision for yourself.

Distinguished guests, and friends, I thank you for your time.

by: Kam-Au Amen

CARIBBEAN AMERICAN CULTURAL CAUCUS - MUSIC CONFERENCE

JUNE 18-19

MEDGAR EVERS COLLEGE, CUNY

Projected Program

DAY 1
9:00 – 9:30 am Registration

9:30 – 10:00 am Opening Session (Plenary)

10:00 AM – 11:30 AM Plenary Session 1

Topic: Marketing Your Music in a Digital Age:

The Power of New Media Strategies

Moderator: Verna Green

Panelists: Simone Harris, Noah Jolles, Patrice Barnes, Sharon Gordon, Heather Cunningham, Esq.

{10 MIN. MUSICAL INTERLUDE} FEATURE MUSIC VIDEOS/SONGS FROM UPCOMING ARTIST

11:40 am – 12:30 pm One-on-one interview:

Topic: Artist Image, Brand Building and Commercial

Endorsement

Moderator: Simone Harris

Presenter: Kam-Au Amen

{10 MIN. MUSICAL INTERLUDE} FEATURE MUSIC VIDEOS/SONGS FROM UPCOMING ARTIST

12:30 pm – 1:30 pm LUNCH

1:40 pm – 3:00 pm Plenary Session 2

Topic: In ‘The Production Booth’

Moderator: Ed Robinson

Panelists: Shawn ‘Mastamind’ Noel, *Pat McKay

*Courtney Panton *Benji Myaz

3:10 pm – 4:30 pm Plenary Session 3

Topic: Let Your Music Make Money for You:

A look at Artist Royalties and Publishing

Moderator: Michelle Arthurton

Maxine Stowe, Sam Taylor, Scott Sellwood, Donald Harper, Neeta Ragoowansi
4:30 pm – 5:00 pm Summary of the days discussions and closing remarks

um l
JUNE 18-19

MEDGAR EVERS COLLEGE, CUNY

Projected Program

DAY 2
9:00 – 9:30 am Registration

9:30 am – 11:00 am Plenary Session 1

Topic: The changing face of music distribution: It’s not just physical any more

***
11:10 am – 11:40 am PITCH IT!

A2iM Presentation by Rich Bengloff

11:40 noon – 12:40 pm LUNCH
12:50 pm – 2:10 p Plenary Session 2

Topic: The role of the Artist Manager in today’s music business: Is it business as usual?

Moderator: Michelle Arturton

Natasha Noel, Shirley Menard, Carlette DeLeon

2:20 pm – 3:50 pm Topic: Take Financial Control: Financial Management tips for Music Business Practitioners

Presenter: Rich Bengloff

3:50 pm – 5:20 pm Plenary Session 3

Topic: OUTLOOK: The future of music in the digital age

[to be confirmed]

5:20 pm – 5:30 pm Closing statements

ARTIST'S MANAGEMENT

In the Caribbean Music Industry when it comes to artist's management we tend to see people assume this position as the head cook and bottle washer. These same individuals also tend to conduct the business as business asusual. In this day and age we see that those same artist's who still insist on having this type of operation have been left to the back of the bus. It is simple, today's business asusual does not cut it.

In many of my conversations with respect to the above it always comes around to these questions - What is an artist manager? What are the key qualities of an effective artist manager? How do I become an artist manager?

(a) An artist manager is one who is in charge of running the business or personal side of an artist's career, so that the artist is free to focus on creating music.

As stated above many Caribbean artist's do have managers who assumes different duties, may it be agent, promoter, accountant, creativity manager etc. One finds this with artist's who are either signed to small labels or unsigned. Wherein, artist's who are signed to a major label will tend to be in a supervisory position. This person will now make sure that the label is doing what they are supposed to be doing when it comes to his/her artist, such as advertising, promotion, tours and payment to the artist.

(b) Is your manager getting things done for you? What exactly should he/she be getting done? The manager is responsible for financial planning, long term career plans, publicity marketing, and advertising. When an artist is starting out the manger becomes his/her baby sitter, cheerleader, parent, guide, advisor, psychiatrist, problem solver, protector (to protect you from the sharks and be your bug repellent so that the entourage does not suck the blood from you leaving you penniless)

All in all your manager should be your confidant. A good manager should be passionate about what you the artist is doing. He/she should advertise, publicize, and market you well.

(c) Steps that one would have to undertake to successfully prepare for a career as an artist's manager - First and foremost is to educate oneself. If one cannot afford the education of a college/university, I say learn from the best, pick the brains of the best. Find that mentor, research the internet, look around in the industry, check the track records of managers and artists who are successful.

Become knowledgeable of the business, read, read, read. Read entertainment journals. Read current news, these are available on the internet, libraries, newspapers, it is here you will get an understanding of what is going on.

Next, go to your local book stores pick up books on the music industry, read from authors who are managers, artists, producers, booking agents and listen to interviews. Acquaint yourself with this type of literature learn and read from people who have been there and done that, as well as people who are presently there.

Again, I cannot stress the importance of finding a mentor. When you have found this person, ask, ask, ask questions.

Lastly, try to find a job with a team or become an intern. Go in there and learn and work your butt off as if you own that firm/company. When you have developed and proved yourself to the team it would not hurt to go to clubs, concerts, and showcases to try and scout talent/artist for your firm or yourself.

CELEBRATING THE LIFE OF REGGAE ARTIST ROMAN STEWART - HAPPY BIRTHDAY

Year after year, every January 24, 25 and May 11, I have to sit around and shake my head in sorrow, shame and pity. One cannot hear a radio personality purse their lips on their radio program to remember Roman Stewart. I sometimes wonder if these radio personalities know their reggae music history or care to know. Do they take time out to research or interview elders in the industry to learn? I guess not. All you hear most times is a bag of noise and/or chat. When I do meet up with them - those with whom I can relate to, they can tell you that I always tell them like it is, as I am not one to hold back.


This year I must say thank you to Clinton Lindsay, Carter Van Pelt and E2onair.com, for remembering Romey another year. Thanks also goes out to Frankie Paul, Glen Brown, Jr. Demus, Winston Meditations and Linval Thompson for your drops and memories of Roman that will be aired on E2onair.com all day today.


TO THOSE WHO DO NOT KNOW, IF THERE WAS NO ROMAN STEWART THERE WOULD NOT BE A DENNIS BROWN. Yes read my caps. Roman taught Dennis to sing. Listen to Dennis, Watch Dennis, See Dennis' performance - who do you see - YES ROMAN STEWART.


THE MAN, a/k/a ROMEY, MR. SPECIAL


Born in May 11 1957, Roman Stewart at a tender age would sing on the streets and at the pier where cruise ships docked. His friend Freddie McGregor would collect the money that people gave them. In 1968, he was just 11 years old when he did his first recording "Walking Down The Street". In 1974 Roman got his first hit song "Hooray Festival", followed by "Hit Song" in 1976.


The early 1970's was good to Roman wherein he started recording more songs for well known producers (Glen Brown, Derrick Harriott, Everton Da Silva, Phil Pratt and Linval Thompson) It is said that his best known tune is "Rice and Peas" recorded in 1979 for Linval Thompson. In all Roman recorded more than 70 singles and two albums by himself and endured a career of more than 30 years.


Roman moved from Jamaica to New York in 1976, he recorded some songs, dubs and did shows. The latter he was known to do especially when his friends arrived in town most of for free of charge.


On January 25, 2004 Roman a/k/a Romey died of a heart attack at the age of 46. Prior to that night Roman attended a show to see his good friend Freddie McGregor. Thereafter, he attended a birthday party where he sang two songs. It is said that when Roman attempted to sing his third song, he placed the microphone down and complained of chest pains. He later collapsed and was rushed to the hospital in a coma.


Roman had regain consciousness after an operation lasting several hours and it is said that Roman was heard saying "If I get through this, I'm going to change my life." Later he went into a second coma, as we sat and waited in E2 Studios (Ed Robinson's Studio) praying and hoping for the best, we received that call from Yvonne Young the call we really did not want and she informed us that Roman had passed on.


I know that Roman is probably up there looking down at us with that kool aid smile about to make a call to all sound-men saying "hey I got D Brown and Alton here, how much dub you want". Always the jovial hustler - our Romey. Gone but not forgotten.