CONTENTS
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There's a little somethin' for everyone who is passionate about reggae in the E-Guide!
- Reggae Festivals
- Jamaican Food: Learn Jamaican Fruits
- News Flash: Monterey Bay Reggae Fest Boasts Stellar Lineup
- Band Promotion: Who Buys CDs?
- In Jah's Name We Pray: Evil left-overs of any war
- Reggae Biz Marketing: How to hire the right graphic designer
- Fun & Games: He tells princesses they need a "Royal King."
Monday-Wednesday, August 8-10, 2005
Babylon by Bus
Villapiana (CS), Italy
www.maroons.it
Festival Hotline: 3470631741
Friday, August 11, 2005
BAR-Fuuhs OpenAir
Rügland
Near Ansbach, Germany
www.bar-fuuhs.de.ms
Festival Hotline: 09828/1285
Friday, August 11, 2005
Roots From St. Croix V.I
Vets Hall 846 Front St.
Santa Cruz, California, U.S.
www.soundvizionrecords.com
Festival Hotline: 831-794-2481
Friday-Saturday, August 12-13, 2005
Uppsala Reggae Festival
Uppsala, Sweden
www.uppsalareggaefestival.se
Festival Hotline: +46(0)70 7893408
Friday-Saturday, August 12-13, 2005
Westival
Westihall
Watou/West-Vlaanderen, Belgium
www.westival
Festival Hotline: 0485 429870
Friday-Saturday, August 12-13, 2005
Vermont Roots Reggae Festival
Auger Heights Farm
Barton West Glover, Vermont
www.vermontreggae.org
Festival Hotline: 802-487-3036 or 802-355-4879
Friday-Sunday, August 12-14, 2005
11th Reggae Afro Festival of Aiseau
Aiseau-Presles
Belgium
www.reggaeafrofestival.org
Festival Hotline: 0032494 334 721
Friday-Sunday, August 12-14, 2005
Ostróda Reggae Festiwal
Ostróda, Poland
www.reggae.ostroda.pl
Festival Hotline: 896460955
Saturday, August 13, 2005
14th Annual Mid West Reggae Fest
Meadowridge Farm
Huntsburg, Ohio, U.S.
www.clevelandreggae.com
Festival Hotline: 216-241-3460
Saturday, August 13, 2005
The SEEN Festival 2005
People's Park
Berkeley, California, U.S.
http://maxpages.com/seen2000
Festival Hotline: 1 (510) 938-2463
Saturday, August 13, 2005
Reggae in the Bowl
Libbey Bowl
Ojai, California, U.S.
www.ragejaxfoundation.com
Festival Hotline: 805-640-9014
Saturday, August 13, 2005
Monte Rio Reggae Festival
Monte Rio Amphitheater
Monte Rio, California, U.S.
www.monteriomusic.com
Festival Hotline: 707-865-3007
Saturday-Sunday, August 13-14, 2005
Reggae Sundance
Genneperparken
Eindhoven, Netherlands
http://www.reggaesundance.nl
Festival Hotline: 0031-(0)40-2908564
Saturday-Sunday, August 13-14, 2005
Reggae Sundance
Open Air
Eindhoven, Netherlands
ww.panic.nl/eng-index.htm
Festival Hotline: none
Monday-Saturday, August 15-20, 2005
Calgary International Reggae Festival
Shaw Millenium Park
Calgary, Alberta, Canada
www.calgaryreggaefestival.com
Festival Hotline: 403-355-5696
Friday-Sunday, August 19-21, 2005
Chiemsee Reggae Summer
Uebersee
Bavaria, Germany
www.chiemsee-reggae.de
Festival Hotline: +49 (0)8621 646464
Saturday, August 20, 2005
New York Caribbean Parkfest
Charles Young Park
Harlem, New York, U.S.
Festival Hotline: 212-234-4124
Saturday, August 20, 2005
Reggae on the Rocks
Red Rocks
Morrison, Colorado, U.S.
www.billbass.com
Festival Hotline: none
Saturday, August 20, 2005
New York Caribbean Parkfest
Charles Young Park
New York, U.S.
Festival Hotline: 212-234-4124
Saturday-Sunday, August 20-21, 2005
Reggae Dub Festiwal 2005 Bielawa
Bielawa, Poland
www.regalowisko.independent.pl
Festival Hotline: TBA
Friday-Sunday, August 26-28, 2005
5th Annual Koots Roots Festival
Nelson, British Columbia, Canada
www.KootsRoots.org
Festival Hotline: 250-354-7366
Friday-Sunday, August 26-28, 2005
Spirit of Reggae
Lõffingen-Dittishausen near Freiburg
Baden-Würrtemberg, Germany
www.spiritofreggae.de
Festival Hotline: none
Saturday, August 27, 2005
Reggae on the Mesa
Western Colorado Botanical Garden Amphitheater
Grand Junction, Colorado, U.S.
www.reggaeonthemesa.com
Festival Hotline: (970) 256-0075
Saturday, August 27, 2005
South Bend 1st Annual Reggae Festival 2005
South Bend Regional Airport
4302 Lathrop Road
South Bend, Indiana, U.S.
Festival Hotline: 574-457-4092
Saturday-Sunday, August 27-28, 2005
Drums Around the World
Indian Plaza
Charlemont, Massachusetts, U.S.
www.drumsaroundtheworld.com
Festival Hotline: 413-584-3022
Saturday-Sunday, August 27-28, 2005
Yokohamma Reggae Sai
Shinko Futo
Yokohama, Japan
www.yokohamareggaesai.com
Festival Hotline: 81-45-201-9999
Sunday, August 28, 2005
Oly Hempfest 2005
Heritage Park
Olympia, Washington, U.S.
www.olyhempfest.com
Festival Hotline: 360-456-3517
Saturday, September 3, 2005
Seaside Reggae Festival
Ventura County Fairgrounds Seaside Park
Ventura, California, U.S.
www.moshigha.com
Hotline: 805-643-4485
Saturday, September 3, 2005
Reggae Rocks The World
Paradise Casino
Yuma, Arizona, U.S.
Hotline: 760-572-7777
Saturday, September 3, 2005
HoveLive Festival
Greenparc Hove
Hove (Antwerp), Belgium
www.hovelive.be
Hotline: +32 (0) 3/288.70.70
Saturday-Sunday, September 3-4, 2005
Festival listings are believed to be correct. Are you a reggae festival promoter? Post your festival at
Monterey Bay Reggae Fest
Monterey Co. Fairgrounds
Monterey, California, U.S.
www.mbayreggaefest.net
Hotline: 831-394-6534
Please contact the promoter directly for more information.
www.ReggaeFestivalGuide.com/post_festival.html
Ackee:
A tropical evergreen tree that grows about 30 feet tall, with leathery leaves and fragrant white flowers. Its fruit is pear shaped, bright red to yellow-orange, and when ripe, splits open to reveal three large, shiny black seeds, surrounded by soft, creamy or spongy, white to yellow flesh.
Otaheite Apple:
Also called Malay Apple. The fruit is oblong to pear shaped with a dark red skin and white flesh; sometimes it is seedless. The plant may used as a remedy for diabetes and constipation.
Avocado Pear: smooth round, glossy green fruits whose flesh is deep green near the skin, becoming yellowish nearer the single large, inedible ovoid seed. The flesh is hard when harvested but softens to a buttery texture.
Breadfruit: A good source of vitamin C, breadfruit is the size of a large melon. Unripe, they are green and their flesh resembles a potato - hard, white, and starchy. Breadfruit is used in savory and sweet dishes according to its ripeness.
Cerasse: Also known as Chinese bitter melon; this fruit is edible when harvested green and cooked. The taste is bitter. Cerasse can also be used to make a tea that is said to be able to cure ailments from indigestion to Cancer.
Cocoa: All chocolate products come from the cocoa. The fruits are red when young and green when mature. The fruit of the cacao grows directly on the trunk of the tree and main branches. It has very small white flowers and the tree develop fruits after about five years.
Hog Plum: The yellowish plum is related to the mango, cashew, and ambarella. The "real" name is the mombin.
Brought to you by Jamaicans.com.
Saturday & Sunday September 3 & 4, 2005
Monterey County Fairgrounds
Monterey, California, U.S.
A&P Productions is proud to present the 10th Annual Monterey Bay Reggae Fest on Saturday September 3 and Sunday September 4 at the Monterey County Fairgrounds in Monterey, CA. MBRF boasts an international lineup of artists on two stages surrounded by 23 oak-studded acres of barefoot grass, plus numerous kids’ activities, a Rastafarian Museum and tons of international arts, crafts and food vendors.
In 1995 Robert Brown started the Monterey Bay Reggae Festival with a small budget and big dreams. A few months after the initial1995 festival, founder Robert Brown passed away unexpectedly, leaving his dreams in limbo. Andre and Pam Smith, who had helped Robert the first year, stepped up and continued to fulfill Brown’s visions for the MBRF, bringing legendary performances to Monterey including Jimmy Cliff, Burning Spear, Culture, Justin Hinds, Morgan Heritage, Steel Pulse, Meditations, Israel Vibrations - the list goes on. Now in its 10th year, the Monterey Bay Reggae Fest has grown to become a world-renown world music festival drawing people from around the country to the sleepy town of Monterey every Labor Day Weekend.
The festival features legendary performers from around the world on two stages including:
Saturday, September 3
Alpha Blondy, Twinkle Brothers, Della Grant, Common Sense, Native Elements, Luna Angel, Roots Natty, Resination, Tony Miles Band, and Jonah & the Whale Watchers
Sunday, September 4
Culture, Midnite, Abyssianians, Ras Midas with Root Awakening, Roots Natty, Batch, Ras Attitude & the Zioneers, Free Sound, and Blaak Lung Plus more headliners to be announced shortly!
Ticket Info: Adults: In Advance - $70 for a 2-day ticket, $40 for a one-day ticket. At the Gate - $45 per day. Kids: 12 & under $10 per day, 3 & under free. For more festival info, call 831-394-6534 or check out www.mbayreggaefest.net. For press inquiries, contact Amy Shapas at 831-479-0711 or ashapassbcglobal.net
Who Buys CDs?
By Marc Gunn
I came across this outstanding post by Hank Cramer, a folk musician, and member of the FolkBiz Discussion List [http://www.alanrowoth.com] In it, he breaks down what he has learned about CD sales at various venues. It's great information.
Mari Anderson raised the issue of the discrepancy in CD sales levels at varying venues. I play in a wide variety of settings, and have noticed big fluctuations in CD sales according to the venue and audience. Over time I've noticed that those fluctuations follow a pattern, and I've developed a "business plan" around that.
The venues I play (or have played) include coffeehouses; pubs/bars; concerts; festivals; and special venues (museums, ElderHostels, private groups). Here's my experience in a nutshell:
Coffeehouses: great place to polish your craft/act, but you'll never make money here. The venues don't pay because they don't make any money. The audiences are often appreciative, but they don't buy CDs because they don't have any money, either. Hey, they're here because there's no cover charge, and they can sip a 75-cent cup of coffee all night, read yesterday's paper without sticking a quarter in the machine, and hear you for free. My CD sales are almost zip here. I occasionally still play these for fun, but I've got a family to feed and bills to pay, so this isn't where I try to make a living.
Bars/pubs: not noted for listening audiences, but if you do some rowdy sing-alongs (which I do) you can win them over. The pub makes money hand-over-fist (especially when you're singing), through cover charge and the profit level on $4 pints of micro-brew. Demand a healthy share of that money "up-front", because the pub can afford it and you're not going to sell many CDs here. The audience may like your music, but they're here to drink and be social, not add to their disc collection. On a good night I sell 2-3 CDs. Since I know this and factored it into my fee schedule, I have charged the bar enough to make the gig worthwhile even if I sell no CDs at all.
Concerts: If your music is reaching people, this should be your "bread and butter". You should be earning money from the door, and making good CD sales as well. CD sales tend to vary according to the age of the audience and affluence of the community. The affluence issue makes sense -- people with money buy, people without don't -- but the age issue is a little harder to explain. I think that younger audiences have less disposable cash, and they're used to sharing or downloading music for free; audiences my age and older have more disposable cash, and they grew up in the era when if you liked somebody's music, you went to the store and bought the LP. If you're playing concerts to fans who follow you, you'd better keep recording, because you'll reach the point where everybody has your old stuff, and your sales will drop to zip if you don't have something new to offer.
Festivals: Some of the festivals I play pay a little money, some don't. CD sales CAN be great. I've found that total exposure time has a big impact on sales. There's one festival I play that pays me nothing, but gives me 4-5 opportunities in front of the audience (sets, workshops, panel concert, etc), and I consistently sell $1500+ in CDs. Other festivals offer me $300-400 to come and play, but give me a single 25-minute set...I can't afford to do it, because the plane ticket will eat up the fee and a single set won't generate enough CD sales to make the trip worthwhile.
Special events: I do a lot of traditional music centered on historic themes, and have found audiences in "special" venues, like museums, ElderHostels, and private groups (most of whom met me through one of the first two). These events now make up a significant part of my business, for three reasons. First, I enjoy putting together a special, focused concert for them; second, because the venue can afford to pay a decent wage up-front (based on their admission, tuition, or membership fees); and third, because the people buy CDs because they have an interest in the topic and sufficient income to travel and attend the event. If they like something, they buy it. I almost fell over the first time someone said "I want one of each of your CDs" -- I have six in print-- but that's not unusual in these kinds of settings.
So I guess my concluding statement would be that if you want to make a business out of selling CDs to your audience, then:
1. Play at venues where they listen (and make sure you get enough opportunity to be heard).
2. Play for audiences with enough resources to buy your CD if they like it.
3. If your music is catching on, keep cranking out CDs -- reinvest in yourself!-- so that as your fan base grows, you have sufficient product to meet the growing demand.
Keep the music coming--
Hank Cramer is an acoustic musician from Washington State. He is a member of the Mountain Sound [http://www.mountainsound.com] folk singer's cooperative in Washington.
Bard Marc Gunn of the Brobdingnagian Bards has helped 1000's of musicians save and make money with their musical groups through his monthly newsletter, Bards Crier Music Marketing and Promotion Ezine. Now you can get FREE "how-to" music marketing and promotion advice by visiting www.bardscrier.com. No time to visit the site? Subscribe to the Bards Crier Ezine for Free. Just email subscribebardscrier.com
Lance Winslow VI
Land Mines have been one of the most evil left-overs of any war. Land mines solve many problems for those holding territory from being over run. They also come in handy to prevent illegal entry to a nation. Unfortunately left over landmines kill thousands per year long after the conflicts have departed. What if we had landmines, which merely shot sleeping potion canisters into the air, putting the would-be victim into long-term hibernation? Then you can still inexpensively secure your borders and go pick up all those who fell asleep trying to illegally cross a border or line of defense, when you found the time?
There are many people working to rid the World of landmines, but as human conflict continues so does the laying of more landmines. We need a solution to get all nations to stop planting these things. Here is another concept. Put hydrogen sulfide gas into the canisters in the proper rations to induce suspended animation in humans. Currently a medical team led by Mark Roth, has discovered that they can induce hibernation at will in mice. We know bears and many mammals can hibernate and humans hold and share those genes? Maybe that is why we are still here after millions of years of evolution and cataclysmic periods?
In any case, but putting the hydrogen sulfide into to the landmines, they worse that can happen is that the landmine goes off, alerts the satellite that it did and someone goes out to pick up the victim in the next few days. No one dies, if it is an evildoer insurgent they are captured, if it is an animal wake it up and send it on its way. If it is a Mexican Illegal Alien fly them to Chile and let them walk back. It is human and smart, save lives and limbs and still allows us to protect our desert camps, operations, installations and borders. Think on it.
Article Source: [http://EzineArticles.com]. For contributions to this section of the E-Guide, "In Jah's Name We Pray", please email festivalsreggaefestivalguide.com.
By Jeanna Pool
Every small business needs it, but not many have it. I am not talking about cash flow, clients or even your product or services to sell. Yes, all of these things are absolutely necessary. But, what I am talking about is something most small business owners overlook. It is the need to hire an expert graphic designer.
In a highly competitive marketplace, hiring an expert graphic designer can mean the difference in whether your product or service stands out and gets noticed or in having it lost in the fanfare generated by your business rivals.
Now, more than ever, hiring an expert to create your marketing and communication materials (also called collateral materials) is one of the most vital ingredients in the success of your small business.
Hiring the right graphic designer -- a true expert -- is a bit more involved than just randomly choosing someone from the Yellow Pages or hiring your third cousin because he is creative and owns a new computer.
If you are not careful, you may find yourself hiring the wrong person for the wrong reasons, which may cause more harm than good to your small business.
This is a big deal. After all, this person will be creating the look and identity of your small business seen by all of your prospects and customers. It is essential that you don't just hire anyone.
Here are five things you need to do in hiring the RIGHT graphic designer for your small business.
Number 1: Understand that graphic design is an investment, not an expense. This investment will pay huge dividends for the image of your business and in determining its future success. You need to be willing to invest in hiring a qualified, experienced professional, rather than hiring the cheapest person you can find. The old adage that...you get what you pay for...is genuinely true.
Naturally, your budget is an important issue in choosing a designer. I am not saying you need to fork over thousands upon thousands of dollars to the person you hire. But, if you hire the cheapest you can find and shop on price alone, I promise, you will get exactly what you pay for.
Number 2: Not all graphic designers are created equal. Just because someone says that he/she is a graphic designer doesn't mean that the person is necessarily worth his/her salt. The key here is to examine that person's portfolio of work.
Graphic design is more than pretty pictures or cool graphics. It is a visual means of solving complex business problems by communicating the essence of your business message and personality. Therefore, when you are looking at the designer's portfolio don't just take a quick look. Dig in and ask many questions about the work.
What was the design problem? How was it solved? What was the concept behind the design solution? Why were the colors chosen? Why was the format chosen? What were the results? Was the client satisfied?
If the designer can't answer these questions or answers with "I did it this way because it looks cool..." or "I used yellow because it is my favorite color..." move on.
Number 3: Hire a designer with experience. Someone fresh out of design school may be enthusiastic about working for you, but may not be the best investment you can make.
You should hire a designer who has, at the very least, three or more years of real world experience under his/her belt.
The more experience a designer offers, the better he/she will be able to steer you away from potential headaches and pitfalls. An experienced designer can suggest ways to handle your project that you may never have thought of before.
A seasoned designer will also have a good idea of what works and what doesn't work, such as the best way to format a direct mail piece or which colors and fonts work best in conveying the message and feeling you are trying to communicate.
Experience relates back to the first point I made. Hiring an experienced designer is a better investment of your marketing dollars.
You probably wouldn't feel comfortable hiring someone with little experience in medicine to perform surgery on you...the same can be said for hiring a designer. Essentially a designer is performing surgery on your business by constructing the look and feel of your design project.
Bottom line: real world experience is priceless.
Number 4: Check references. If the designer you are considering has done a stellar job for previous and/or current clients, that professional should not hesitate in giving you names of people that attest to that fact. No references should be taken as a big red flag.
When contacting references, which you should, ask questions about the overall experience with the designer. Is the designer a professional? Would you use the designer again? Do you feel you got your money’s worth? Did he/she deliver the project within the timeframe and the budget upon which was originally agreed? Does the finished piece solve your problem? Ask, as many questions as you think will apply to your particular situation.
Number 5: Honestly discuss your budget. Budget is usually the proverbial 800-lb gorilla in the middle of the room. Most everyone has a budget in mind, but not many want to discuss it.
If you have done steps one through four, you will be close to hiring someone that is not a trained sales killer and is not just interested in taking all of your money, so you can be open and honest with them. Having a candid discussion with the designer about what you can practically afford is vital, because:
First: It lets both of you know, right off the bat, whether you can work together. You won't waste time wondering...how much is this going to cost me or do I have the money to hire this person?
Second: It will allow for a discussion of what you can expect in exchange for the money you will spend. Obviously, the key is to hire a designer that can work within your budget.
To do that, you MUST have an honest and open discussion about money. No one wants a last minute surprise about what it will cost to work together.
One last thing...
You should view the graphic designer you hire as your strategic business partner and an invaluable member of your team. Sure, you can hire a pro just once to create only one specific design solution, but hiring a graphic designer with a rich breadth of capabilities and experience that you can tap into repeatedly is a much wiser investment.
As a small business owner, you have a vision, opportunity and direction for your business. The designer’s job is to come along side you and develop the best visual solution to fulfill that vision, opportunity and direction. It is your brand. It is your image. It is your business message that the designer will be communicating visually. Make sure whomever you hire aligns with these key points discussed.
Hiring the RIGHT graphic designer really is THAT important.
Jeanna Pool is President of CATALYST creative, inc., located in Denver, Colorado. She helps small business owners who are really good at what they do, but struggle to market their services effectively to attract more clients on a consistent basis. She can be contacted at www.catalystcreativeinc.com, infocatalystcreativeinc.com or call 303.380.9100. Article Source: http://EzineArticles.com.
"Jah Mason"
Trivia is by Diane Issachar. Diane is a staff photographer for Rhythm Vibes for 10 years, shoots for 1xtra, Reggae Festival Guide, and has traveled as tour photographer for many artists. Contact Diane at Dianeissaaol.com, 954-438-3383.
You love creating music and/or art, but you are bogged down with mundane tasks of every day business - putting your creativity on the back burner. Having a manager is essential to surviving the business of promoting your own talent in this day and age. One burgeoning company based out of California is ready to take your talent to the next level. Owner's name is Amy Shapas and she is willing to negotiate a contract with you that you are able to afford. Call 831-479-0711 and visit her website at www.soyoucan.com. Say you heard of me through the E-Guide!
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(c) 2004-2005 Reggae Festival E-Guide, ISSN 1551-6121
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