Sentinel Sound System Nadia - Female member of a foundation sound.

 

YL : Let start with a biography of the sound system Sentinel 8 Nadia: Sentinel was found by Elmar and me in 1998. We call us “Sentinel - the Everlasting Sound’’ and right now the crew is composed of Elmar, me, DJ Meska, Shotta Paul and also Mc Bongsi and Uli Nefzer. YL : Before you founded Sentinel, how did you come to reggae ? N: I personally listen to Reggae Music since I am 15 years old, so we´re talking of more than half of my life now. My first CD I bought was Peter Tosh "Legalize it". I´m grown up near by Stuttgart in the country, so everyday after school I met friends and we were hanging around, listening to music, smoking and chilling and sharing our philosophies about the world. Politically wise we were part of the left handed scene, so we were fighting against right wing people. I took part in some non profit organizations which were fighting for the rights of all people from all nations, for equal rights, for the protection of animals or against atomic industry. Reggae Music transported the feeling of rebel music and consciousness. It fits to our attitudes and lifestyle. From the year 1992 on me and my friends drove far to concerts of Reggae Artists like Eek a Mouse, Ini Kamoze, Macka B from UK, Lee Perry. When I was sixteen years old I went the first time to the Summer Jam Festival and I bought my first Tape from Stone Love there. I loved that tape with all Stone Love classical Dubs. Same time friends of mine went to Jamaica and spend more than a half a year there. One of them is Bongsi who is still a part of Sentinel. Most time they lived near Brownstown, where Bass Oddessey comes from. When they came back from Yard, we all listened to Tapes from Bass Odessey, from then our favourite Sound, typified by Squingy.   Also my friends brought a big box of 7” Records with them. The next step was that I organized two turntables and the box never left my home again. In Stuttgart in 1995 I knew two Soundsystem that time, African Princess & Super Nova. Reggae & Dancehallparties were hard to find in the nightlife of Stuttgart. Rarley one of Germanys Foundation Sounds like Silly Walks played in Stuttgart and I was really enthusiastic about the vibes. It was the time when a young Buju Banton and Sizzla wrote the best songs of their life. It was the time of deejays like Shabba, Supercat, Bounty Killer, Cobra and Beenie Man. It was the time of Dancehallqueens and also a great time of loversrock with singers like Sanchez. YL : How did you create the Sound system Sentinel  ? N: I met Elmar in 1997. We get to know each other and found out that we both like the Jamaican Dancehall Music. We shared Soundtapes from Jamaica, which where still hard to find, started collecting singles, what was not to easy to that time. In 1998 we decided to create our own sound Sentinel, we organized first outdoor events or played on the second Floor of Stuttgarts big Hip Hop and Drum n Bass Events of friends of ours. A next Soundsystem called Blessed Love was founded and we both had fun in clashing each other just with 45s. Blessed Love built up a Record Store in Stuttgart and other Record Shops like the Selecta from HH started to ship records. It´s very funny when you think back, cause every week we got a list by fax and out of that you had to choose which tunes you´re going to buy. Crazy! In 1999 we started recording Dubplates. To that time we had to fly to Jamaica for our first recordings. Our very first Dubplate we recorded in Sava La Mar with an artist called Fish Tea. Than we got to know a ganjaman from Westmoreland  and he was the one who organized the first dubdeal with Buju Banton. We joined some Countrydances and had been impressed of the Soundsystems, the walls of speakers, the bass, the people.

We travelled to Kingston and went to Dubplate Studios like Arrows and Safire and recorded young artists like Chico and Degree, Baby Cham and Spragga Benz. I will never forget the very young youth by his side who spoke the Intro – Assassin is his name. We went to dances in Kingston to see all artist from Sizzla to Bounty Killer performing a short set of two or three tunes by standing on a plastic table (Roundheads Birthday Bashment), we saw crazy stageshows like in Skateland or we ended blindly and innocent in a shanty area where Merciless was performing in a dark corner in front of 50 people.   From that first trip to Jamaica we were totally captured by jamaican vibes. We travelled every year once or twice to Jamaica to catch the vibes, to experience new tunes in Jamaica and “most wanted” to record Dubs. And exactly this vibe we carried to the people and friends in Stuttgart. And the audience went mad about it, when we presented the new Bounty Killer selection or the new hype Riddim fresh from Jamaica. To be in Jamaica set you on fire and to carry these Vibes back to Germany was ever very important for our sound.   YL : After being in Jamaica in 1999, you start to organize dances ?   N : Yes, in the meantime we played regular in Stuttgart and started organizing our own shows. We invited Soundsystems from Germany like Kingstone, Pow Pow, Silly Walks and Super Sonic. We organized from 2000 – 2004 the Reggae Summer, an annual 2-day-event featering Stone Love, Killamanjaro, Red Rat & Buccaneer, Cecile, Baby Cham also german Artists like Patrice and Gentleman and many more. We organized the first international Soundclash in Germany Pow Pow vs Killamanjaro. The increasing popularity and cross approval and support of other soundsystems like Blessed Love, Super Sonic, Kingstone and many more had been one reason that we got Bookings all over Germany and also at big Reggae Festivals like Summer Jam. The most important reason I think is that we understood to show people our passion for Reggae Music in authenticity. The sound grew continuously and to make the grade we involved friends as new sound members, first Thilo, than Mario and Uli  (all selectahs) and Bongsi (MC). We recorded Mixtapes and invested all money we earned out of bookings in the Soundsystem, especially in dubs. We organized a lot of Dubplate recording sessions for artists who went on tour through Germany. We were the first germans who built up dubplaterecording studios on festivals, where we could voice a lot of great combinations.   YL: How did you went to go to Worldclash ? N: The road to success was a rocky one and only strong idealism and continuous hard work put the sound to where it is now. We had to take a lot of steps to be invited by Chin the promoter of the New York Worldclash. We made our first impact on the international dancehall scene on September 9, 2003 in the first edition of the Riddim Clash in Munich, Germany: We Sentinel managed to defeat the triple worldclash winner Black Kat as well as the widely respected foundation sound Downbeat the Ruler from New York City and then we ended up in the tune fi tune with the legendary Killamanjaro Sound and went second place. That was a big step. Only two weeks later in Middleton Jamaica, we were the first European Sound clashing in Jamaica.  We won against the locals Turbo Force Sound in the inner city of the Island‘s capital in front of an all Jamaican audience and the video was watched by a lot of people on the internet, so we had a good reputation after the clash. Again, one year later we had the opportunity to prove us in Germany again. In a fiery one-to-one soundclash on November 11th, 2004 we defeated the popular Soundquake Sound. All of that gave us the status to go to New York. And also we had the support of well known soundsystems. I know that Rodigan spoke to Chin and told him “book Sentinel”! The promoter Chin called us but imagine that it was only 4 weeks before, so we got only 4 weeks to get prepared for worldclash! Elmar and Mario immediately booked a flight to Jamaica and spent one week in studios with artists, writing lyrics and recording specials! When they came back, we didn’t leave my flat for days because we were just busy thinking about speeches and selections. When you prepare for a clash, you think about everything that could happen. You got to know the other sounds by listening to many audios of the previous clashes. You must know the excellence and power they have, but also their weakness.   But the most important thing is you must know your own excellence, cause only when you´re real on stage you can win the sympathy of the audience. Especially in New York you have to represent every line of your Dub, especially the ones you recorded just for that clash. You must know exactly how to mix the Dubs fast, to be on point and also give your MC the time for speeches. Every Dub must be of high quality. You need new tunes and special riddim selections and create your own anthems which represent your own creative handwork. It´s important to make up your mind about the audience where you´re going to play the clash, cause in UK you play different than in New York, in Germany you play a Clash different to Jamaica. For example every city has their own anthems, like in New York when we played Territory from Hopeton Lindo.

This is how we prepared for the Worldclash. Oh my god there are so many further particulars to notice and nevertheless you may not get lost in details I can tell you. I personally need to be very well prepared, cause than from the second we are on stage, starting our show, everything happens intuitively. When we went to New York, it was a great opportunity for us only to be on the flyer and playing there, and honestly I never expected to win! Seeing that we only had four weeks time…it’s incredible that we won. YL : Before a clash are you afraid ? N : Before Worldclash of course! The hours before the clash starts I was afraid and felt like loosing my mind. At Worldclash there were 3 000 people standing in front of us, only black people most of them are men, and they are watching you and you watching them and I was just thinking “oh my god what am I'm doing here”. I was really nervous. I just talked to myself that we were given this opportunity so we have to make the best out of it. You have to stay strong! YL : As a selecta, how do you feel when you start the first round ? N : The time a clash starts I´m nervous. Because you know everything can happen, also the worst thing that you get boohs. But after spinning the first tunes and catching first forwards you´re into it, you´re just concentrated. You don´t have the time to be nervous any more, you just give your best. When the clash continues you listen to tunes the other sounds play and same time you´re planning your next round. You´re catching the vibes from the audience. It´s like a movie you can´t stop, you´re just curious what will happen. And because you are well prepared ideas come quickly in your mind and you can stick on the vibe and the athmosphere. I loved the vibes at New York Worldclash I can tell you. I will never forget the strong forwards we got and how the people react to the lyrics of dubs we made special for that night. Brooklyn people know tunes  and love to be entertained.  Round by round we went further, one time it was very sticky for us, but then at the end I looked at Uli and said ‘’I can’t imagine we are in the tune fi tune!’’  It was just crazy  and I started to search for the real everlasting big tunes in our box.   YL : Do you listen previous clashes to catch up mistakes or strong points ?   N : Of course, I’m listening to previous clashes but honestly not like a football team studying its last game! Because after playing in a clash, you know about strong and weak moments especially when you play in places like New York. People listen straight, they know all the tunes, they have opinions and they show you if they like what you’re playing nor not. You never forget what are the weak and strong points in your performance, cause you never forget boohs or strong forwards, believe me. I think a clash tape can never really show what happened on that day on stage. When you listen to clashes from other sounds, you start wondering : hey why did that sound play like this? When you listen to a tape, you can never catch the same vibes like the audience at the clash night.

YL : Did your victory in 2005 change your way to develop the sound system ? N : Yes, it did change a lot. First, since Worldclash, we played in Canada, all over Europe, UK, New York again, Japan and in Jamaica. And more than ever, Sentinel had to be aware of all situations and come up to the expectations of every single audience, of the different places we played. The situation is that in every country, you get very popular, because you won Worldclash, but the shows you play are no clashes, they are juggling dances, so it was very hard for us to come up to the expectations of every single audience and of the promoters. So for us, we played all over the world, the people wanted to hear our clash anthems everywhere but also we must play an excellent juggling, so yes, it was quite difficult, because the expectations were high. But we managed it, we played 2 shows every week end, all big festivals and got a very good reputation. Our popularity was constantly increasing and two years later in 2007 we asked Meska and in 2008 MC Shotta Paul to enter the sound, cause we were in need to extend our crew.   To run a sound like Sentinel, it’s not only about to rule and to develop your sound in collecting tunes or working on a perfect selection, that’s very important but it’s more than that, you have to record dubplates, it’s a big and heavy business and you spend a lot time on it, you record mixtapes and sell them, you’re organizing your own shows like we do with the ‘’Kingston Hot’’, every month in Stuttgart. You have to be on the internet and promote it every day on Facebook, Website, Myspace, you have to develop your network, you have to manage your bookings, your travels, everything! There are so many things to do that every member of the sound is busy in working for Sentinel, very hard with a lot of passion.   That we found Dj Meska and MC Shotta Paul feels like getting the 6 in the lottery. To manage so many shows every week end, it’s important to have a very good crew. And now you have the young generation, which is very talented and creative. The new project of Sentinel that Meska and Paul started in June 2009 is the ‘’Kingston Hot Radio’’, one of the first german online radio shows. The name of the radio show is inspired by our monthly ‘’Kingston Hot’’ event in Stuttgart, which is a very popular dancehall night, where we invite different sound systems and artists from Germany or from abroad. They record it weekly, every Thursday, at 10 p.m (www.kingstonhot.de), presenting fresh riddims and new tunes, doing interviews, promoting events in Germany and Shotta Paul is doing a entertaining moderation.  A lot of germans listen regularly to it.   Last year, 2010, it was a very successful year for Sentinel. In April we ruled Worldclash in Montego Bay, Jamaica! Shotta Pauls performance was wicked. His speeches were the talk on the streets for days… Only one week later we played a tag team clash in London, the UK Cup Clash and in autumn Sentinel won the “Real Deal” Clash in Trinidad & Tobago, aswell as the “Sound fi dead” Clash in Jamaica. Craaaazyyy!   YL : Soundquake, Supersonic, Pow Pow : all the big sound systems are now producers, why don’t you ? N : The last year, I always said, no we´re not gonna do our own label and productions, because we are totally busy at managing Sentinel. And also you must know that everybody of us has a regular job! But we are thinking about it, because Meska produced some riddims in the past and released tracks with well known german artists already. He has a great talent and also experience in producing, because he was a DJ of a Hip Hop band in earlier days. So we will see what will happen in the future.   YL : If you don’t produce, what are sentinel’s projects ?   N : “Live a life of joy, satisfaction and awesome happenings” (laugh) I don´t want to talk to much about the future, cause I always believed in “action speaks louder than words” – but I can tell you about a new, great project we´re starting right now: at the Kingston Hot in the club Rocker33 in Stuttgart at 26th of February Sentinel´s gonna perform with the live Band Trijo on stage. The band is playing the riddims from classic style to brandnew dancehall riddims,  DJ Meska will select the accapellas of our dubplate and Elmar is doing his job as a MC. It is a wicked idea and project. We did that kind of a live show ones in 2010 at a Jazzclub in Stuttgart. The people went mad about it, I can tell you. A lot of things will happen in 2011, like for example the celebration of Sentinel 12th anniversary at eastern weekend, where we invite Charly Blacks to come to Germany. I´m also looking forward to a next year of “Kingston Hot – the no1 dancehall Spot”, after great shows of soundystems like Stone Love and  great live  performances of artists like Alaine, Konshens and Romain Virgo in 2010 we´re expecting much for 2011. At the 12th of march we´re presenting a night called “Dubs full hundred”. Sentinel Sound & Soundquake are juggeling only dubplates the whole night. So we can have a deep look into the boxes of the two big sounds of Germany.   YL : What do you think of European sound system scene ?   N : I see that reggae in Europe has its developments, like reggae and dancehall was very big in Germany around 2005 to 2007. In the meantime the popularity of reggae dances went down again and of course reggae and dancehall was and is ever a scene music. Right now you can see a great hype in the dancehall scene over in italy. In the last two years we were booked more than once a month in Italy and did great touring in the summertime. The audience in italy are the people who celebrate most dancehall and new tunes. Many soundsystems have been founded over there and in the meantime I see a couple of them selecting and performing very good. Our very good friends “Heavy Hammer” from Salento, Italy they won the “World War 3” Clash in Stuttgart and the Riddim Clash. They have a heavy box of dubplates, also with specials from some wicked oldschool Hip Hop Artists like Fatman Scoop, Cypress Hill und Krs-1. I think reggae and dancehall are part of urban music and it depends also on what the local sound systems create in their own cities. In Berlin it’s very hard to find a party with more than 300 people. It depends on the region and reggae scene over there and who’s creating the night life scene. I see there are less soundclashes compared the past years, the hype is going down a little, but you have the up and downs in every music and scene, you just have to deal with it. In Stuttgart we´re doing very good. You can join a reggae dance every week and to the Kingston Hot there are coming  from 800 to 1100 people, they travel from far to join the most popular dance of Germany. And I think what will never change is that europeans like to party and have real fun. Everywhere I go I meet nice and friendly people at dances and really good party vibes. That’s the most important thing.   Nadia (Sentinel), Beenie Man, Elmar (Sentinel) after the World Clash victory in 2005

YL : Do you think that the fact that there is a woman in a sound system change the image of Sentinel  ?

N : I think it is important for a sound systems to create an image and it’s very important to show character and personality, that helps you to be known by the audience. For us, some people say "Sentinel, the Worldclash winner" or "Sentinel, oh the sound where a woman is selecting" so it’s one of the reasons why people remember us. But the most important thing is that you’re doing a good job, you have to entertain the people, and only if you do a really good show and entertainment on stage you will be booked again. Only then the people says ‘’Wow, Sentinel was great and next time I will go to their dance again’’, whether you are men or woman.  So I think it’s part of a good image of Sentinel, that I am a woman, but I would not give too much attention to it.

YL : You mean that’s an identity?

N : When you see it with a jamaican view or a New York audience’s view, the people say about Rodigan ’’That’s the foundation ruler, he’s over 50 years and playing a sound over 30 years now’’ it’s a personality. When you see Mighty Crown, it’s the Japanese sound. And for Sentinel, we are the “whities”, the Germans and also they say ‘It’s the sound where a woman is selecting”, so it’s part of the personality of Sentinel.

YL : Did Sentinel had problems because of that ?

N : No, I always have been treated with respect. In the sound system scene, with the other sounds, they just treated me like everybody else, not with disrespect and not with more respect, just like anybody else. I took care of a lot of artists, when they came to Germany. We were always busy in recording dubplates, so we organized a lot of dubplates sessions, also the first dubplate studios at festivals. I made a lot of artists, and I never had a bad experience with anyone, and nobody has ever treated me with disrespect. I think sometimes, it’s a benefit for me to be a woman in the sound system scene, especially Jamaican people are pleased to see a blond woman playing their music.

YL : Can you explain the fact that there is few women in sound systems : you, Flex from Civilizee and Michelle from Northern Lights

N : I think we three are the most known, but there are a lot of women playing in sound systems. In the Stuttgart reggae scene there are a couple of women playing in sound systems. It makes me happy to be a kind of a role model, that other women follow, you change something when you show the courage to do something,  which is not usual. It gives them the strength to do the thing same wise.

YL : As a woman, what do you think about daggering and dancehall queen, is it shocking ?

SJ : No, it’s not shocking. I like it! Dancing, slackness, gangsta tunes are part of dancehall . I’m not shocked by daggering or dancehall queens, pointing their style or sex appeal. I love the dancehall how it is, I’m very impressed by women and dancing crews who can dance and show their style, it’s entertainment. Some women in the dancehall, show a naughty side and a lot of sex appeal and they are dancing in a hot way, but that doesn’t mean that men can treat them like bitches! It’s a kind of entertainment and some people do not like this type of performances, but I do! The street dances and also when women show their dances style, that’s such a great part of the dancehall scene, I just love it!

YL : Behind your turntables, you’re dancing sometimes !

N : Yes of course! Dancing is very important in my everyday life, it gives me energy and lucky feelings. But sometimes I am too shy especially on stage when I know people are watching me. I rather dance by myself in the crowd.

Pink Panther (Black Kat), Nadia (Sentinel) & Tonny Marterhorn

Quick questionnary about Sentinel Sound :

First single you bought ?
- I didn’t bought it, but the first single I got was Prince Buster – Hard Man fi Dead.

By which artist you discover reggae music ?
- Peter Tosh, followed by Eek a Mouse, Burning Spear, of course Bob Marley and Buju Banton with his album "Til Shiloh" !

For you, the most important artist in  :

Roots :
-Bob Marley, Peter Tosh, Burning Spear, Johnny Clark, Dennis Brown, Garnett Silk, Barrington Levy, Max Romeo...

New Roots :
- The one and only Sizzla Kalonji.

Dancehall :
-Beenie Man, Vybz Kartel and Movado

First dub recorded  ?
- An artist called Fish Tea in Jamaica in the studio in Savalamar.

Best memory of a dubplate session ?
- Oh my god, I have a lot of memories of great dubplate sessions… A couple of times when I went to Jamaica, I went to Beres Hammond’s place and recorded a lot of dubplates of him. I think it was at my third or fourth session when I could manage to bring Beres Hammond, Bob Andy and Marcia Griffith all three together in the studio and we recorded the combination "Respect / Really together". Before we could start to record, the sound engineer had some technical problems and was in need to buy something in town. That was the reason why we had to wait hours for him to come back. It was an awesome day because we spent the whole day together sitting outside on Beres terrace, talking, playing games together, everything all with a great view all over Kingston to the sea.

Worst memory of a dubplate session  ?

- I don’t want to answer the question (laugh)

Best clash memory ?

- The Worldclash in New York of course, because I never expected to win it. There is a very personal history behind it. One of our Sentinel members, called Thilo, was very sick when we went to Worldclash in 2005. He had blood cancer, leukemia and was expecting the transplantation of the spinal cord. He´s like a big brother to me and it was an emotional time, cause you know that your very best friend is in a situation nearly to death. But a few days before, I was sitting on his bed and he said to me "go to New York win that clash".  After we won, still standing on stage I called him at the hospital and I told him "Thilo we won it for you!" and he was lucky and told me, that his operation was well done and his body accept the new spinal cord. I was so lucky that I cried and had to leave the stage!

Favorite anthem ?

- There are a lot! One of my favorite is the combination with Beres Hammond, Marcia Griffith and Bob Andy, because it’s my best memory and you have always the memory of the session when I hear it. Hopeton Lindo, “Territory” too, I will never forget the forward this dub took during the Worldclash in 2005! There are other kinds of specials like Sizzla "Tenement Yard" or Cocoa Tea´s “Sentinel is the king” and so many more.

Nadia you told me that you´re working for a charity association called Help Jamaica! Tell me more about it ?

- Thanks Cecile. Two friends of mine Birte Timm and Hilmar Keding from Berlin they founded Help Jamaica! in the year of 2008 and since 2009 I worked as their “right hand” for these great project. Since 2010 I´m the 2nd vice chairwoman of the association. HELP Jamaica! is a registered non-profit organisation. Our primary goal is to raise funds in order to support and establish library- and education projects in Jamaica! HELP Jamaica! is a great project, we´re all working unsalaried for the project. The HELP Jamaica! supporters are many local soundsystems in different cities all over Europe, who are organizing charity events. Also big promoters like from Bersenbrück Reggae Jam or Summerjam Festival are supporting HELP Jamaica! and also we got support from the german-jamaican ambassy.

We aim to build libraries and education projects in deprived Jamaican communities and aspire to provide free education – especially for children and youths who otherwise don’t have access to books and computers and do not have the means to provide adequately for their education. These education facilities will be inspired by our role model, the Trenchtown Reading Centre, founded and operated by Roslyn Ellison and which is one of the projects HELP Jamaica! actively supports.

Right now we build up our first own Library in Cassava Piece, so that all Kids in Cassava Piece can benefit from it and can visit it daily. In December and January I was there in Jamaica working for HELP Jamaica!, organising the community advisory meetings, preparing the management and operation of the education center together with our first employer, the library manager and helping Birte “Brite” Timm in preparing for the grand opening. Because I´m a childrens teacher I also had the focus on the kids and after the new years it was important to spread the news about the education center in all streets of Cassava Piece, to let the kids, teenagers and adults know more about the organization, the library, programmes and courses and who we are. The whole community is now eagerly anticipating the Grand Opening.

Nadia at Help Jamaica Grand Openning in Cassava Piece

During one week at the start of January 2011 I was keeping a daily “Corner Reading Session” in the streets of Cassava Piece. We went day by day to a different place of Cassava Piece to bring the kids together reading a story out of a popular jamaican cultured children book “Anancy” and played funny streetgames with the 1 to 13 years old children. I introduced the project of the library, talked about opening hours and explained programme offers like daily homework assistance and courses like literacy, sports, arts, games and asked the kids about their ideas. To show the kids the focus of literacy the team daily read a story and called the happening “Corner Reading Sessions” but also we played games for different age groupes like several catching games, ring games, games with balloons and also were singing songs in german and english and enjoyed some spontaneous impressive dialect poetry performances of the kids. You can see pictures of the HELP Jamaica! education Center, of the grand opening and the corner reading sessions on our facebook sides like “Nadia Seninel” or www.helpjamaica.org.

The grand opening of the HELP Jamaica Education Center Cassava Piece was at the 3rd of Feburary 2011, it was a great day for us and the community. Our guests and celebrants were distinguished and diverse in representation; among them were persons from Europe and the United States of America who came to Jamaica specifically for our launch. The German Ambassador in Jamaica, Jürgen Engel, graced us with his presence and greetings. So did the Minister of Industry, Investment and Commerce and Member of Parliament, the Honourable Karl Samuda. Minister Olivia “Babsy” Grange was represented by Mr. Sydney Bartley, the Principal Director of Culture. The Chairman of the Book Industry Association, The President of the Library and Information Association of Jamaica (LIAJA), The Jamaica Constabulary Force St Andrew North Division and members of the music fraternity, the educational institutions in the community, Social Development Commission, the Kiwanis Club of Constant Spring, member of the press and the citizens were all out in their numbers to support us. Romain Virgo and other artists were performing. After the ceremony we held a kids fun day and it was real fun.

If you want to know more about Help Jamaica! or see nice pictures of the opening than click on the website www.helpjamaica.org and tell all people about it, cause we need a lot of support.

Your Big Up's ?

- Thank you Cecile for that nice conversation. Big up you and you crew, keep up your good work in paris and I hope to meet you soon. Also I want to say hi to each and everybody who knows me and a special big up to my Crew Elmar, Meska, Paul, Mario, Uli and Bongsi. Big Up to Everybody who’s promoting reggae music, to Soundsystems and artists from Germany, Jamaica and the whole world.  Hope to meet you in the summertime ;-)  

Zapo & Eklipse

Avril 2011