Storm  Saulter is one of Jamaica’s most prominent young film-makers . With the panoptic gaze of interchangeable dancehall djs staring down from Digicell and Lime Tv advertisements, the hype cycle of radio and the frantic rotation of fashion and dance moves you couldn’t  be blamed for not realizing that Kingston has a thriving if limited independent arts scene. The best and brightest all seem linked to  Edna Manley – but Storm actually finished up film school in the states. After seeing his latest video for Tarrus Riley, and sitting in on a press screening of his full length Better Mus Come I sent over some questions about Jamaican politics, the challenges of independent film making and what drove Storm to leave behind the opportunity and infrastructure of Los Angeles.

T: You were born in Jamaica, but went to film school and worked in Los Angeles, given how limited the Jamaican film industry is, why return to the island to work?

S: It seems better to start a movement and build it from the beginning than to be just another person trying to make a statement in the same space as thousands of others trying to do the same thing.  We are defining new Caribbean cinema with the work we are doing now. Lots of young people (and a few older ones) in Jamaica and the region are seeing filmmaking as a real and exciting possibility for them right now. Better Mus’ Come is the beginning of a real movement.

T: The space you work in is shared by a bunch of other young filmmakers- can you tell me a bit about the space,  who is there and how you all came to work together. What is the ethos and purpose of New Caribbean?

S: I share an office with my brother Nile Saulter, Joel Burke, and Michelle Serieux. We are all filmmakers and we collaborate on all our projects together in different capacities. Directing, Producing, Cinematography, Editing, Writing. Our office is at 10a West Kings House Road, Perry Henzell’s home and production office during the creation of “The Harder They Come”. We share the property with a number of Directors and Producers. Ras Kassa, Ras Tingle, Jay Will. It is unquestionably the home of Jamaican filmmaking.
For more on New Caribbean Cinema go to www.newcaribbeancinema.com

T: Both the Tarrus video and Better Mus Come seem to deal with a similar type of historical amnesia- the way that systems of power attempt to limit certain types of information and stories in order to be able to continue propegating themselves. How do you see your work in creating new historical narratives or re-examining power?

S: Better Mus Come has had such an explosive impact in Jamaica because it is telling a story that we all know of, but we never knew the details. We would hear our parents speak of the 1970’s, The Cold War era, when Kissinger came to Jamaica and threatened Michael Manley and Jamaica with annihilation if we didn’t step away from Cuba. The beginning of this gang war tradition. There is a reason we were not taught this in school, so that events like the Tivoli massacre would seem like a new development that needed to be solved using brutal force by the Police and Military. But this is not new, it has only evolved from the same source. I guarantee you that many more of these ‘hidden’ stories will be told by this generation of filmmakers. And to be able to do so is empowering to the artists and the people.

It confounds  me when people use the word ‘leak‘ when they really mean ‘release.’ While I like the ideas of studio engineer subterfuge and secret key-logging and usb stick replicating – mostly your media consumption is fairly engineered. ALL YOUR TASTE BELONG TO US/THEM.

We release the first glistening taste of Atropolis to the cloud world this week. His full length drops 4/26. If you missed it the first time- he’s on some next level movement. It’s been a quiet first quarter at DA- but we’re just mining the data and building the killer app.


Atropolis – Asi Asi Asi Featuring Noelia Fernandez


We’re back at Gallery Bar for the second edition of Made In Africa this Thursday – the night of birthday celebrations! It’s Boima’s birthday, so do come out and show him love. Birthday boy Chief Boima and yours truly will be deck, supplying you homegrown and international heat and oil as we say farewell to Winter in America, Harmattan in West Africa, etc. and greet (slightly) warmer/dizzy/better seasons!

Made In Africa // Facebook RSVP
Thursday, March 3rd, 2011
Gallery Bar
120 Orchard Street
New York, NY 10002
21+ // $5 Cover // $5 Well Drinks until midnight!

& now – Gaddafi’s epic meltdown, THE TRANCE REMIX:

[youtube width=”525″ height=”393″]http://www.youtube.com/watch?v=cBY-0n4esNY[/youtube]

[youtube width=”525″ height=”393″]http://www.youtube.com/watch?v=7aWN6NYbOzg[/youtube]

Heavy one from Dutty compadre Timeblind!

your cel phone and portable electronics probably have minerals mined in the Congo and illegally trafficked. watch the other related videos if you are unaware of this.

please support legislation to keep mining transparent and stop thugs in the congo from profiting from the misery of their fellow countrymen. DRC should be known for its amazing musicians, not for more misery like this.

So this Thursday, January 27th, Chief Boima and yours truly, along some good friends from Garbon, Ivory Coast, and  Madgascar will kick off a new party in the southeastern part of Manhattan Island (a neighborhood commonly referred to as the Lower East Side of Manhattan borough) at Gallery Bar (art gallery by day, and lounge/party space when its dark.) We’ll be joined by very special guest, founder of Akwaaba Music and DJ, BBrave. Facebook RSVP.

Going Africa and Beyond. Though I won’t be popping champagne like my Ghanaian brothers Ruff-N-Smooth (they have all the money and the honeys!) I will be playing their music.

[youtube width=”525″ height=”393″]http://www.youtube.com/watch?v=etFHI594-rE&feature=player_embedded#![/youtube]


THURSDAY JAN 27th !!!!!!

QUE BAJO?! is back!!

It’s the return of the intergalactic gauchitos better known as Uproot Andy and Geko Jones. After a brief winter recess moon-walking across the globe and cooking up hotter than habanero remixes the Que Bajo?! party is back like a zombie Danny Trejo
On January 27th we welcome the Dutch-Dominican wonderkid DJ Munchi all the way from Rotterdam, Netherlands. Moombahton stylee from one of the scenes top notch DJ’s.

We have a couple of special surprises to announce as we get closer to the date but I wanna go ahead and introduce VJ Miixxy who will be controlling visuals for the evening.



DJ Munchi (Netherlands, Dominican)

Resident DJs Uproot Andy and Geko Jones

Visuals by VJ Miixxy

Hosted by Jean Bernabe and Amylulita

Flyer Design by Talacha.Net

Merry Christmas, if you celebrate these sort of things. It’s hot in Kingston and the holidays are confusing for me without snow or even a jacket.
The hustle doesn’t stop. Not sure what charity to give to this holiday season? If you care about black/queer/bass/culture/visual_house/future_NYC stop by DA extended family Le1f‘s kickstarter for his new noir-noir mixtape and send him some success. Dude deserves it like few other people I know. He’s been 100% DIY for a minute and it’s time to push him to that next level.

So much madness is lining up for DA next year that I’m tripping thinking that if half of it get’s done it will be amazing. Thanks for sharing it with us. We grind for you.

I flew from Rio to Kingston on Friday. Round four. Buenos Aires, Rio, São Paulo, now Kingston. A year of bass music, soundsystems, studios, ’nuff sessions and building the DA family. I’m researching what techniques enable artists, managers, promoters, pirates, and labels to eat off music – usually with dramatically less resources/infrastructure than there is in NYC. Mostly I’ve been bouncing around cities and their public transport systems to one-off meetings and parties. I’m trying something different in Jamaica and settling in to start work with Sharon Burke and her empire, Solid Agency. If you’ve done dance hall business, you know Sharon. But if you’re just a fan you might never of heard of the hardest working woman in Jamaica. She gets to the office first, spends all day working a grip of Black Berrys, leaves last, and even on the way home last night with her feet up, she was sealing deals for big shows while Ice, one of her drivers, swerved through Kingston traffic. Leftside’s impersonation is spot on. [youtube]http://www.youtube.com/watch?v=ThDFToJc8Hk[/youtube]

Solid handles artist management and booking, as well as being involved in events and just about every other facet of the industry. Kevin ‘Payday’ Green’s Alliance aligned studio is in the back- and even though it’s a humble affair, it’s nothing for Bounty Killer, Elephant Man, or Mavado to roll through in a day, along with ’nuff artists waiting their chance to run up the ranks. When no one’s voicing, the studio door opens and the near-fields get turned up to 11, pumping the latest tunes and unreleased riddims into the yard.

Early at the Payday Yard

I’m hoping my updates can be more regular now that I’m down here. First order of business is to start making some radio rips. You know when you’re driving through BK, or picking up Boston’s Hot 97 and you don’t want to finish you trip for fear of losing the pirate signal? It’s like that all the time, every day down here. Except you never drop the signal – of course Daggering and Gun Man lyrics are all officially banned- you have to get to a session for that- but it’s still fresh to death.

And don’t sleep on Natalie Storm’s new mix. She said she made it after a rough break up and a period of abstinence and it’s dripping with sex. Between her calculated dive into house, electro and dancehall, and Dylan Powe’s burner Wiley voiced Showa Eski Riddim. Good things soon come for Prodigal and Federation.

If you have people down here, or spots you love, and want to get in touch. I’m always down to build. TallyBower AT GGGGmmmmmAALLLE. Already looking forward to Dre Skull, DJ Ripley,  The Mad Decent Boyz, Toddla T and a few others being around. I’ll be here until March. Respect to Erin Hansen and Erin MacLeod for getting me sorted so far.

[youtube width=”525″ height=”393″]http://www.youtube.com/watch?v=Js-PAD2ECDQ[/youtube]

My regular 9 to 5 – Dubspot put together an interesting mini-doc featuring dub pioneer Scientist, who recently dropped an album on Pinch’s Tectonic imprint, talking about the origin and meaning of Jamaican dub and the role dub engineer in sound system culture and 1970s/80s Jamaican recording industry. The video also featured our very own DJ /rupture, composer/electronic musician Badawi, Deadly Dragon Sound System’s Ticklah, and music supervisor Barry Cole. If you’re  interested in the topic, and why it’s way much more than an “happy accident” I highly recommend Michael Veal’s Dub: Soundscapes & Shattered Songs in Jamaican Reggae. Check out wayne&wax’s analysis and review of the book + pertinent excerpt below, a little more context –

All the talk of circuits, knobs, and switches can distract one from the fundamental reality that what these musicians were doing was synthesizing a new popular art form, creating a space where people could come together joyously despite the harshness that surrounded them. They created a music as roughly textured as the physical reality of the place, but with the power to transport their listeners to dancefloor nirvana as well as far reaches of the cultural and political imagination: Africa, outer space, inner space, nature, and political/economic liberation. Nevertheless, this book will focus on those knobs and the people who operated them, in order to develop an understanding of the role of sound technology, sound technicians, and sound aesthetics within the larger cultural and political realities of Jamaica in the 1970s. (13-14)

Over the weekend, Jace/Rupture sent me a text to cover/fill-in on Mudd Up with one condition – “gotta play Diplomats “Crunk Muzik” in honor of WikiLeaks.” The organization dedicated to liberating secret documents unleashed a massive cache of confidential cables/exchanges between American diplomats/State Departments and embassies around the globe, plus our very own Diplomats from Harlem, USA performed a reunion concert at Manhattan’s Hammerstein Ballroom.  Anyway, that’s all we had in mind for this program – sounds leak from my laptop, and I ramble a bit –

Subscribe to the Mudd Up! podcast if you prefer downloadable versions, issued a week after FM broadcast: , Mudd Up! RSS. Also useful: WFMU’s free iPhone app.

Artist Track Album Label
Ikonika Dckhdbtch Dckhdbtch Planet Mu
The Diplomats (Jim Jones, Cam’ron, Juelz Santana) Crunk Muzik
Kangding Ray Fall (Ben Frost Demolition) Pruitt Igoe Raster-Noton
Blue Daisy & Anneka Black Petal Roses Raindrops EP Black Acre
Four Tet Sing (Mosca Remix) Domino
L-Vis 1990 Into The Stars Night Slugs
Fennesz/Daniell/Buck Heat from Light Knoxville
Spoek Mathambo War On Words Mshini Wam BBE
Senking V8 Pong Raster-Noton
Digital Mystikz Mountain Dread March Return II Space DMZ
Max Richter Flowers For Yulia Songs From Before 130701
Franco & Le TPOK Jazz Kimpa Kisangameni Francophonic Vol. 2 Sterns

I’m in the near south with family and friends observing yet another fucked up and annoying holiday – this one associated with the genocide of indigenous Americans. While unpacking my bags after the journey, and thinking about stuffing and delicious chocolate and pecan pies, I turned on a new mix from a trio of young, Afrocentric DJs – Crowdkrushers, from the south of Germany – a town called Tübingen. The mix was commissioned by Akwaaba Music to celebrate the netlabel’s second anniversary. It’s been two years already! Although I have lost count of the releases, Akwaaba remains consistent and continues to exposed us to some amazing music. So enjoy this mix, containing a healthy dose of fine Akwaaba Music.

A word from Crowdcrushers – “So this is our exclusive mix for Akwaaba Music. It‘s not so much all new and exclusive bangers but rather our impression of African music and its big influences on other musical territories (with one or two stylistic exceptions in the mix). We also kinda tried to give an idea of what we do in our club sets, not paying too much attention to tempo or style while keeping it funky and a wee bit humorous… Featuring Akwaaba artists Appietus, Ruff‘n‘Smooth, Kedjevara, Onyenze, Killamu, Dred Man-Gi and Arc Djebe. Hope you enjoy!”

Krush on Akwaaba by Akwaaba Music

Headin’ north this weekend… Toronto on Friday, Buffalo on Saturday.


The Toronto event forms part of the Music Gallery’s “Transforming The Network” series. We begin with a panel discussion on World Music 2.0 at 7pm. Details. A few hours after that the music kicks off. 

Then on Saturday, I’ll be DJing a party in Buffalo with Brainfeeder artist Alex B @ Soundlab. I’ve never been to Buffalo! Come on through and say what’s up.



We are all curators and everyone gets to hang/post their 15 pieces. Interviewing Leeor Brown last week about his insider take on the world of P(A&)R we talked about how to tell stories through and across digital networks (HIS TELL ALL INTERVIEW IE #REALTALK VOL.! IS COM1NG NEXT WEEK). In a media environment where the biggest players are only a few re-tweets away we still actively police our digital social life with decorum held over from meat-space. Getting someones email address might be easy- but sending a message and opening dialogue are not the same thing. How many release announcements fall on deaf gmail accounts? I remember reading a few years ago that on A Small World (ie facebook for rich people) a user was banned for friend requesting Paris Hilton because he didn’t have a legitimate claim to be a part of her social network. Annoying promo emails don’t usually provoke active shunning, they just got ignored. It was refreshing yesterday, then, to see tucked away alongside “Artists On Tour! Interviews, guest list and more available!” and “What is a Pixelated Lazer Face Bass Monster?” a really honest no BS hyperbole promo email of sorts. It read:
“Greetings and much respect…thought you folks (certainly DJ/Rupture) would get a kick out of this recent essay: http://bit.ly/aRU34F
Keep up the fabulous work,


“…my people simply told him to call me home with the power of his ‘Invisible Missive Magnetic Juju’ which could bring a lost person back to home from an unknown place, how far it may be, with or without the will of the lost person. So having paid him his workmanship in advance, then he started to send the juju to me at night which was changing my mind or thought every time to go home.”
-Amos Tutuola, My Life in the Bush of Ghosts


Many markets in Nigeria have areas called “computer village,” especially in places ranging from Alaba in Lagos on the West coast to Port Harcourt in the oil-ravaged Southern Delta, and over to the famous one in Onitsha in the East, where almost anything can be gotten—today’s catch from the river Niger, counterfeit medicine, locally made “foreign” goods, even dodgy airplane parts. Look through clouds of red dust for handwritten signs advertising, “computer repair,” “speedy programming” or “internet café.” Watch your step as you avoid scores of motorcycle taxis called Okadas because you could easily knock over a table scattered with the guts of cell phones which for a handful of naira will allow you to contact almost anywhere in the world. Computer village is where the detritus of Western and Eastern digitization either goes to pile up in jagged cathode ray mountains and die, or awaits repurposing in wiry bundles and circuit board batches spread across acres that simply beg for the eye of contemporary photographers like Andreas Gursky or Chris Jordan.

It’s fascinating to imagine how these blank-screened cadaverous wholes and frayed bits and pieces have all gotten here. There’s so much black glass that it is like the landscape of an indecisive volcano. These used computers have been donated by Western charity organizations and faith-based NGOs and given the Nigerian tendency to use things even beyond their given function or recognizability, their presence here is only temporary. A great many were brought from Ghana or up from South Africa while a steady stream arrived from China even before that country began its obsessive courting of West and Central Africa. But the vast majority of these machines, parts and components have been shipped by or brought in by enterprising Nigerians who since the late 1980s have known that what would mark this generation of West Africans more than blight, violence or corruption was a hunger for Web-based connectivity, that narcotic rush of shared information.

With almost no formal education whatsoever, many would learn how to rig, rewire, rebuild and master the essentials of computing in these glorified junkyards. They learned from ragged men with soldering irons in their pockets that pushed wheelbarrows filled with screens, wires and keyboards, with the wild-eyed look of juju men drunk on that vile moonshine called ogogoro.


Louis Chude-Sokei is a professor at the University of Washington in Seattle- which means I used to sit endlessly in the skyspace 5 minutes away from the classrooms where he was obviously dropping serious knowledge. There are many powerful registers that he moves through in this essay- and when it is so easy to find cringe-inducing writing about poor countries- especially where tech and development are concerned- we must recognize the beautiful moment of being alerted to such powerful well written analysis (with bonus points for Tom “OH MY GOD I GET IT” Friedman pop-shots). Here’s hoping that when I write Prof. Chude-Sokei back asking him to contribute to DA he responds.


Discussion question: Can we learn from 419 Yahoozzzee boys about telling stories on the internet and building relationships out of digital ether? IE HOW TO MAKE $OLID ALL THAT IS MELTED BITS IN THE CLOUDY AIR . It’s time to start looking at alternative economies and networks and re-purposing/learning from their success. If such limited bandwidth can translate into this much cash and we arnt doing shit with our TI connections then it is time to employ a new model.



419 is oldschool. nigerian zombie computers for hire, will swarm for $


Soundboy Murderation Part 3

Dutty Artz’s first two articles on termination guidelines can be found on this Dutty Artz blog site, which you can link to here: https://duttyartz.com/

In a previous Dutty Artz series of articles we discussed things to consider when you are considering DJ termination. We presented ideas on what Dutty Artz consultants recommend to Dutty Artz clients on this matter. In this new series we are covering guidelines to bear in mind once you have actually decided to terminate the DJ under consideration. These are guidelines that Dutty Artz consultants go over with their Dutty Artz clients, especially clients new to the Dutty Artz program.

As previously noted, all of this information can be found in Dutty Artz Group’s copyrighted Job Description and Office Policy Manual that all new Dutty Artz clients receive as part of their Dutty Artz program. The Dutty Artz Group’s 400 plus page manual can be easily edited for any office and is something all Dutty Artz consultants ensure is implemented with Dutty Artz clients. In today’s litigious world, having proper policies in place, and following them, is vitally important.

Here are several more guidelines to keep in mind when discharging a DJ:

o When the DJ Begs: If an DJ begs for a second chance, you have got to be tough. Be willing to explain things but don’t give the slightest indication that you are flexible in your decision.

o Arguing the Reasons: Don’t argue with the DJ. Indicate that you have the specific documentation supporting the decision. On the other hand, if the DJ’s argument convinces you that something has been overlooked, indicate you will check it out as quickly as possible and do so.

We will present more guidelines for termination in upcoming Dutty Artz blogs.