Sep 01,2014: J Boog and Mike Love


J Boog is a man of many influences. The singer of Samoan descent was born in Long Beach and raised in Compton, California. Growing up in the rough streets of Compton, the strong sense of tradition and culture that J Boog absorbed from his family was instrumental in his path to stay off the streets and begin a successful music career.

At the age of four, after hearing his older sister playing the piano, he developed an interest and started watching her and learning about music. Soon, J was singing along to the notes melodies he heard his sister play. A while later, she brought home a Bob Marley song book. Even at this young age, J knew Bob’s name and his music. Upon hearing his sister begin to play, something clicked inside J. He hasn’t been the same since.
The first time J Boog performed in front of an audience, he was nine years old. It was a large family reunion at a church and there were about 200 people present. J’s mother and sister insisted for him to sing Whitney Houston’s “One Moment In Time” and J obliged them. Though he was nervous, it went quite well.

J Boog’s music career became serious in 2005, when a couple of brothers from his neighborhood brought him to one of J’s favorite artists, George “Fiji” Veikoso”. The two began working together immediately and J ended up moving to Hawaii in 2006 to continue developing his craft. After releasing his debut album “Hear Me Roar” in 2007, he joined the musical family Wash House Music Inc, a record label based in Hawaii and San Francisco.

A year later, in 2008, J Boog met Gramps Morgan of Morgan Heritage and there was an instant chemistry. Gramps was keen on working with J, and set out to make a way. Shortly after, Gramps, J Boog and other Wash House family members were in Jamaica recording in such prestigious places as Bob Marley’s “Tuff Gong” Studio, Don Corleone’s “Hit Maker”, Bobby Digital’s “Digital B”, Shaggy’s “Big Yard”, Sugar Minott’s “Youth Man Promotion” and more.

The results are apparent when listening to Boog’s new music. It is authentic Island Music and genuine Jamaican reggae at the same time. Truly a new and exciting combination. There is a natural theme to Boog’s writing: love. It recurs throughout his work and never once seems contrived. When you listen, you will feel he truly knows matters of the heart.

These days Boog is either in a studio, on a stage or catching a flight. Radio interviews have become a daily thing and it’s a little overwhelming for the young artist, though he has been smart enough to keep his humility. He has a great sense of humor and an even better sense of reality. He can be overheard saying how blessed he is on a daily basis. It’s easy to see why J Boog has been winning over fans when you meet him. He has the right spirit and attitude to carry him to the next level.

J Boog’s new album, “Back Yard Boogie” released on September 27th 2011, debuting at #1 on the iTunes Billboard Reggae Charts. The album features guest performances from the likes of Peetah Morgan of Morgan Heritage, Tarrus Riley, Fiji, Spawn Breezie, Jah Maoli, and Jacob Hemphill of SOJA.



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Aug 31,2014: Fuel and The 3 Heads


One of the more prominent bands in the new millennium’s post-grunge scene, Fuel originally comprised the talents of singer/guitarist Brett Scallions, guitarist Carl Bell, bassist Jeff Abercrombie, and drummer Kevin Miller. The band took shape in Tennessee in 1989, crafting a blend of polished guitars and melodic melancholia, before relocating to Pennsylvania in 1993. While playing gigs on the local nightclub circuit, Fuel made its studio debut with an independently released EP, 1996′s Porcelain, which sold over 10,000 copies locally and spawned a hometown radio hit with “Shimmer.” Such success brought Fuel to the attention of Sony’s 550 imprint, which released the EP Hazelton the following year. The band’s full-length debut, Sunburn, followed in 1998.

“Shimmer” proved to be Fuel’s calling card once again, as the kinetic single became a modern rock hit and nearly cracked the Top 40. Additional singles like “Bittersweet,” “Jesus or a Gun,” and the title track (featured on the Scream 3 soundtrack) also earned airplay, propelling Sunburn to platinum record status. Fuel’s second album, Something Like Human, followed two and a half years later and launched the hit “Hemorrhage (In My Hands),” which proved to be the band’s biggest single to date. The album itself reached number 17 on the Billboard charts; within a year of its release, it had climbed to double platinum status, making Fuel one of the more successful rock acts of the year.

Released in 2003, Natural Selection sold 71,000 copies in its opening week thanks to the strident lead single “Falls on Me.” The album quickly fell from the charts, however, and following the 2005 release of Best of Fuel, frontman Scallions amicably parted ways with the band. Several months later, Fuel’s remaining members watched as American Idol contestant Chris Daughtry performed a solid cover of “Hemorrhage (In My Hands)” during the show’s fifth season. They offered him the position of Scallions’ replacement, but Daughtry ultimately turned the gig down, opting to launch a career of his own instead. Undeterred, Fuel enlisted Toryn Green as the band’s new singer and began to work on a fourth studio album, Angels Devils. Meanwhile, ex-Godsmack drummer Tommy Stewart filled in for Kevin Miller during live performances and eventually became a permanent part of the group. Other obligations prevented Stewart from recording during the Angels Devils sessions, however, and Nine Inch Nails/A Perfect Circle drummer Josh Freese was brought in to temporarily handle percussion duties. Angels Devils was ultimately released in August 2007.



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Earth Talk: Dealing with Mounting E-Waste

Dear EarthTalk: We must really be swimming in electronic waste, what with all the iPhones and other devices that are so common. How is this all being dealt with?      – Mary S.

With electronic equipment and gadgets the fastest growing waste stream in many countries, how to deal with so-called “e-waste” may in fact be one of the most pressing environmental problems of the 21st century. According to BCC Research, consumers around the world purchased 238.5 million TVs, 444.4 million computers and tablets and a whopping 1.75 billion mobile phones in 2012 alone. Most of us discard such items within three years of purchase, and this is driving the global growth in e-waste by some eight percent a year. Meanwhile, a recent study conducted by researchers from the Massachusetts Institute of Technology (MIT) on behalf of the United Nations found that the growth in demand for and manufacturing of new electronics will result in a 33 percent increase in e-waste globally between 2012 and 2017.

 

But why is e-waste any more of a problem than old fashioned garbage? “Some of the materials in personal electronics, such as lead, mercury and cadmium, are hazardous and can release dangerous toxins into our air and water when burned or deposited in landfills improperly,” reports the non-profit Natural Resources Defense Council (NRDC). “And throwing away metal components, like the copper, gold, silver and palladium in cell phones and other electronics, leads to needless mining for new metals.”

 

Today some 80 percent of unwanted electronics are disposed of improperly. “E-waste is either discarded or exported to emerging nations, where open-air burning and acid baths are used to reclaim precious metals and other elements,” reports Maureen O’Donnell in EHS Journal. The lack of proper controls in such countries, she says, has led to elevated lead levels in children and heavy metals pollution of soil and water. As a result, she adds, “we now stand at the forefront of a growing environmental catastrophe.”

 

The good news is that many nations have enacted new laws to hold manufacturers responsible for the future e-waste created by their products. The European Union has led the way with its Waste Electrical and Electronic Equipment (WEEE) Directive, which calls on electronics makers to “take back” their products for recycling when consumers upgrade to something new, and restricts European countries from exporting or importing e-waste. Japan and China are among other countries that have passed similar laws.

 

The U.S. government has yet to follow suit, but the Electronics Takeback Coalition (ETC) reports that 21 U.S. states have implemented their own “take back” laws, and several other states are considering similar legislation. Meanwhile, environmentalists continue to pressure Congress to consider similar legislation at the national level, given especially that Americans’ are the world leaders in generating e-waste.

 

Additionally, many manufacturers are adopting voluntary e-waste recycling certification standards. One is the e-Stewards program, which helps those looking to dispose of obsolete electronics identify recycling options that adhere to high standards of environmental responsibility and worker protection. Another program, R2 Certification, run by the non-profit SERI, is supported by several large manufacturers, including DirecTV and Microsoft. Consumers can do their parts by choosing manufacturers that embrace so-called “producer pays” electronics recycling through participation in one of these programs.

 

CONTACTS:ETC, www.electronicstakeback.com; e-Stewards, www.e-stewards.org; SERI, www.sustainableelectronics.org; WEEE, http://ec.europa.eu/environment/waste/weee/legis_en.htm;

 

 

EarthTalk® is written and edited by Roddy Scheer and Doug Moss and is a registered trademark of E – The Environmental Magazine (www.emagazine.com). Send questions to: earthtalk@emagazine.com.

 



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Aug 30,2014: Collie Buddz, Ethan Tucker and more


Born in New Orleans, raised on the isle of Bermuda with intermittent stays in urban Toronto, Colin Harper is not an easy youth to pin down geographically. His musical alter ego Collie Buddz however, is one of the most firmly grounded voices you may ever encounter. Incorporating influences from hip-hop to soca, Collie’s music nevertheless has a rock-solid foundation in reggae – and its power to connect ghetto reality with the highest heights of human aspiration – that is a rarity even in Jamaica.

Born in 1981, at the dawn of the turbulent era signaled by the twin omens of Bob Marley’s passing and Ronald Reagan’s election, Collie was immersed in the sound system culture of Bermuda aka “The Rock” since the age of 6. “I used to come home from primary school and my brother would always be on the turntables, playin his new 45′s an’ I’d just be there vibesin’.” The evolution of dancehall and sound-clash culture into a movement of it’s own in the late 80s and early 90s set the backdrop for young Collie’s discovery of his own sonic identity, and the dancehall kings of that generation – Buju Banton, Bounty Killer and Beenie Man served as his primary influences. “Back when Beenie and Bounty used to war lyrically, seeing clashes wit’ Kilimanjaro an all the sound-man an’ everyt’ing…the whole music scene for me took on a new meaning. Clash thing an’ lyrical war became a part of my daily life from early out.”

The daily operation of trading lyrics in schoolyard clashes quickly gave way to more serious combat as “…people startin sayin ‘Ay, Buddz got some lyrics!’ From an early age, some of the local sounds on the island wanted to get me on dubplate,” says Collie, who stepped into the first of many vocal booths at age 16 to voice customized dubs for some Bermudian sounds. “Sounds was always trying to buss local artists in Bermuda.” Consistent encouragement from the various soundmen and engineers he encountered on those dub excursions led Collie to maintain a musical focus and eventually trek to Florida for a degree in audio engineering, a path that ended behind the boards of his own Bermudian studio, jointly run with his older brother (Smokey) and Sneek Success from one of Bermuda’s founding sounds, ‘Newclear Weapon’. Building riddims for other artists only expanded his love for writing and voicing his own lyrics however. “I used to make these beats an’ none of the tunes came out how I pictured an artist sittin’ on de riddim, so I decided to start to get in the booth myself again and spit some lyrics. Unless my brother engineerin’ for me, I’m runnin from the board to the booth, back to the board!” Like boot camp for a one-man army, that experience molded the signature vocal style that defines Collie Buddz – a songwriter who can lay his own riddim, sing the hook and chat on the verse. “I build de riddim first and while I’m building it I don’t try an’ think about lyrics ’cause I’m tryin’ to focus on the riddim, yunno? I make it sound as best I can and then for a day or two I rest my ears then start de writing process. I come up wif a melody firs’ and get that down, then start with the lyrics.” The skill with which he compartmentalizes multiple roles in the studio also extends to his easy movement between styles.

A falsetto that combines the singsong lover’s rock appeal of a carnival crooner like Rupee with the deeper emotional catch of Bob Marley or Sizzla, Collie’s voice sits with equal comfort over the jump-up pace of ragga-soca, 4/4 hip-hop beats or an achingly slow one drop. Most strikingly on tunes like “My Everything” he finds both the drive of dancehall and the bluesy edge of roots in a frenetic polyrhythm built around the Latin horns of David Bowie’s “Let’s Dance,” an up-tempo track that could be just as home in a Trinidad carnival as a UK discothèque. “Some tunes I create are just to show that I could do anything I put my mind to,” he explains “to show the versatility of my style.” For many artists such versatility can be a curse and only a select few can maintain a distinctive voice when so many styles come so easy. But on tracks like “Moving On,” the layers of competing influences seem less like contradictions and more like necessary stages in the development of a larger persona, something like the succession of roles from pimp, to preacher, to something like a revolutionary that formed Malcolm X. Instead of pulling the song apart, the warring elements are all somehow essential to a larger vision reflected in his lyrics: “Feel like me cyan move an’ trap in a cage / still searchin’ for the words to put ‘pon the page…” It’s that discovery of timeless roots even within the sweatiest dancehall track that marks the culmination of Collie’s growth.

“Nowadays when I go to put on a CD, its old tune: Alton Ellis, The Meditations, The Heptones, Skatalites, Jacob Miller, Eric Monty Morris; love the rockers music. From that I start to teach myself some of the history of this music, that’s where I started to come a little more versatile with the singin’…the foundation just straight reality, yunno. I like dancehall, but de foundation and conscious tune really what me love.”



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Aug 30,2014: Hermosa Beach Farmers Market

Market Hours:
Year Round
Friday  12:00 pm – 4:00 pm

Location: 11th Street, 1035 Valley Dr., Hermosa Beach, 90254



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2014 Manhattan Beach Open News Notes Finals Results and Photo Gallery

This gallery contains 67 photos.

2014 Manhattan Beach Open News Notes Finals Results and Photo Gallery Best of 2014 Manhattan Beach Open Vollies, Spikes, Blocks and Digs Video 2014 AVP Manhattan Beach Open Finals Day Highlights The 2014 AVP Manhattan Beach Open once again showcased … Continue reading

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Gurus Gate Yoga Hosting their Second Free Annual Wellness Fair

“Gurus Gate Yoga will be hosting their second Free Annual Wellness Fair on Saturday September 13th. In the morning come along and enjoy FREE yoga including Hatha, Vinyasa and Kundalini. In the afternoon we are hosting a free wellness fair focused on the mind, body and spirit. Alongside meeting our therapists and sampling some treatments you can shop with some of our wonderful vendors whilst listening to an array of live music.”

When: September 13th – Yoga at 7:30am, 9am and 10:30 and then the wellness fair from 1-5

Cost – Free – including yoga, sample treatments and demos

For more information visit www.gurusgateyoga.com



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Aug 29,2014: Spazmatics

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Aug 28,2014: Eric Lindell


“Passionate blue-eyed soul smothered with a big heap of percolating New Orleans funk.” -LA Daily News

“A tremendous raw talent with a poet’s soul…Lindell writes from the heart with a fully realized musical vision.” -Chicago Sun-Times

Only a few short years ago, singer/songwriter/vocalist Eric Lindell was known only to a small but enthusiastic group of fans in his native Northern California and his adopted city of New Orleans. Once he hit the national music scene with his 2006 Alligator Records debut, Change In The Weather, critics and fans around the world celebrated the arrival of a roots rocker with dozens of unforgettable original songs. His combination of sweet, blue-eyed soul with groove-laden RB, swamp pop, funk and blues won him critical and popular acclaim across the country. As he toured the U.S., his fan base grew, and before long clubs and festivals were filled with dancing people singing the words to every song. With his 2007 release, Low On Cash, Rich In Love, his popularity increased exponentially. A February 2008 appearance on Late Night With Conan O’Brien put him in front of an audience of millions of people worldwide. Clubs around the country were experiencing overflow crowds when Eric performed. The word was out. Eric Lindell had arrived.

And now he’s ready to write the next chapter of his success story with the release of Gulf Coast Highway. According to Lindell, “Writing and recording the new CD felt natural and easy. It’s a celebration of my last ten years living here on the Gulf Coast. I’m really happy with it. I took my time and everything just came together. And I love playing the songs live.”

Recorded at Balance Studio in Mandeville, Louisiana, Gulf Coast Highway will capture the attention of music lovers all over the globe. Featuring 12 original songs and three inspired covers, Gulf Coast Highway finds Lindell reaching new performing and songwriting heights. His soul-drenched mix of roots-rock, sinewy blues, swampy RB and a hint of honky-tonk soul permeates each and every song, and have led critics to make comparisons to Van Morrison and Delbert McClinton. With musical help from some of the Crescent City’s finest players, including the Galactic rhythm section of Robert Mercurio and Stanton Moore on some tracks, Lindell has created his most fully realized lyrical and musical statement yet.

Born in San Mateo, California in 1969, Lindell spent countless hours in San Francisco, soaking up the musical sounds of the city, eventually leading him to pick up first the bass and then the guitar and harmonica. Lindell listened to the music of The Impressions as well as Buddy Guy. He discovered blues greats Junior Wells, Jimmy Reed and Albert King before drifting toward the RB sounds of Stevie Wonder and Donny Hathaway, soaking up the soul and learning how to craft a song. After performing at bars on the West Coast with a few short-lived bands, Eric formed his own group in 1993 and quickly gained a loyal California audience thanks to countless performances and many late-night jam sessions. Established stars like Charlie Musselwhite and Tom Waits attended his gigs, as did overflow crowds of music fans. Established stars like Charlie Musselwhite and Tom Waits attended his gigs, as did crowds of music fans spilling out of club doors.

Lindell left for New York in 1998, gigging there regularly before heading down to New Orleans in 1999, where he quickly discovered the roots music scene. He gravitated toward the West Bank dive bars of Gretna and Algiers, Louisiana, where he befriended many older swamp pop musicians who helped him get more regular gigs. Before long he met up with Galactic’s Stanton Moore, and the two jammed together often. Some of New Orleans’ finest players, including keyboardist Ivan Neville and drummers Harold Brown (War) and Johnny Vidacovich, often joined him on stage. Galactic bassist Rob Mercurio began sitting in as well, and word of Lindell’s immense talents quickly spread around the city. Stars like Branford Marsalis, The Neville Brothers, John Scofield, Chris Chew (North Mississippi Allstars), and Wally Ingram (David Lindley, Stockholm Syndrome) began showing up at his gigs and embracing this fresh California kid’s funky music. According to Lindell, “It’s a great feeling to be recognized for your music in New Orleans.”

Lindell’s 2006 Alligator Records debut, Change In The Weather, delighted and surprised music fans hungry for a truly original artist. Lindell’s deceptively simple sounding songs, laid back grooves and hook-laden melodies were fueled by guests including Brown, Neville and Moore. Critics across the country went wild, with reviews and features in Relix, OffBeat, Harp, Guitar Player, Down Beat, The New Yorker, The New York Press and many other national and regional publications. Singer And Musician magazine put Eric on the cover and many newspaper entertainment sections did the same. The Chicago Sun-Times said, “Eric Lindell is a tremendous raw talent with a poet’s soul. He writes from the heart with a fully realized musical vision.”

Radio responded in kind. The first single, Give It Time, debuted as the #1 Most Added song on the Radio Records (RR) Indicator Chart (and spent 14 weeks there, peaking at #16), #1 Most Added on the Americana Chart and #2 Most Added at AAA radio overall. The song was a Top 20 single on Friday Morning Quarterback’s (FMQB) AAA Chart. In addition, Lindell triumphantly appeared on the nationally syndicated public radio program Mountain Stage.

The 2007 release of Low On Cash, Rich In Love pushed Lindell farther into the spotlight. The 2007 release of Low On Cash, Rich In Love pushed Lindell farther into the spotlight. The single Lay Back Down spent 10 weeks on RR’s AAA Indicator Chart and 11 weeks on FMQB’s Top 50 AAA Tracks. Appearances on Late Night With Conan O’Brien, his return to Mountain Stage and reviews in USA Today, Relix, Down Beat, Harp, Living Blues, Blues Revue and many other national and regional publications solidified Lindell’s stature as an artist who simply could not be ignored.

Lindell’s live shows draw as much attention as his material. Fun, funky, high-energy and set-list free shows keep fans clamoring for more and coming back again and again. His unstoppable grooves, rocking, deeply rooted, original songs and excellent musicianship never fail to fill the dance floor. Guitar Player says, “Impressive, super slinky classic blues and rock with a taste of country twang. Lindell is bound to win over roots music fans for years to come.” The Philadelphia Inquirer simply called his music, “timeless blue-eyed soul.” The Boston Herald calls him “a ferocious talent.” With the release of Gulf Coast Highway, and a full slate of tour dates around the country, Eric Lindell’s talent and soul will shine brightly from the Gulf Coast to stages all over the world.



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Aug 27,2014: Rian Basilio and the Roosters

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