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Reggae Artist Mavado Philippe Chow Only Likes Black in Bean Sauce

Reggae Artist Mavado claims he was treated like a bum and even verbally abused at a fancy Asian restaurant … simply because he’s black.

Sources close to Mavado tell TMZ … he hit up Philippe Chow in NYC for lunch Thursday with his family, when he was curiously put in the back of the restaurant, even though it was pretty much empty.

Mavado didn’t complain and the family got down to business, chowing down at Chow, when he walked over to another empty table and had someone in his family take a pic of him. He says that’s when a manager said he couldn’t sit at that table because they were expecting guests.

Mavado claims the manager added he was prohibited from using his phone in ANY manner.

He then claims he got the bum’s rush … all of the food came out at once. We gotta say, that’s what Asian restaurants typically do, but that’s his story. He says he felt like they wanted to get him out.

Things got hot as fish grease when Mavado’s wife tried sending the rice back. He says the manager came over and pitched a fit. He says the rice stayed put, yet it was included in the bill.

Mavado then accused the restaurant of treating him shabbily because he’s black, and the manager allegedly slammed the bill on the table and told him never to come back.

Mavado claims his manager was later contacted by the restaurant and they profusely apologized, saying they didn’t know he was a famous person. Mavado says he’ll never go back.

As for the restaurant, we called and a manager said, “We are talking to Mavado’s people and we have no comment.”

John Brown’s Body brings reggae into the future with ‘Land of Plenty Dub’ — exclusive

John Brown’s Body is the rare roots reggae group that extends itself beyond simple historical reenactment, working in modern influences to create something that sounds like Lee “Scratch” Perry remixing a Radiohead track, which has led to No. 1 spots on the Billboard reggae chart and a comfy place in the jam band scene. For their new album Kings and Queens in Dub (out April 7 on Easy Star Records and currently available for pre-order in digital and CD formats) they worked with NYC reggae stalwart and Antibalas member Victor Axelrod, aka Ticklah, who produced the single “Land of Plenty Dub.”

According to JBB’s Drew Sayers, “He added so much to that group with his improvisations and compositional sense, and when I started to dig in to his productions I quickly realized he is one of my favorite all-around musicians out there. He brought something really special and unique with ‘Land Of Plenty Dub’—he achieves that balance between using classic dub techniques and tones but applied in a way you’ve never heard before.”

Son of reggae great Peter Tosh has until Monday to take plea or be tried for 65½ pounds of pot in Mahwah traffic stop

Peter Tosh’s youngest son, Jawara McIntosh, is currently in a New Jersey jail. Police pulled his car over in June and found 65 pounds of pot.

A performer like his famous father, Jawara, is known as Tosh 1. He’s one of nine children sired by the former Wailer.

On June 15, McIntosh’s 2013 Nissan Sentra rental car was stopped by police in Mahwah for allegedly driving recklessly. They claim there were open bottles of alcohol on the front seat and that McIntosh was under the influence. His license, which he didn’t have, was suspended at the time.

Peter Tosh’s youngest son, Jawara McIntosh, is currently in a New Jersey jail. Police pulled his car over in June and found 65 pounds of pot.

A performer like his famous father, Jawara, is known as Tosh 1. He’s one of nine children sired by the former Wailer.

On June 15, McIntosh’s 2013 Nissan Sentra rental car was stopped by police in Mahwah for allegedly driving recklessly. They claim there were open bottles of alcohol on the front seat and that McIntosh was under the influence. His license, which he didn’t have, was suspended at the time.

Lee ‘Scratch’ Perry: An outside look at reggae’s godfather

Guitarist and producer Emch never imagined he would play with Lee ‘Scratch’ Perry; he didn’t even know whether the storied producer was still alive. Perry is a musical figure so strikingly influential, universally pervasive, and oft-imitated that he seems too mythical to be the stuff of reality. In 1999, decades after Perry pioneered sampling, defined DJ culture, and introduced Bob Marley to a then-revolutionary musical genre known as reggae, Emch reimagined his influence in a New York City dub collective known as Subatomic Sound System. Emch was initially emulating the communal creativity of Perry’s famed Black Ark Studios, but 10 years later he found himself entrenched in the enigmatic world of Scratch himself. “I never would’ve thought that I would be playing with Perry,” Emch says. “Most people weren’t even sure where on Earth he was.”

Years before dubstep imploded, the Sound System was integrating electronics with makeshift reggae recording techniques perfected by producers such as Perry and the late King Tubby. Thanks to the computer boom of the 21st century, professional recording technology was made cheaper and more accessible to the layperson. Emch and his fellow musicians spent the early aughts using home studios to furiously churn out music. “Perry was one of the first famous people who created a home studio,” he says. “He made so much world-renowned music from his backyard.”

In 2007, Vienna-based dub outfit Dubblestandart took notice and tapped Subatomic for a remix of a Perry-featuring track, “Iron Devil.” Two years later Emch was backing Perry with Dubblestandart for a sold-out show at Central Park, and since then he’s been touring the world with the shadowy idol he once thought dead.

Even though Perry recently turned 79 years old, his backing band’s biggest challenge is keeping pace with his forward-thinking vision. “We’re actually the ones who have to push Perry to play classic material because he wants to make new music,” he says.

Emch doesn’t speak of Perry as some dated figurehead, confined to documentaries and historical anecdotes. Instead, he appears as a Yodalike figure, constantly giving obscured wisdom that may seem like the ramblings of a ganja-addled mind, but his cryptic words are laced with glimmers of genius. Once, before a show, Perry instructed the bass player to “play a major scale up and down, like a monster walking in space.” Anyone familiar with the space-age boom of dub bass can recognize how apt the imagery is. “When he communicates his musical ideas he does it in metaphors, which I think can be so much more inspiring to people,” Emch says. “You understand the feeling, and you create something from that feeling.”

Perry’s murky metaphors are especially crucial to help his band re-create the phased-out, stripped-down, low-end psychedelia that defined his Black Ark Studios, where musicians from around the world came to capitalize on his expertise. “That very analog sound gets lost by a regular band,” Emch says. “One of the most important things was trying to capture that sound.”

Subatomic Sound System’s electronic prowess proved to be Perry’s biggest asset in fulfilling his renewed vision. His recent shows have incorporated the live band feel of a traditional reggae band with updated electronic touches typical of dubstep sets. While dubstep can seem like a dirty word thanks to an onslaught of spring break anthems, Emch is quick to point out that their version of the genre actuallyretains the “dub.” The link between Perry and massively popular DJs such as Rusko is so important to Emch that he teaches the connection to his students at DubSpot, an electronic music school.

“It’s like a mission for me to expose people to Perry,” he says. “In America, I felt like dubstep got super popular with lots of producers who didn’t know it was drawn from reggae roots.”

Even for musicians outside dubstep, the connection is not a minor footnote. Perry was one of the first producers to explore sampling and remixing, and to put himself on the cover of his albums, a space usually reserved for musicians. He helped elevate DJs from the fine print to the rock-star status that producers such as Pharrell and Deadmau5 currently enjoy. His influence even transcends the electronic realm. Beastie Boys, Bad Brains, and even Andrew W.K. have all professed their admiration for dub’s godfather.

“Beyond music, Perry has influenced my whole life,” Emch says. After 79 years, when so many other so-called legends have lost relevance, Perry is still inspiring new generations of musicians.

Britain’s Got Reggae

WHAT DO you get if you mix popular ITV 1 show Britain’s Got Talent with the country’s top unsigned reggae artists?

Britain’s Got Reggae (BGR) offers a syncopated spin on the popular television franchise and aims to give unsigned UK reggae artists opportunities and exposure in a competitive field.

This year’s event, the second in the series from City Link-Up Unsigned, will take place at the Hootananny in Brixton, south London, on Thursday, April 23, 2015.

Brixton’s Hootananny has previously won awards for the Best Live Music Events venue and Best Live Music Pub and has also played host to many established reggae artists from home and abroad.

BGR’s inaugural event took place in January and showcased artists from Leicester, Nottingham, Birmingham and London. It was originally planned as a one-off affair, but due to an outpouring of positive feedback, another celebration was organised almost instantly.

“There are some fantastic artists and music being produced within the UK but limited platforms exist for those that are up and coming,” the show’s organisers said.

“Mainstream radio stations are no longer playing reggae music, so they are not even getting heard by wider audiences. We feel as a team that we have created a platform with a few of the leading businesses within UK Reggae Music such as VP Records, Stingray Records & Natty B’s UK Official Reggae Charts, which will enable artists to get the positive exposure that is needed,” they added.

CHARITY

The events support raise awareness for the African Caribbean Leukaemia Trust (ACLT) and makes every effort to encourage people of colour to join the register. Black donors are seriously unrepresented.

“Our vision is for reggae music within the UK to be recognised and for artists to get the recognition they deserve.”

The full schedule of dates for future events are as follows:

Thursday, April 23, 2015
Thursday, July 9, 2015
Thursday, August 6, 2015
Thursday, September 3, 2015
Thursday, October 1, 2015
Thursday, November 5, 2015
Thursday, December 3, 2015

The City Link-Up Unsigned team are currently looking for sponsors for Britain’s Got Reggae events. If you’re interested, please email citylinkup@gmail.com or visit: www.citylinkup.co.uk