By Vinette K. Pryce
Although the first Apollo outing of the International Reggae & World Music Awards may have attracted a larger audience last year, and may have been far more cohesive than this year’s, it seems the annual is now finally moving forward. A major blunder was to assume that Doug E. Fresh could handle the emcee duties. I would have been one to argue for the human beat box but Saturday proved me wrong. Doug E. was out of his element. The host never ever introduced himself. He walked out, started to talk and never even identified himself. A stage manager should have caught that and remedied the flaw but it never happened and he was never fully accepted as the host. The fact Doug E did not have a teleprompter to work with could have been the problem. Faced with little pieces of paper, he shuffled, scuffled and lost the audience throughout the proceedings. Pre-promotions had promised that the task would be shared with soca star Machel Montano – that did not manifest. Matter of fact, Montano accepted an award and said Doug E would be doing all the talking.
Doug E is no stranger to the Apollo stage.
He has been the warm-up talent at many of Amateur Nights and Showtime showcases. However, he is a freestyle talent who improvises not read from pre-written notes. Clearly he never really connected with the crowds.
As a performer, he was his usual teaming with Vicious, and Machel.
The entire proceeding lacked a rhythm, it never really flowed. That was the function of the host.
The 26th annual seemed to combine elements of two defunct award shows – The Caribbean Music Awards (which was held at the Apollo for 10 years) and the early Tamika Awards which were initially refereed to as the New York Reggae Music Awards. Like the CMA, the IRAWMA attracted some solid names – B.B. Seaton, Bunny Lee, Sean Paul, Vicious, BruckUp, Cong. Charles B. Rangel.
The diversity of the presentations exemplified excellence.
Early Tamika managed to corral Jamaicans for a showcase that championed its talents. Although it disintegrated to become just another dancehall stage show, its genesis seemed deeply rooted in providing excellence.
While this year’s IRAWMA lost cool points on gambling on Doug E, it seems their mission is tough. The CMA did enlist funnyman Oliver Samuels to co-host with Steve Harvey.
Samuels fell flat on his comedy routine.
Harvey was awesome.
The show with its large Caribbean base suffered that year.
We wish them well in finding someone who can read, pronounce and understand timing.
 It is no fun to clock watch throughout an entire show. Too many people indulged there.

REGGAE INDUSTRY TURNED OUT TO CHEER GENRE
Along 125th St. in Harlem and outside the Apollo Theatre one week ago on a Saturday, there were hawkers of every ilk. Street promoters, band-wagonists, the good, bad and indifferent showed up to cheer the genre.
Some peddled CD’s, photos, memorabilia, T-shirts and many more distributed flyers promoting reggae concerts for the summer.
One that caught my attention was handed to me by Jammins man George Crooks who carried a handful of SunSplash notices.
The New York date is Aug. 26.
The venue is Aviator Sports & Recreation Center at Floyd Bennett Field in Brooklyn.
On the bill will be Beres Hammond, Luciano, Richie Spice, Morgan Heritage, Tanya Stephens, Jimmy Cozier, Marcus I and Tessanne Chin.

BIGGEST OBSTACLE AT REGGAE AWARDS KNOWING RIF
What’s up with reggae award shows and people who cannot read?
A great many presenters were totally clueless that reading is fundamental and should be hooked on phonics.
With cameras rolling a few women turned their full backs to the stage in order to look at the people standing behind them.
Those same individuals refused to acknowledge the microphones which at times stood idly above their heads.
“They need a producer! Where is the producer?” Mutabaruka kept asking from his seat. He had already publicly admonished the camera crew who blocked full view with rotating boom cameras.
Much of the time was wasted on reading long, drawn out biographies. All of them needed editing. All were boring, repetitive and poorly written. Some of that material should have been pre-recorded for press play visuals.
Jamaicans especially should be familiar with précis, why their practice is to be long-winded is not only self indulgent but not cute.
Another outstanding mystery was the disappearance of a podium which seemed to be the victim of a vanishing act. The attractive, wooden prop decorated the stage for a nano-second but on a blink was taken out of view leaving presenters and recipients leaning and bending unattractively in order to speak.
Additionally, a chatty crowd often spoke in sentences over the host. Why someone filming did not ask the crowd to be polite was a major oversight. Hopefully television viewers will not have to pump up the volume in order to appreciate the production, because despite all that, the 26th annual was actually a good effort.

MISSED OPPORTUNITIES
Ephraim Martin missed by a mile in reflecting on a year since his last visit to the Apollo Theatre. How could he ignore the passing of reggae legends Desmond Dekker and Joseph Hill.
Not to mention, many more in the genres he claims to honor.
What about the return of Reggae Sunsplash last year?
That is certainly worth a mention.
The fact soca made such a big splash in Germany during World Cup Soccer should have been recalled.
It was shamefully evident that he took time out to campaign for his sister-in-law Justice Priscilla Hall who will inevitably be re-elected to the Brooklyn Supreme Court (because she is a superlative judge).
That he overlooked the presence of Cong. Charles B. Rangel, the highest ranking official and chairman of the powerful ways and means committee was a huge mistake.
Martin may have been too absorbed with details to note the arrival of the Harlem leader.
However, any one of those minions who claim to be staffers should have informed the founder.
Perhaps his Chicago assists might not have recognized the New York, senior statesman but what about the volunteers anxious to work the door?
It is almost unfair to nit-pick why Damian Marley and Luciano were named winners in categories they were not announced during an audio broadcast.
Yet that cannot go unmentioned as one of the most disappointing aspects of the show.

BIG UP TO IRAWMA – 26th AIMED HIGHEST
Ephraim Martin deserves credit for being persevering in hailing niche music.
Along with Austin McBean and Clifton Edwards, the triumvirate is taking the honors to the highest heights. Although he credits some of the most ignored genres, he should be commended for consistently highlighting the Caribbean sounds.
Most impressive were speeches made by B.B. Seaton.
Seaton who is known with the Gaylads flew in from London to render his wondrous “My Jamaican Girl.”
He said he is penning a book and was humbled to be on the same stage as the man who said “say it loud I’m Black and proud.”
Seaton may not have known that James Brown’s 74th birthday was celebrated at the landmark theatre two days earlier but he had the foresight to make mention of the historic showplace he was honored.
In addition to that mention, Seaton talked about internationalizing Jamaican patois.
A dapper, dressed Bunny Lee wore red from hat to shoe.
His outfit stood out from all the rest.
To see this big man, humbled by the honor was inspiring and memorable.
“It is great to be honored. It is great to be remembered,” Lee said in acceptance of his special Martin’s honor.
Lorna Wainwright radiated carrying her golden, star statuette.
The Tuff Gong executive was accompanied by Mitzy Evans, the boss lady who runs the Lady Musgrave address.
Wainwright expressed appreciation that she was acknowledged despite the fact she seems to prefer the behind the scenes notoriety for advancing the profile of the entire Marley family, especially Rita.
Radioman Richie Burgess accepted his honor on behalf of the seven colleagues recognized for appreciation for contribution to the music industry.
By the way, the most missed artist was Tanya Stephens.
Tanya’s absence was noticed.

LUCIANO’S 4-YEAR-OLD FLAG WAVER CREATES BUZZ
There is a saying that performers risk attention whenever they incorporate children or animals into their acts. Luciano lost crowd attention when four-year-old Nicaraguan, Malache Brown joined him onstage waving his country’s flag. The blue and white design of the national flag bears close resemblance to that of Israel. Therefore throughout “Lord Give Me Strength” and other favorites eagle-eyed patrons were distracted. A digital camera captured the image and quickly informed guests that instead of the Star of David, it was a diamond that patterned the center of the flag.
Most relieved were members of the media and at least one popular poet named Mutabaruka. Muta was all set to wage war on the Messenjah for allowing such a display.
It was ironic that Muta was miffed because on arrival to the legendary showplace, young, Malache recognized Muta and asked for a photo.
That later he might have offended the barefoot advocate was surreal.
As for young Malache he was front and center at the Garden the following night to see Buju Banton, Shabba Ranks, Tony Matterhorn and Lady Saw.
On this outing he carried a red, gold and green banner.
 
SHABBA IS STILL “MAD, BAD & WICKED”
Dancehall acts come and go. Some even manage to profit from turntable hits but few are able to deliver solid performance after taking hiatus from regular bookings. Try to name with the allure of Shabba Ranks and you will be stumped. Ranks proved his mettle last Sunday when he appeared as one The Friends invited by Buju Banton to share the stage at the Theater at Madison Square Gardens. Ranks was not in rare form. He is consistent in working a crowd to a frenzy. Patrons leapt from their seats, crowded the aisle and walkways in order to get up close and personal to the deejay who probably gets more international airplay than any other. From the moment the Shiloh band struck up the beginning notes to “X-Rated” it was evident Shabba still rules the dancehall. With three huge, Jamaican flags, two black, green and gold banners featuring his likeness, his entourage worked nationalism into a routine that found the Ranks gyrating as if he was back on the Epic/SONY circuit of 1994. As a matter of fact, he was outfitted in gold vest, black jacket and pants, with a carefully placed green handkerchief hanging from his right, back, pants pocket. The first time I had seen Shabba draped in patriotic pride was when he toured Africa that year, appearing in South Africa at a rally where Nelson Mandela greeted him onstage. Mandela wore the colors of the Africa National Congress and Shabba wore the same, black, green and gold.
Shabba seems to take nothing for granted. After a truly humbling introduction from his colleague Buju Banton where the Gargamel mentioned seeing Shabba at age 11 and was awed, the galaxy-an star emerged.
Working a move from floor to full length, he moved his middle-section to a groove that snaked his torso backward. The crowd cheered so hard, ushers asked me to identify the figure.
He took time out to thank the fans who are keeping him front and center of the industry.
“Thank you for loving me,” Shabba said.
He was gracious, clear and seemed sincere.
Former Knicks basketball player Patrick Ewing watched, applauded and stood in respect of the veteran trail blazer.
Soca star Machel Montano also stood, clapped with wild abandon and danced to Shabba’s “Love Punany Bad,” “Dem Bow,” “Mad, Bad & Wicked,” and “Trailor Load of Girls.”
Buju Banton hugged the legendary performer with the kind of passion Shabba deserves for sacrificing his career in order to show solidarity with his fellow Jamaican who was under assault for recording “Boom Bye Bye.”
At the time Shabba Ranks was at the peak of bigness, leaping higher and higher when he was hijacked in England to respond for or against a young Buju.
To his credit, he stood firm with the young deejay.
His record label support frazzled.
They scaled down on budget, booked fewer TV showcases and finally waved him off their label.
To see his people rally round his presence is heartening.
Tony Matterhorn, Da’Ville and Lady Saw are some of the other “friends” who performed with the Buju Banton billing.
As for the Gargamel, he was nothing to write home about. He is still trying to antagonize the gay community, who pretty much ignores him in New York.
Buju needs to grow up and move on.
It is his probably insistence on focusing on this boring topic why his Atlanta show failed to spark fans.
However, the predominant outer borough crowd showed him plenty of love – at times, undeserving.
The show was not 100 percent sold.
Despite hype from promoter Dahved Levy who claimed it was, Sections 306, and 206 were completely empty.
And the box office remained open later than usual to accommodate walk-up sales which would boost the 80 percent recorded.
 
Catch You On The Inside!