House of Marley’s The Get Together: Kingston Sound System

Growing up in England during the 1990s, filmmaker Wonford St. James spent many nights dancing in the field to the rhythms of a backyard-styled “free party.” A music lover, James studied these English parties back to its roots and instantly fell in love with the Jamaican sound system culture that eventually migrated to the UK in the ’60s. “Anyone who has ever danced in front of large banks of speakers to music being played by a DJ can thank Jamaican sound systems for that experience.” The impact this genre of music had on the world was felt far and wide, from having a hand in the birth of American hip-hop to inspiring audio purveyors to deliver louder, more portable speakers. So when the New York-based creative was asked to produce a video coinciding with the launch of House of Marley’s new Get Together Bluetooth speaker, James immediately decided to visit Kingston. In his short piece, Albert “iLawi” Johnson – regarded as the original selector – becomes our host through this sound system experience, which is a journey to a simpler, more peaceful time. Be sure to also scroll down to read our full interview with the talented Wonford St. James.

For more on House of Marley’s Get Together Bluetooth speaker as well as how you could win your very own, please visit here.

Can you introduce yourself?

My name is Wonford St. James and I am a filmmaker living in New York by way of London and Los Angeles.

How did you get into filmmaking?

Through a love of photography, music, cameras, art and life.

What was the goal behind your video?

We went to Jamaica to promote a dance and film it. I wanted to celebrate original Jamaican soundsystem culture and share a glimpse into the source of DJ culture. Jamaican music has had a massive, disproportionate, and well documented impact on global popular culture but the role of the soundsystem in the rise of reggae is not as well told. Anyone who has ever danced in front of large banks of speakers to music being played by a DJ can thank Jamaican soundystems for that experience. I want to shine a little light on the original dancehall scene and the energy, style and attitude that goes along with it.

What was your inspiration?

Growing up in England in the ’90s I spent a lot of time dancing all night in fields at “free parties,” so I’ve had traces of sound systems in my blood from an early age. As British house music evolved through that decade, I got heavily into the Jungle scene that blew up coming out of the early rave days. Jungle added the core ingredients of Jamaican dancehall into rave culture to create a uniquely British sound and subculture. You had rolling basslines and chopped out breaks bouncing along with MCs toasting over the music. Incredible and inspiring times. Going to Jamaica to make this little film was like a trip to Mecca.

How does House of Marley differ from other brands?

House of Marley has the opportunity to authentically celebrate a man and an island place with one of the world’s greatest musical heritage. Reggae imagery and attitudes have been brandalized far too often through diluted and distorted expressions of the culture. I hope that House of Marley are able to shine a new light on the subject that is creative and constructive.

What are you most excited about with your relationship with House of Marley?

It’s an exciting young brand with a great team behind it. I would love to take this project to the next level and work with the House of Marley team on a longer format film that explores the evolution and journey of sound system culture, from its roots in Jamaica across the world by way of hip-hop, house and heavy bass.

When you were approached about the project, what was the direction given and then how did you approach your execution/interpretation?

We were asked to create a film that spoke to the idea of an idea being shared; how ‘one’ becomes ‘many.’ This brief alongside a portable speaker made of wood with the Marley name on it immediately pointed me in the direction of Jamaica.

How influential has music been in your creative evolution?

Music has been the central part of my life and creative journey. The reason I live in New York is hip-hop.

What was it like traveling abroad? What were some of your favorite moments and what was some adversity you faced?

We were blessed to work with original selector and music man Albert ‘iLawi’ Johnson on this project who graciously welcomed us into his home to keep the dance at his yard. With iLawi as our guide we cut a blessed path through Kingston, uptown and down. My favorite moment was when the needle hit the first record at the dance. The soundsystem crackled and boomed into life and the place started bouncing. Alongside iLawi, we were blessed with a local producer Michelle Serieux who ensured that the only adversity we faced was whether we were going to run out of Red Stripe before the Guinness arrived.

What type of camera did you use for the film?

We shot the film on an old Canon camera using 8mm color film. These cameras are small, compact, and create a texture and warmth that fits perfectly with the story we were there to capture. The records crackle as the film rolls.

How receptive were the locals to being captured on film?

Jamaicans are lively, proud and beautiful people who are happy to get up in your face, so we had no shortage of potential superstars to liven up the dance.

Author: Robert Marshall

*Originally posted on HYPEBEAST

House of Marley’s The Get Together: AllDayEveryDay

 

For that brief moment when hasty New Yorkers stop in their tracks and turn into spectators fascinated by a group of break-dancing street performers, the Big Apple tastes a bit sweeter. It is this acrobatic art spawned from the Bronx that unites people around the globe with the joys of laughter, wonder and imagination among many others. For the fourth installment of House of Marley‘s video series highlighting its new Bluetooth speaker The Get Together, Brooklyn-based Director Harrison Boyce chose to look into the personalities of these talented dancers. “I wanted to find out if they really loved dance and the trains were their platform to share their talent with the world, or if they were hustlers using dance to make money, and I quickly found out that they have a deep love for dancing and that the money was secondary.” After checking out Boyce’s film, be sure to read through our full interview with the director below.

For more on House of Marley’s The Get Together Bluetooth speaker as well as how you could win your very own please visit here.

 

Can you introduce yourself?

My name is Harrison Boyce and I’m a director and photographer living in Brooklyn, New York.

How did you get into filmmaking?

It all started through BMX. I rode BMX throughout my whole childhood and ended up being a sponsored rider, then working as an art director for a company, as well as starting one of, if not the first BMX blogs called Defgrip. I was always filming and making videos with my friends, but it wasn’t until I started making short docs and creating content for Defgrip that I really started to get into film making. It was just a hobby for me at the time, but once I moved to New York, I started to get a lot more directing jobs and over the years have transitioned from working as a designer in the BMX world to a director focusing on fashion and commercial work.

What was the goal behind your video? What was your inspiration?

Living in New York I pretty much ride the subway every day and kept seeing these kids dancing in the trains. I had thought about doing a project about them, but it was only in the back of my head and I didn’t really have an outlet for it. So, once I started talking with Alldayeveryday about this project with House of Marley, it made perfect sense to put something together with the dancers for this project.

The goal behind the video for me was to find out who the kids were who were the first to start dancing on the trains and to showcase them as people. To share their personalities with the world and tell their story. I wanted to find out if they really loved dance and the trains were their platform to share their talent with the world, or if they were hustlers using dance to make money… and I quickly found out that they have a deep love for dancing and that the money was secondary.

What are you most excited about your relationship with House of Marley?

House of Marley has been incredible with this project because they just let me do my thing and supported my vision 100%. A lot of time brands can really get involved and almost take over the creative process, but the guys at House of Marley essentially laid down the foundation for a dream project and let me do my thing the whole way though with nothing but support. A perfect partnership.

When you were approached about the project, what was the direction given and then how did you approach your execution/interpretation?

Allday approached me, and I asked if I’d be interested in putting some ideas together around the idea of “getting together.” They really wanted to leave it up to the directors to bring ideas to the table, so it was really open as far as the creative goes.

I just worked on a few different ideas around the idea of “getting together” using music as the main ingredient that actually brought people together.

How influential has music been in your creative evolution?

Music has been a huge influence in my work and it really drives my creative process, especially in the edit. I grew up in a musical family and music has always been something that plays a part in anything I’m doing creatively. Specifically with film, music becomes such a big part of telling a story, creating emotions, and setting a flow and an arch… I like to work with the music first, building a foundation to edit on and everything else really falls into place if you have the right music or soundtrack.

Was there any issues with filming on the subway?

I wasn’t sure how it was going to be bringing a Red camera down there, but we didn’t have any problems at all. I’m pretty good with filming in random situations and can just roll with the flow and the Waffle Crew definitely knows the ins and outs of performing on the subways. We tried to keep moving and not stay in one spot too long and I think that definitely helped us not run into any problems.

You’ve worked on everything from commercial films to short films and fashion films – which of the projects would you say is your favorite to collaborate on?

I think my favorite thing is the fact that I’m able to work on so many different types of projects. To me it’s more about the people and the experiences I have making my work, than the specific type of genre I’m working in. I really like to learn about people, explore new places, and basically do anything I can to learn something new each day. So I feel super lucky that I’ve been able to work on so many diverse projects with such a broad range.

Author: Robert Marshall

*Originally posted on HYPEBEAST 

House of Marley’s The Get Together: NYC Lineup

 

As a tribute to its newly released wireless speaker as well as the history of portable audio, House of Marley enlisted four filmmakers to create a video piece that could speak to the very essence of this speaker and its ability to bring people together. For this installment, New York-based director Sam Fleischner explores the impact of music on the life’s of those struggling to exist in the chaotic world of a concrete jungle. Not only does music provide a sense of serenity, but as it is depicted above, it allows people to forget their differences and join hands in celebrating the simpler joys of life. Check out Fleischner’s short film above and be sure to read through our full interview with the director below.

For more on House of Marley’s Get Together Bluetooth speaker as well as how you could win your very own please visit here.

 

Can you introduce yourself?

Sam Fleischner, film director.

How did you get into filmmaking?

Westerns, believe it or not.

What was the goal behind your video? What was your inspiration?

Try to do something fun with the potential of a portable speaker. Dancing is good for health.

How does House of Marley differ from other brands?

Well in terms of making commercials, they were a great combination of supportive and hands off. They were also generous with their product and let me give each of the dancers one of the speakers.

When you were approached about the project, what was the direction given and then how did you approach your execution/interpretation?

This was a lot of fun for me because I got to come to write the concept myself. Usually with these kinds of jobs, the creative comes to you already developed to some extent so it was fun to start with the seed. I had three very different ideas that we were all excited about but we settled in the “line”. This process really picked up steam when I got Cynsei Sohbet on board. We worked out the choreography and flow together. She is a great leader, or in this case, “Rasta-fairy”.

How influential has music been in your creative evolution?

Music is one of my pillars. For this project I worked with my friend Matt Werth at RVNG. He hooked me up with the hypnotic Secret Circuit track that drives the piece.

When you’re not working on big brand campaigns, what sort of passion projects do you like to work on?

I spend a lot of time in my garden, and working on non-commercial feature films like Stand Clear of the Closing Doors.

How did you cast the subjects for this video? Each individual is so interesting because they don’t, at face value, look like they would be dancers yet they all have a strong motion and rhythm. Was that the intention?

Yea, that was part of the concept. Everyone’s got a groove in them but it can be hard to find sometimes.

Where was the filming done? It looks like an abandoned, really sterile bank or something.

It was filmed at Anthology Film Archives, which is sort of like a temple for experimental cinema, but originally the building was supposed to be a court house. They show some of the best film programs in the world there. I worked there as a projectionist when I first moved to NYC, so it was a really fun place to shoot.

 Author: Robert Marshall

*Originally posted on HYPEBEAST