Labor Day Weekend MixMaster
All Your Favorite DJs 87 None Stop Hours
Tagged as Calypso, Dance, Mashups, House, Talk, Dancehall, Hip-Hop, R&B, Motown, Gospel, Praise, Soca, CariPop, AFRO-BEATS, Rap, Urban Music, Indie
LABOR DAY MIXMASTER
Listen All The Best DJ’s In Boston Over The Next 87 Hour Of None Stop Mixing During Our LABOR DAY MixMasters WKND Starting Friday, September 4th, at 1pm! Listen All Weekend to WIN Various Concert Tickets, Plus Some Really Cool B87FM Radio Swag!
B87’S 87 HOUR LABOR DAY MIXMASTER WEEKEND!
ALL YOUR FAVORITE DJS IS ON!
Our 87 Hour Labor Day Mixmaster Weekend is in full effect! Turn us up loud all weekend as all your favorite DJs turn up the heat to your socially distanced barbecues & cookouts!
FRI — SEPT 9/4
1PM – 3PM DJ AL.GEE
3PM – 5PM JEFF 2X
5PM – 7PM DJ CJ
7PM – 9PM DJ BIG
9PM – 11PM DJ PLEX “THE ICEMAN”
SAT — JULY 9/5
8AM – 10AM DJ JD
10AM – 1PM DJ AL.GEE
1PM – 3PM DJ BIG
3PM – 6PM NOTORIOUS VOG & JKOOL (ITDH)
6PM – 9PM JEFF 2X
9PM – 11PM BROTHER O
SUN — JULY 9/6
12PM – 3PM DJ FONICS
4PM – 6PM SELECTA CJ
6PM – 8PM DJ iPAD
8PM – 10PM AVERI MINOR
MON — JULY 9/7
10AM – 12PM DJ AL.GEE
12PM – 1PM GOSPEL BRUNCH
1PM – 3PM DJ PLEX “THE ICEMAN”
3PM – 5PM DJ BROTHER O
5PM – 7PM JEFF 2X
7PM – 9PM AVERI MINOR
Labor Day Weekend MixMaster crew
Known as "Mr. Let's Go," with his trademark catchphrase, "Let's Go!" He's a benchmark in Boston's music scene for years, DJ Al Gee is a trailblazer and a defining dj on Boston local music scene. DJ AL Gee has been the longtime resident DJ at Boston's Slades and late night urban radio in Boston. Along with hosting a Friday night mixshow, DJ Al Gee also host the very popular throwback/oldies showcase on Saturday mornings, Classic Showcase is a mainstay of Boston urban radio. Friday Night House Party Fridays ? 7p to 9pm http://B87fm.com/fnhp Classic Showcase Saturdays ? 10a to 1p Plug-In to DJ AL Gee at ? www.Twitter.com/DJALGEE
Music is a way of life for DJ JD which he connects with spiritually. His musical abilities has no boundaries or any particular language. Anyone can to his style of music and Djing, it is therapeutic and as helped him through life challenges. JD started djing back in his hometown of Lagos, Nigeria in 2010. He soon realised the joy music brought to people, and it inspired him to make it a career. Coming to America was a culture shock for JD, but music helped him to connect with his new environment, the different cultures and people. Afrobeats is a genre that infuses the Nigerian/African sound with other genres, it is a vibrant, exhilarating and a carefree sound with feel-good and positive vibes. DJ JD's goal with his DJ career is to spread love and the African culture through music and create value for upcoming Dj’s and creatives. Today, he stands as one of Boston's premier Afrobeat/Dancehall DJs and also play various open format of music.
Monday 7pm - 9pm
Friday 4pm - 5pm
Selecta CJ isn’t just your regular mixshow dancehall-reggae DJ: He’s also a member of NYC based Clash Sound System Blunt Posse and more!
For Selecta CJ, Selecting isn’t just a job; it’s a way of life that he was born into. His father, Mad Man Charlie, was also a Selector and toastmaster on veteran Boston Sound Crystal Movement and Legacy International, who started his son’s interest in music at an early age.
Selecta CJ grew up listening to the Rockers Program (America’s First Reggae Radio Program) as a child growing up in Boston, and now you can catch him each and every Monday, 7pm to 9pm, on B87’s Rockers Program and during Friday’s Tropical Drive time mix shows, Traffic Blocking, 4pm-7pm!
Not since the late ’80 when dancehall sound systems such as Jamaica’s Stone Love Movement and King Addies in New York City who were acknowledge as two of dancehall’s most popular figures had a dancehall DJ attained such prominent status among the masses as Boston’s DJ Jeunya Kool aka DJ JKool and Evalast Movements. Throughout the 1990s as a youngster he was an impact player in Boston’s large local reggae music scene, capable of making or breaking artists with his homegrown position as the city’s top young deejay/selector. By the mid '90s, JKool was getting involved with designing billboard and leaflets for most of the clubs in the metro Boston area, the Avalon, and his years of experience as a selector provided him with keen earring for mixing, which made the transition to producing a seamless one. He gained additional technical skills as a top recording arts student at Arts Institute of Boston, formerly Massachusetts Communications College. After completing his degree, JKool designed and built his own studio and created his own recording label. His talent for recording and mixing tracks became well known throughout the Boston and New England area. A decade later, as a producer, he had creative input on Reggae, Soca, Hip-Hop, Reggaeton, and R&B projects. His well equipped studio and production expertise are often requested by well-known reggae artists such as Beenie Man, Richie Spice, Freddy McGregor, Mad Cobra, Delly Ranx, and TOK amongst others. He is one of the world’s few Djs who possess a production degree in the arts of making reggae music. At the end of the decade, JKool had not only established himself as a serious music man through his producing and production ability, but his popularity only continued to rise, landing him a coveted position as a resident DJ on Boston’s fame Lansdowne Street, home of Avalon Ballroom (now the Boston House of Blues), which was named America’s Super Club multiple times over the past 10 years. Though dancehall DJs such as Rory from Stone Love and Toney Matterhorn from King Addies had been recognizable names in the late '80s and '90s, JKool was the first reggae dancehall DJ without any big name sound affiliation to match the popular success of that magical time in reggae dancehall’s history, harking back to the early days of dancehall when the DJ overshadowed the MC. A native of St. Elizabeth, Jamaica, JKool was born as Cecil White and migrated to the United States with his parent in 1987, at the young tender age of 11. Only one year later he bought his first set of turntables at the age 12, influenced by early dancehall DJs such as Barry G, he set to perfect the art of entertaining people with his djing abilities. His genius as a selector/dj and music man made him the obvious choice to open for artists such as Rihanna, Damian Marley, Collie Buddz, Beenie Man, Sean Paul, Buju Banton, and Capleton. During a performance at Boston’s Monster Jam, 3 times Grammy winner Damian “Jr Gong” Marley requested J Kool to be his backing DJ for an estimated sold-out audience of 18,000 people. To his credit, he has since done numerous DJ backing duties for the Multi-Grammy winning artist across America and beyond. JKool & Evalast Movement also hold the distinction of being the only sound/dj in the world to tour America with the likes of Gregory Isaacs, Buju Banton, Capleton, Morgan Heritage, and more on the One Love Fest Tour, which was the last dancehall tour to tour the entire United States. In the past 10 years, JKool has embarked on a radio career as Dj and co-host of America’s #1 rated dancehall/reggae program, Inside Dah Dancehall, which at one point was a top ten Podcast radio show on the I-tunes podcast network nationally. In 1990, JKool released his first mix album, Mix-up Vol. 1, and followed this album with two more volumes all of which were distributed independently to the end of the '90s. In 1998, he mixed a collection of Dennis Brown's biggest dancehall reggae anthems for the Best Of Dennis Brown, along with a new Lover’s Lane series. In addition to being a radio DJ, studio engineer, and successful mix tape artist, JKool has also served as a studio consultant for various studios throughout Massachusetts and New England. Today, DJ JKool has proven he is a lover of music whose style and approach transcends genres. His versatility makes him an easy selection to musically entertain all. He appeals to the young; the old, reggae/soca, and hip hop lovers. He lives for the music and the joy it brings to his audience whether he is playing inside the dancehall or giving creative input on a recording.