THE LEGENDA

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Nama lahir	Urip Achmad Rijanto
Lahir	6 Mei 1957 Mojokerto, Jawa Timur, Indonesia
Meninggal	4 Agustus 2009 (umur 52) Jakarta
Jenis Musik	Pop Reggae
Pekerjaan	Penyanyi
Instrumen	Gitar
Tahun aktif	1989 - 2009
Perusahaan rekaman	Falcon Music
Pasangan	Minuk Sulistyowati (cerai)
Anak	Tazminiar Tita Eka, Varid Dwi Wahyu Peristiawan, Rezia Tri Kresnawati, Ivo Winda Catur Ariyanto
Orang tua	Sukotjo (alm.) Rasminah (alm.)

Karier

Mbah Surip pernah mendapatkan penghargaan rekor MURI (Museum Rekor Indonesia) untuk kategori menyanyi terlama. Ia pernah ikut membintangi beberapa film dan beberapa kali pula tampil di televisi.^[2] Sebelum menjadi seniman, Mbah Surip mengaku pernah menjalani berbagai macam profesi.
Mbah Surip dikenal dengan pengakuannya di media massa yang sering terdengar bercanda. Dia mengaku pernah bekerja di bidang pengeboran minyak serta tambang berlian. Dia juga mengklaim memiliki gelar Doktorandus, Insinyur, dan MBA, serta pernah mengadu nasib di luar negeri seperti Kanada, Texas, Yordania, dan California. Menurut Mbah Surip, dia menciptakan lagu Tak Gendong saat berada di Amerika Serikat, bertemakan kerjasama saling bahu membahu dan belajar salah. ^[3]

 Kehidupan pribadi

 Masa kecil dan pendidikan

Urip adalah anak keempat dari tujuh bersaudara dari Sukotjo (alm.) dan Rasminah (alm.) yang beserta keluarga besarnya tinggal di Jalan Magersari Gang Buntu, kelurahan Magersari Mojokerto, Jawa Timur. Kehidupan masa kecilnya tergolong sulit karena dia harus bekerja membantu orang tuanya yang berjualan kikil sejak kecil. Dia sempat bekerja sebagai pedagang asongan, menjual antara lain es lilin dan kacang goreng keliling kampungnya. Walaupun penuh perjuangan, dia menyelesaikan sekolahnya, antara lain di SDN Purwotengah II (1970), Sekolah Teknik Pasna Wiyata (1974), kemudian STM Brawijaya (1977). Dia bahkan menyelesaikan kuliah di Fakultas Teknik Mesin Universitas Sunan Giri Cabang Mojokerto (Sekarang dipakai SMK Raden Patah) (1979).

 Keluarga dan pekerjaan awal

Setelah lulus kuliah, Urip menikah dengan Minuk Sulistyowati dan dikaruniai empat anak, antara lain Tita, Farid (yang kemudian menjadi manager Urip di Jakarta), Krisna, dan Ivo Winda. Meski sudah memiliki empat anak, saat itu Urip masih belum memiliki pekerjaan tetap. Urip sempat bekerja sebagai tukang sobek karcis di bioskop Indra di daerah Alun-alun Kota Mojokerto dan juga di bioskop Indra di daerah, yang sekarang sudah tutup. Pada awal tahun 80-an, Urip memutuskan untuk merantau ke Jakarta. Diduga bahwa karena Urip pergi merantau terlalu lama, istrinya yang berada di Mojokerto akhirnya memutuskan untuk bercerai dengannya dan menikah dengan lelaki lain. Setelah perceraian tersebut, Urip memutuskan untuk tetap menduda, tidak menikah lagi bahkan hingga hari kematiannya yang mendadak.

 Setelah populer

Oleh kerabatnya, Urip dikenal sebagai orang yang bersahaja, baik sebelum maupun sesudah populer. Dia sering menyempatkan diri untuk pulang ke kampung halamannya di Mojokerto untuk nyekar (menabur bunga) di makam kedua orang tuanya di TPU Losari, Desa Losari, Kecamatan Gedeg, Mojokerto. ^[4]                 
  Kematian

Mbah Surip tutup usia pada hari Selasa tanggal 4 Agustus 2009 pukul 10.30 WIB pagi, di puncak kepopulerannya di kancah musik Indonesia. Dia meninggal dunia akibat gagal jantung dalam perjalanan menuju Rumah Sakit Pusdikkes TNI AD, Kramat Jati, Jakarta Timur.^[5] Menurut bagian rekam medik RS Pusdikkes, jenazah Mbah Surip sempat berada selama satu jam di RS Pusdikkes.^[6] Jenazah kemudian langsung diambil oleh kerabat yang membawanya yaitu pelawak Mamiek Prakoso. Menurut berita, serangan jantung tersebut disebabkan kebiasaan meminum kopi dan merokok Mbah Surip yang berat. Kejadian tersebut diberitakan karena Mbah Surip tiba-tiba meminum air dingin pada suatu kesempatan, sehingga menyebabkan jantungnya bekerja labil.
Jenazah Mbah Surip dimakamkan pada hari yang sama, Selasa malam tanggal 4 Agustus 2009, di Pemakaman Keluarga W.S. Rendra, di Depok, Jawa Barat yang lokasinya berdekatan dengan lokasi Bengkel Teater Rendra di Kampung Rawa RT 002/05 Cipayung Jaya, Pancoran Mas, Depok, Jawa Barat.

MAS TONY Q RASTAFARA

Tony Q Rastafara Biography Born in Semarang, a little town located in Central Java, Indonesia, Tony Waluyo Sukmoasih came from an ordinary family. His talent and fascination for art especially in music and paintings could be detected easily since early childhood where he got most of the influence from his friends. He was and is, until now, fixated by rock music and blues. Having finished his education in Technical Intermediate School (STM), Tony decided to start his music career in his hometown as a street singer in 1980; and this made him closer to what it’s called the live of street singers in Semarang. In this city which he loves, Tony had the chance to produce a compilation album of street singers together with his friends and won several competitions on street singers’ festival. Due to his eagerness in plunging himself into new challenges, he moved and tried his luck in Jakarta, Indonesia’s capital city. And because his in-depth experience with street singers, he visited the similar community in Jakarta. With the help from a friend who had firstly engaged in Jakarta’s street singers’ community, Tony braved himself to initiate his music career as a pengamen, an Indonesian word for street musician. He entertained and played his music from one place to other places in the street of Jakarta. Although country music was still unpopular back in the mid of 1984 among Indonesian people, upon a friend’s request, Tony agreed to try the new music genre as many musicians hadn’t yet dared to play it. One thing led to another and what happened next was Tony got new friends, expatriates living in Jakarta. It was because of his existence in performing country music that he was invited several times in an event organized by the United States Embassy, and thanks to his expatriate friends, he had the opportunity to come on stage in one of the biggest America’s country music festival, the Grand Old Opree which was sited in Tennessee, USA. Unfortunately, due to lack of financial support, the plan was not realized. Being too long experimenting with country music, Tony started to feel worn-out and felt that his music career was going nowhere, not developing until he decided to sign out from his band and began to search other kind of music that is more suitable with his soul. In the early of 1989, Tony tried to learn more about reggae music which was coincided with his love and passion for the legend figure in reggae world, Bob Marley. Not only he was inspired by his music, but also the lyrics in each Bob Marley’s songs put Tony in a hypnotized state where it triggered his instinct in music. Thus, he felt certain and fix to choose the career path in reggae music, and launched his existence in it. Within the same year, he managed to establish his first reggae band which was named “Roots Rock Reggae”. This band had marked his career by performing in Jakarta’s pubs and cafes, delivering Bob Marley, Jimmy Clliff songs, and many others to audience ears with Tony as the lead vocal and lead guitar. Other than Roots Rock Reggae band, Tony set up other reggae bands such as “Exodus”, and then “Rastaman”; while in 1994, he pioneered the band that in later years made him famous in Indonesia’s reggae which was called “Rastafara”. Journeying with Rastafara, Tony’s music career was starting to take its peak as in that period of time there were scarcely found reggae musicians in Jakarta; that was why the band got its full support and fans from reggae music community. Rastafara was acknowledged as the pioneer in Indonesia’s reggae music because it was the only band that has the guts to present their own original songs, trying to break free from the shadow of Jamaican reggae, and interestingly, the majority of Rastafara’s songs were created by Tony. In 1995, with a help from a friend, Rastafara managed to get an offer from a recording album, Warner Music Indonesia when finally in 1996, their debut album called “Rambut Gimbal” was released. The album received excellent feedbacks, and brought a new touch to Indonesia’s music industry which was then dominated by Alternative Rock. Almost all of the songs in the album were originally created by Tony, talking about social issues, humanity, love, and daily life routines. The “Rambut Gimbal” song was quite popular at the time where actually the song title taken from a term for Dreadlock hair styles in foreign language and then borrowed into Bahasa Indonesia. The distinction between Rastafara and other reggae bands was because they had successfully combined and integrated elements of traditional music with Indonesia’s classic style into his own music, so reggae music ala Indonesia was created, free from the influence of Bob Marley, UB 40, or Jimmy Cliff. The usage of traditional music instruments such as Kendang Sunda or Gamelan Java had its contribution to Indonesia’s music industry through Rastafara’s songs. Moreover, the music arrangement slightly received as a mixture of Malay music. In 1997, both the contract album and the music label weren’t extended and Rastafara decided to quit temporarily from music industry, up until he eventually thought about initiating a new band under the same name Rastafara. A year after that, a band called Tony Q & New Rastafara appeared with an additional player, but it didn’t last as Tony chose to go with a solo carrier and bringing with him the name of the band itself – Tony Q Rastafara and thrived until he released an independent album called “Damai dengan Cinta” in 2000. In his third album, Tony realized this was just only the beginning of his rising career in Indonesia’s reggae music because the next thing he knew there was a Professor in music from America gave him a reference to participate in Bob Marley Festival in America. The festival’s coordinators had instantly liked the album and then later on, they invited Tony to perform in the show in 2002, but regrettably he and his troops didn’t get visa permission from the United States Embassy due to security problems. It was overlapping with the 11th September World Trade Center. The fourth album “Kronologi” was released in 2003 and it was a compilation of his songs from previous albums and songs which were yet to be released. His close connection with local activists and NGO such as Green Peace, WALHI, and many others had given him inspirations to generate an album embedded with a deep and meaningful social and humanity oriented vision and mission. Therefore, in the year of 2005 his fifth album “Salam Damai” popped into the surface idolizing the mission and vision on peace, and also in this album, he tried to merge reggae and orchestra music with a touch of strong traditional element. At the end of 2005, a song from his third album “Damai dengan Cinta” called “Pat Glipat” succeeded to seat on one of the best world compilation music album which was known as Putumayo World Music with a title “Reggae Playground” that was released internationally in February 2006. Being the single representative from Asia, this had not only jacked up Tony Q’s name and image, but also Indonesia in the eyes of the world, especially when the world could recognize Indonesia’s own reggae music. After a lengthy effort in independent label industry, Tony then attempted to return to releasing his album in major label in 2007 with a title “Anak Kampung”. The nuance that radiated from his sixth album still had the combination of reggae music and Indonesia’s traditional elements but more dominated by social theme songs, and eventually caused his music to be more liked by low middle class people especially from outside Jakarta. Soon, Tony’s fans were expansively growing, thus he facilitated his fans wishes by launching fans club which were situated in almost all areas in Indonesia and up to the neighbors such as Singapore, Malaysia, and Australia. In the early year of 2009, right when the process of Public Election was occurring, Tony back to releasing his seventh album independently titled “Presiden”, and it was fully done in Sydney, Australia. In his new album, he was truly intended to give a strong feeling and nuance of politic for acclaiming and responding to the ongoing Public Election. With his music arrangement getting more varied in each step of the way, it came with it too that he had a nostalgic moment with country music where he tried to mix the sound of banjo in the album. When it came to the middle of 2009, after a prolonged process then finally a demo that was once offered by a music label called Cumbancha in United States - owned by former A&R since 2008 and originated from world music label Putumayo, Jacob Edgar, United States – could reach the deal. Cumbancha gave the opportunity and offer to release Tony’s songs internationally. The album itself will be go public in early 2010, internationally and domestically. TONY Q RASTAFARA OTOBIOGRAFI Name : Tony Waluyo Sukmoasih Nick Name : Tony Q Artist Name : Tony Q Rastafara Birth : Semarang / 27 April 1961 Album 1.Rambut Gimbal (1996), Hemagita Record/BMG 2.Gue Fallin In Love (1997), Hemagita Record/BMG 3.Damai Dengan Cinta (2000), AK Production 4.Kronologi (2003), Indonesia Rasta Production 5.Salam Damai (2005), IM Production 6.Anak Kampung (2007), Tony Q Production & 267 Records 7.Presiden (2008), Tony Q Production Single & Compilation 1.Single ”Aku Anak Kampung”, (2005) IRR Compilation Album 2.”Pat Gulipat”, (Damai dengan Cinta, 2000) Putumayo World Music International 1.Headliners ”Bob Marely Festival” ,Houston TX , USA (2002) 2.Invitation ”Legend of Rastareggae Festival”, Houston TX,USA (2003-2005) 3.Putumayo World Music Album Compilation ”Reggae Playground” (2006) ALBUM & ARTIST MANAGEMENT CV.KOTAK ATIK (IM Production) Mailing Address & Office : Jl. Pulo Asem I C No.57 RT.015 RW.001 Kel.Jati Kec.Pulogadung Kotamadya Jakarta Timur 13220 Website: www.tonyqrastafara.net E-Mail : tonyqrastafara@gmail.com Phone : 021 - 4895326 FAX : 021 – 4757005 / 021 - 4895326 Contact Person : Ibnu HP : 0812 921 7757 CDMA : 70335613

Member Since:

September 27, 2006

Members:

Tony Q Rastafara : Lead Vocal ,Guitar ,Additional Player, ,Yus Panigoro : Keyboard-Back Vocal, Hendricus : Kendang,Jimbe-Percussion-Back Vocal, Yudi PU : Bass, Adi Lawido : Drum.

Influences:

Bob Marley

Sounds Like:

Indonesian Etnique Music mix with Reggae

Record Label:

IM Production

Why Did Bob Marley Smoke Marijuana?

Well, it certainly was not to provide inspiration to thousands of suburban teenagers after his death, that's pretty clear. Marley himself used marijuana ("ganja") as a religious sacrament, and advocated for the rights of Rastas to smoke marijuana for that reason. The question is, is there irony in the fact that hordes of teenaged middle-class Americans semi-worship Marley as an iconic pot smoker, when in fact the Rastafarian belief system views middle-class America as Babylon, an evil world built on the back of centuries of slavery and African oppression?
I'm inclined to think that Marley would've appreciated the worldwide respect that his music still garners, and would be happy to know that his messages of peace, pacifism, and social justice continue to ring out, but I can't quite bring myself to think that he would've approved of all the gratuitous and casual usage of marijuana in his "honor" that happens all over the world, mostly by non-Rastas (and sometimes by young quasi-Rastas, who often seem to be trying to rationalize their illegal behavior by a half-hearted adherence to just one or two tenets of the religion). What do you think? Leave a comment and join the conversation!

ANAK GIMBAL - Raja Tanpa Mahkota dari Dieng

Bagi kebanyakan orang, rambut gimbal adalah pilihan untuk mencerminkan gaya hidup. Tidak demikian dengan gimbal yang banyak ditemui pada anak-anak kecil di Dataran Tinggi Dieng. Sebagai tanah yang dipercaya sebagai tempat bersemayamnya para dewa, aura mistis dan berbagai mitos masih sangat kental terasa dalam kehidupan masyarakatnya. Salah satunya yang paling menarik adalah fenomena anak gimbal ini. Anak gimbal Dieng terlahir normal, sama dengan anak-anak yang lainnya. Pada suatu fase, tiba-tiba rambut mereka berubah gimbal dengan sendirinya. Berbagai penelitian untuk menyelidiki penyebabnya secara ilmiah belum membuahkan hasil.

Pada kesehariannya anak-anak ini tidak berbeda dan tidak diperlakukan spesial dibandingkan teman-temannya. Hanya saja mereka cenderung lebih aktif, kuat dan agak nakal. Apabila bermain dengan sesama anak gimbal, pertengkaran cenderung sering terjadi antara mereka. Warga Dieng percaya bahwa mereka ini adalah keturunan dari pepunden atau leluhur pendiri Dieng dan ada makhluk gaib yang "menghuni" dan "menjaga" rambut gimbal ini. Gimbal bukanlah genetik yang bisa diwariskan secara turun temurun. Dengan kata lain, tidak ada seorangpun yang tahu kapan dan siapa anak yang akan menerima anugerah ini. Konon leluhur pendiri Dieng, Ki Ageng Kaladite pernah berpesan agar masyarakat benar-benar menjaga dan merawat anak yang memiliki rambut gimbal.