Trivialities And Banalities

UNFORTUNATELY, this is what our political culture has been reduced to. It's the silly season and the politicians are certainly living up to that label. In the current general elections campaign, our lives have been disrupted – bombarded by politicians on all sides, especially through the media, selling us trinkets. It sometimes leaves one to lament the waste of our freedom which the two generations that have led the country since Independence have engineered through glorious promises for the future and a litany of pedantic achievements each election cycle.

Meanwhile, as usual, it has slowed down the economic, commercial and cultural life of the country. Unless the elections are called in July (and even then), it will also impact negatively on our summer tourism season. I have so many overseas-based Jamaicans telling me they are not coming until after the elections. The country has literally been put on election watch, for two long years, since the ruthless, acrimonious removal and replacement of the JLP leader followed by t h e protracted, deleterious presidential election campaign in the PNP. Our third generation of leadership is now at the helm of both parties, and one would have thought that by now we would have learnt from the experiences of others in our post-independence history.

The worst aspect of this chapter of our political life is the dismal lack of long-term vision for the nation gleaned from the speeches and promises from both sides. What we have been fed with daily are merely trivialities and banalities, examples of which I do not need to repeat ad nauseam, because they are doing such a good job of it themselves.

Not since the days of Marcus Garvey's UNIA movement in Jamaica have the majority of people been given a vision of themselves and their future potential based on our African ancestry and glorious history, including the significant achievements and contributions to civilised mankind the world over. This started in the Nile Valley and along the banks of the Niger River from about 2500 BC and diffused throughout Asia, America and Europe over time.

Although Garvey was made our first national hero in 1965, so far this has been but a formal gesture. I am convinced that there is a deliberate attempt to resist the dissemination of his teachings, principles and philosophies throughout the educational system. Thereby keeping the masses ignorant of their proud heritage and persisting the perpetuation of their mendicant mentality which plays right into the hands of the politicians.

To a large extent what the average Jamaican knows about Marcus Garvey and where they glimpse snippets of their unadulterated cultural essence is from songs written and performed by reggae artistes like Burning Spear, Bob Marley, Culture and others, who were inspired by Rastafari. Marley popularised Garvey's mandate to us to "emancipate yourself from mental slavery, none but our selves can free our minds". It is good to be reminded of that lesson during these times. All elements within the entertainment sector should unite in calling for a comprehensive statement on cultural policy and objectives, as a central plank in the manifestos of all competing parties. I suggest this with some amount of cynicism, having read the Honourable Edward Seaga's piece, detailing empirical data which demonstrate that manifestos in the past have not been worth the paper they were written on because without exception, in practice they were mostly defaulted on. Old time people have a saying: "man have nuttin fi do go seaside go plait sand throw inna breeze".

On the entertainment circuit, I wish to add my commendations to the operators of Christopher's at the Quad in New Kingston and Village Café in Liguanea for their ongoing series of live shows on Tuesdays and Thursdays. They have certainly added quality and diversity to the live entertainment circuit in the corporate area and provided a launching pad for the careers of people like Rootz Underground. I have been attending some of these since January and had the opportunity to casually observe a new generation of acts honing their craft just under the radar of inevitable public acclaim. Both the Tuesday Nite Live series at Village as well as the live shows at Christopher's on Tuesday and Thursday are excellently produced technically and organisationally. This allows the budding talent on display a sophisticated environment in which to further develop their entertaining skills.

In this context, the high commitment and contribution of Dean Fraser to the creative development of this new generation of artistes continues to impress me. Throughout his three decades-plus of involvement in the Jamaican music industry, this gentleman (by nature) has gained such a high personal standard and knowledge while sustaining throughout an enormous level of energy and participation in developing, arranging and grooming other artistes that the entire entertainment sector owes him a massive debt of gratitude. For instance, in both series referred to above, Dean is presently working with some of the best young artistes who have appeared. In recent times I have seen two of these which I single out for mention.

Some weeks ago Christopher's had the group HUSH performing on one of their Thursday editions. The group demonstrated that individually they had good voices which through training, practice and continuous rehearsal they have honed to harmonise exquisitely. While their personal repertoire is still evolving, they showed a mastery of current and past popular songs which had the crowd raving for more. They even went into folk and Negro spiritual renditions and displayed the results of good training from the Edna Manley College of the Visual and Performing Arts through their stage craft, dancing skills, audience rapport and eloquent introductions of their songs. On top of all of this, the influence of Dean was not only obvious, but seemed to have been well learnt. This group has a bright future if they continue in the same vein.

In the summer of 2004, I first saw Tarrus Riley perform at Weekenz on their Improv series. It was clear from then that this artiste had inherited the sonorous voice of father Jimmy Riley and further possessed that kind of quiet charm and charisma which enhanced Dennis Brown's singing skills and helped to pivot him to stardom. Although his onstage projection was somewhat tentative that night (a trait that he has obviously overcome), the empress predicted correctly that the future was his to grasp because his music was already making waves in influential concentric circles. Of course, since then, his career has blossomed and I might add thanks in no small part to Dean for the quality of the arrangements and music behind Tarrus Riley's lyrics and singing. It is clear that his work with Dean has polished the diamond in the rough, as his performances nowadays are dynamic, intense and inspiring affairs. In my view Riley and Richie Spice are head of the next wave of acts that the world will soon be clamouring for. Let's continue to nurture them. 'The higher monkey climb, the more him expose.'

Rules Of Engagement

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By: Charles H.E. Campbell

Sunday, June 10, 2007

Addressing the delegates at the 64th annual conference in Trelawny on Wednesday, May 30, 2007, chairman of the Police Federation, Corporal Raymond Wilson, recommended to the Police Commissioner "that our members stop working for free at [public] events.

We further suggest that in order to bring some form of order, a core group be formed with members of the various representative bodies, to identify and resolve policing needs at these events, but most importantly to discuss pay and welfare issues".

Speaking as a producer/promoter of special events since the early 1970's, I have always supported the view that the official Jamaican approach to the use of our police in security operations at privately organised public functions is neocolonial and backward; inhibiting efficiency and growth in the sector.

I wish, therefore, to endorse the principle that all working police officers at a public functions, should be specially compensated for their services by the relevant promoters, be it private or public. In certain cities of the US, as a promoter, I am allowed to directly employ the services of the police and they perform many functions done locally by private security guards. This allows for closer coordination and greater efficiency.

That said, however, it is imperative that the terms of engagement be entirely redefined and managed. Corporal Wilson's call therefore, for a study to identify and resolve policing needs by a group representing the various interests is more than laudable. It is an urgent, burning need within the sector.

Since the Federation has put this issue squarely in the public domain for discussion, I am no longer constrained to maintain my silence in the perpetuation of the public hypocrisy that endures in this regard.

Before addressing the present scenario, let me trace the evolution that brought us to the current situation.

Traditionally in Jamaica, public events were mainly staged by the government, local schools and churches, who mostly organised family-type events like fairs, picnics and concerts. Other than the May Day fairs or the Augus' Mawnin' jamborees, most of these events were either staged indoors, or on the compound of the school or church. Dances began to emerge in the late 50s and 60s, but this phenomenon was an urban one, mostly concentrated in Kingston.

As a country boy growing up on the North Coast in the 50s and 60s, the beach or the roving bands of jonkunnu and mento music were our recreational sources and outlets. As we got older, there were clubs like Banana Boat in Montego Bay, where the Blues Busters regularly performed.

In St Ann you had Altery Beach, owned by the Strand family, where they played their sound system and Maracas night club in Ocho Rios where I first heard King Tubby's play. Places like Playboy Hotel and Sheila Bay Hotel filled out our coastal entertainment circuit.

The islandwide festival song tours staged in the 60s and 70s, along with Michael Manley's musical band wagon (1971-72) were the first organised attempts to incorporate contemporary popular music and performers into dispersed live events. Up to this point, concerts were mainly staged in cinemas, theatres, church halls and school auditoriums.

This was true even of the annual festival competition up until then. The musical bandwagon however, broke this trend by presenting popular artistes like Bob Marley and the Wailers, Junior Byles, Clancy Eccles, Judy Mowatt, Freddy McKay, Tommy Cowan, and Inner Circle, live and free in town squares. The turnouts were as massive as the musical messages were potent, popular and boosted Manley's image among the masses. Many came because it was their first opportunity to see their real stars. (Since then, both parties have employed this tactic to attract a broader audience to their rallies.)

Realising the enormous potential of the music to connect with working people, the government of the 70s promoted many concerts around the country on Labour Day, Heroes' Day, Independence Day and other special occasions, including Nina Simone/Junior Walker, Marvin Gaye/Bob Marley, Jackson Five and Harry Belafonte's first local concerts. In the mid-70s, Tommy Cowan promoted a series of live, open air concerts called Fun, Sun and Ting and this became the prototype of Reggae Sunsplash, quickly followed by a slew of publicly and privately organised events in the 80s that have mushroomed to the dynamic cultural calendar which presently obtains.

During the years Sunsplash was held in Montego Bay, Synergy Productions actively promoted and staged many other live events in the city, including televised boxing, professional wrestling, circuses, large Coney Island-type amusement parks and concerts involving artistes like Third World.

We also staged some of the largest dances during that time. Since then, I have had the responsibility for coordinating the input of security and personnel for these and many other live events promoted by us and other people across Jamaica, including festival events, national football matches at the National Stadium, Sting and many other events too numerous to list.

The contribution of the police to the operational success of these events is critical and every experienced promoter or producer should welcome the opportunity to collaboratively define policing needs at their public events.

The discussions will need to be frank and in-depth, remembering there is no need to reinvent the wheel. Any promoter worth his salt can tell you in an instant what these needs are. What has to be addressed to advance the mutual interests, is the multiple breaches of protocol and discipline by the ranks assigned to these events.

I remember Reggae Sunsplash Dancehall Night 1988. Because of a seer's premonition that the Bob Marley Centre was going to sink, people waited until after midnight before entering the park. The rumour ironically, had swollen the crowd beyond projections, thereby overwhelming our ticketing infrastructure. Long lines were formed as never before with agitators and pickpockets at the back pushing the patrons forward to create confusion.

Soon, someone at the front reacted violently by throwing a stone randomly towards the back of the line. A hail of stones was returned to the front and pandemonium broke out. The police all abandoned their posts, leaving a few security officers and me to regain order. In the midst of this I glanced into one of our tickets offices just in time to see a police officer who had installed himself, barefacedly removing money from the cash pans and stuffing it into his pockets. In disbelief, I asked him 'officer, wha dat?" To which his response was "Better me, dan dem".

Unfortunately, I could fill a book of such atrocities experienced over the years, and maybe one day I will, as I now find them quite humorous.

Some of the issues that need to be addressed, however, are 1) The tendency of the police to abandon their posts halfway through an event and/or congregate in front of the stage, thereby weakening strategic areas, managing traffic control and the orderly processing of patrons through the gates. 2) The abusive use of police vehicles to illegally traffic civilians through entry gates, bypassing normal procedures and eroding revenue. 3) Parading inside venues with rifles and shotguns. Operationally, this is an impractical, intimidatory and unnecessary tactic, which is more applicable on the perimeter to guard against miscreants trying to scale fences or walls. 4) The abuse of police identification by off-duty police officers to intimidate gate men into giving them free access and/or to bypass body searches, gaining access with firearms, which they discharge in gun salutes for the artiste of their choice. 5) The practice where each officer working thinks it is his/her right to have spouse or friends attend free of cost.

Finally, there is a need to rationalise a) the total number of officers required and b) their role, versus that of the private security company; so as to correct the present situation where the promoter has to pay two parallel entities for the same operational tasks. Most promoters would rather not use police men at their gates, because they seem to find ingenious ways of recycling tickets, even when they are being paid.

I know that since the 1984 Sly and Robbie 10th anniversary show, almost every promotion I have done or worked on has in some form or another paid for the police's input. I will admit being told from time to time that this does not trickle down to the people actually performing the task.

So after a while, we changed our strategy and began negotiating directly with the officers who were assigned until last year, when in one instance we dealt directly with the Police Federation. Obviously, from what I have now heard from Chairman Wilson, about other promoters getting these services free, a resolution of these matters will go some way to levelling the playing field in terms of required overheads for this aspect of staging public events. Nuff said.

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