C Sharp & the Battle of the Bands

Groundins

By: Charles H.E. Campbell

Kudos is due to the tenacious Seretse Small for his relentless pursuit to promote and highlight live-music in general, and the new generation of bands and singers of the various genres of Jamaican music; oft times, at tremendous self-sacrifice. His most recent edition of the Global Battle of the Bands was staged at the Chinese Benevolent Society’s headquarters on Hope Road on Sunday December 10.

While I am not privy to the means by which the bands that participated were selected, the quality of all the bands was of a high standard. That being said, however, there were some down-sides in executing this event which, in my estimation, did a disservice to the promoter, the individual bands, and the objective of the event.

In my opinion, it may have been a poor choice of venue, based on the fact that it is well known in the industry that the acoustics of the hall are not suited to reinforced sound. In this regard, ironically, I heard the music clearer when I was standing outside, but inside the venue, it was a noisy din. To make matters worse, there were numerous distortions of the PA system and the microphones worked intermittently, which interrupted the performances from the very start, compelling the organizers to have the first two bands repeat their performances.

My investigations have informed me that 25% of the scores are given to the popular vote of the audience, and—as undemocratic as this may sound—I wonder if, in a competition such as this where, supposedly, we are attempting to select the best band to represent Jamaica in an international competition, this approach is the ideal one to take, given our herd mentality.

Just look at how this has corrupted our parliamentary votes on issues of critical importance to the country. While it is natural for all the bands participating to mobilize their fans and supporters, if they are not encouraged to be guided by their conscience in making their vote, then we could very well do without the performances and simply select the group based on who has the majority vote.

To make matters worse, on Sunday, the supporters of the winning group came armed with their Vuvuzela Horns, and so, for the life of me, I don’t know how the judges could have made a determination about the quality of the musicianship of the winning group, because their fans, who were obviously the majority of the audience, incessantly blew these horns throughout the performance of Di Blueprint.



Di Blueprint Band

In my view, firstly, due to the competitive nature of the event; due to the fact that you had three judges who were supposedly there to make an objective judgment of the musicianship and stage-craft of all the groups, the promoter should never have allowed the horns to be used. Secondly, because, to my mind, it was therefore impossible for the judges to have heard this group clearly and uninterruptedly, they should have been disqualified to be fair to the other groups.

Whereas these Vuvuzela Horns may be appropriate for the open-air, political party meeting (I don’t really care to hear what their speakers have to say anyway), and for the ‘Kernation Market’ setting, the audible impact of this shrill sound totally discombobulated me, and, I’m sure it did likewise for those patrons who came to this event with an open mind and simply wanted to hear good, live music to draw comparisons and make their individual judgment about the strengths and weaknesses of each group.

With due respect to the organizers, this is not the first time that this herd mentality has had an undue influence in determining the winner of the competition. The same thing occurred at the very first one in 2005 where C Sharp lost to Live Wyya, not because they were better musically, but because of their superior mobilisation efforts.

While I don’t know if it is a criteria mandated by the governing international organization, in my view, whereas I wouldn’t totally eliminate the popular vote, it should not have a value of more than 10% of the overall score given to any participant.

Speaking of C Sharp, thank God they have lived to tell the tale, and are now riding high on the local, live music circuit. On Friday night, they celebrated their 10th anniversary with a concert performance and the launch for their new album ‘The Invitation’ at the Jamaica College Auditorium, and I was pleasantly surprised at the significant amount of people who came out in support of them… and none of us were disappointed. Whereas, Tony Rebel and Cat Coore got tremendous receptions and overwhelming applause, C Sharp was at their musical zenith.



C Sharp Band

The diversity and richness of their music, complimented by the sonorous voice and charisma of the lead singer, and their mastery of stage-craft was simply amazing. This group has not wasted their ten years and the combination of talent, training, discipline, and hard work have certainly paid off. “All Fruits Ripe”… Good luck gentlemen; the world awaits!

Email: che.campbell@gmail.com


Read more: http://www.jamaicaobserver.com/entertainment/C-Sharp-n-the-Battle-of-the-Bands_10403262

We are in safe hands

Groundins

By: Charles H.E. Campbell

Sunday, December 04, 2011

I attended the Manifesto Jamaica festival two weekends ago and was impressed with the level of organisation, the sophistication and breadth of activities and the sheer enthusiasm and commitment displayed by their volunteers and management team.
This organisation, in its short life-span, has taken its commitment to empower inner-city youths by giving them the kind of skills-training which will not just give them basic qualifications and experience for the working world, but will go a far way in re-socialising those who have been impacted by the programme as well as re-orienting their mindset.

COOPER... has been credited by a number of the students at Edna Manley College as being a factor in their success

It is unfortunate that other than Director of Culture Sydney Bartley, I did not see other representatives from the public sector or captains of industry and commerce for whom, I'm sure, this festival would have been an inspiration if they had attended.
That being said, however, I wish to highlight in particular the concert held in the Vera Moody Concert Hall on Saturday night and the Evening of Poetry held at the dance auditorium on the Sunday night.

Mutabaruka, Tanya Stephens and Cherry Natural really did themselves, and Jamaica, proud with their poetry on the Saturday night. But, there were some Jamaican Canadians who also performed at this poetry session and their perspective, given the race issues that they have to contend with in that society, revealed the continuing struggle of blacks in Canada against a system that is stacked against them.

The Uprising Roots Orchestra's performance could only be described as awesome. The addition to the group of the horn section and Bo-Peep on rhythm guitar, has truly transformed the band into one of the best sounding local bands in Jamaica presently, and by the end of their performance the entire audience was in a trance. This band is now ready to conquer the world!

Edna Manley had their graduation ceremony on Saturday November 22 at The Little Theatre. I had the pleasure of witnessing their rehearsals for this function on the previous Thursday and Friday, and was totally fascinated and pleased by the concept of Pierre Lemaire and the arrangements of the musical director Michael 'Ibo' Cooper.

They were able to take A Night in Tunisia on a trip through genres ranging from classical, to jazz, to dancehall, so seamlessly weaving the styles together one hardly knew where the actual transitions took place. They were also able to stunningly marry the more stringent European influences to our indigenous sounds, art, and movement.

It is a little known fact that many of the current crop of Jamaica's top, popular bands and artistes, attended and/or graduated from the Edna Manley School of Music; Romaine Virgo, C-Sharp, Raging Fyah, Uprising Roots, Further Notice, Chevaughn, Shereita, Dubtonic Kru, Roots Underground, Diana Rutherford and Warren McPherson (who got the highest marks for the grade 10 classical piano exams) granting him a trip to Winnipeg for a Master Class a few years ago).

Many graduates of Edna Manley have told me that the portion of their success attributable to their tutelage at the college was under the mentorship of Ibo Cooper; they think of the school as having two phases, BC (Before Cooper) and AC (After Cooper). One student actually said he was about to leave the school because the direction he saw himself taking was not being fostered by the previous atmosphere of all classical/jazz, all the time.

Last Saturday, I had the most exhilarating night of live music while attending the Bands Incorporated Concert at Lindsay Avenue. The four bands on the lineup, Blue Grass in the Sky, Roots Underground, Dubtonic Kru and Raging Fyah are four of the top performing groups currently in Jamaica and each has its own distinct sound and vibe.
Raging Fyah stood out on Saturday night with a performance that was second to none. The crowd would not let them leave and demanded two encores before they allowed the band to leave the stage.

The following day we drove over to Asante Adonai in Winefield, St Ann for Jimmy's Jam, and I am certainly glad that I did not miss this event. Even though the attendance was less than a hundred people and the rain fell throughout the afternoon, this did not have a great impact on the recorded and live musical program. DJ Afifa played two excellent sets featuring Jimmy Hendricks, Led Zeppelin and many other famous guitar-driven hits from various genres of music which led to lively discussions, debates, arguments that just added to the sheer enjoyment of the afternoon.

Then we had a live performance from an impromptu band featuring Omar Francis & Maurice Gordon on guitars; Shurwayne Thompson on bass; Akil Krram and Shane Campbell on drums. They literally brought the hills alive with the sounds of music.

Email: che.campbell@gmail.com


Read more: http://www.jamaicaobserver.com/entertainment/We-are-in-safe-hands_10298437#ixzz1fhUkGJrE

Appointment of new JaRIA Board of Directors

Groundins

By: Charles H.E. Campbell

When JaRIA was formed in 2009, its primary goal as an umbrella organisation was to unite all individuals and organisations within the music and entertainment industry. JaRIA is extremely pleased to announce that its new Board of Directors comprises of, a representative of JACAP Mr. Vernal ‘Junior’ Weir, a representative of JAVAA Mr. Frankie Campbell O.D., a representative of the Sound Systems Association Mr. Winston ‘Wee Pow’ Powell, and a representative of Manifesto Jamaica Mr. Rupert Abishai Hoilett.

The other directors of the board are Mr. K. Michael ‘Ibo’ Cooper O.D., J.P. (Chairman), Mr. Charles H.E. Campbell (Vice-Chairman/Executive Director), Mr. Junior Lincoln, Mrs. Mary Isaacs Black, Mr. Stephen Stewart J.P., Ms. L. Nichole Brown, Ms. Coleen Douglas, Mr. Paul Love, Ms. Shani Nembhard, Mr. Deleon ‘Jubba’ White, and Mrs. Carol Lawrence.


This enhances the ability of the music and entertainment industries to speak with one voice in lobbying for public policies and legislation which better serve the interest of the industry. In addition to being the main organisers of the annual Reggae Month programme, JaRIA’s current focus is on a) forging formal links with European promoters, booking agencies and agents; developing channels of communication to resolve issues such as difficulties faced by European promoters and our artistes on tours b) developing a programme/platform to provide greater airplay for the wider industry and c) advocating and lobbying for an Entertainment Encouragement Act, the formal designation and establishment of Entertainment Zones, the Preserve the Music Campaign, and the revision of the Noise Abatement Act. Also, in order to better protect the rights of composers, authors and publishers, we are striving to get greater compliance with the JACAP license and permits from musical events and businesses that use music daily.

Please visit our website at www.jariajamaica.com

Manifestos and Cultural Demands

Groundins

By: Charles H.E. Campbell

Sunday November 20, 2011

The silly season is upon us in full force. Of course I’m not talking about Christmas; rather I’m referring to the impending General Elections. Both parties have become quite adept at saying the right things and using the current catch phrases in relation to the vast potential of the cultural and entertainment sectors in increasing the contribution to our gross domestic product.

However, if truth be told, the kind of resources that are required to mobilise the disparate parts of the sector into a thriving industry have not been forthcoming either from the PNP administration of the past, or the present JLP administration.

For instance, Jamaica Jazz and Blues is no doubt the best annual event staged in Jamaica in terms of its production quality, organization and international promotion. But in large part the music presented at this festival, as the name implies, are non-Jamaican music forms and the headliners likewise are foreigners.

Let me make it clear that I totally endorse the financial support that this important festival on our cultural agenda obtains from our ministry of tourism each year. If reports reaching me are true I gather that this year they expect to get something in the region of $60m in sponsorship from the Tourist Board.

On the other hand, while the contribution they give to the national celebration of Reggae Month is critical to the execution of this proclaimed salute to our indigenous music, the actual figure is a paltry $2m, 3% of what is given to Jazzfest.

I know what the immediate response will be. I’ll be told that Jazzfest contributes more by way of income to the GDP through visitors. But are we sincere in our proclamation of February as Reggae Month? If we and our government are not prepared to nurture the development and popularity of Reggae Month and market it internationally then we should never have gone through the ceremony of a national proclamation until the private and public sectors were prepared to put adequate financial support behind this laudable initiative.

Having done so however, we do ourselves a disservice by allowing it to be tinkering along, relegated to the dregs, the ‘wat left’ after other private ventures such as that mentioned above have been taken care of. The Reggae Music Industry must demand our share of the pie. No more must we accept pittance while the ministry of tourism sound off all the appropriate platitudes in their national speeches. The ministry of tourism must match with appropriate funds the elegant and politically correct words that the minister has been making.

In a private meeting months ago Minister Bartlett gave his personal commitment that funding for Reggae Month in our 50th Independence Anniversary would be substantially increased and yet now it seems we will not get even as much as last year from the Tourist Board for the programme planned for February 2012. Our appeals to the private sector for support have not fared much better.

Let’s use the upcoming national elections to make our voices heard and to get firm commitments of support for the cultural industries by whichever political party will form the next government. The creative industries are desperately in need of a national venture capital fund, to drive innovation, as my good friend and colleague, Clyde McKenzie, has long mooted. This fund would provide financing for events, projects, products and ventures for which there is no tangible collateral. It is the type of fund and investment in IP that launched such great companies as Google, Microsoft and Apple.

In the performing arts sector our people are at a disadvantage because their training starts late in the game. We need a high school for those who display the aptitude for the arts.

We need to be doing more to preserve the achievements of outstanding practitioners. With our rich musical heritage, we should have an appropriate museum, not some musty old room. Therefore, the Reggae Museum needs substantial funding so that it becomes a hip place with holograms and modern technology with facilities.

Most importantly, for the creative industries to increase its contribution to GDP, the amount of royalty fees collected is critical. Additional mechanisms are needed so that entities engaged in making copyright music available to the public be required to comply with the 1993 Copyright Act. This will encourage our creators that the industry can work to their benefit.

Government needs to facilitate an ongoing public information campaign about JACAP license and permit. This is extremely important for the longevity of the music industry in Jamaica.

Email: che.campbell@gmail.com

Visit JaRIA's website at: www.jariajamaica.com

Read more: http://www.jamaicaobserver.com/entertainment/Manifestos-and-cultural-demands_10200975

Is Reggae Relevant

Groundins

By: Charles H.E. Campbell

Sunday, November 06, 2011

This was the moot question on a radio interview in which I participated last Thursday morning.

Ironically, the public discussion occurred during a week in which we were honouring the tremendous song-writing accomplishments of Keith 'Bob Andy' Anderson. Also I'd been spending time at the Harry J Recording Studio observing the sheer engineering/producing genius of Stephen Stewart as he recorded and mixed instrument upon instrument, blended voices — interwoven like a tapestry of sonorous arrangements and lyrics — into what, I'm sure, is destined to become another excellent roots reggae album.

Instructively, the project is being undertaken by Bermagrande, an Italian group, who've come to the cradle of reggae to nurture their nascent stirrings into our iconic Jamaican sound. This, I mention first because it is the basis of my dissent from our moot; only in Jamaica would this question arise!

Italian music producers Emma Lercari (second Left) and Sandro Donda (right), share a moment with, from left: studio engineer Stephen Stewart, and reggae acts Queen Ifrica and Tony Rebel.

Being fortuitously able to observe the sheer force of our 'little' sound from many points, I am a constant witness to how reggae impacts the world, and also, sadly, how this knowledge is lost to our people. Also somewhat of a moot is that France, unlikely as it seems, is the business headquarters of reggae and the largest single market for sale of our music both in terms of live and recorded material. It's as though we gave birth to an illegitimate child, gave it up for adoption, yet it has turned out to be our most brilliant offspring. Not only France, but Germany, China, Japan and Italy — a list I have severely truncated, have embraced our little 'Orphan Annie' as their own.

At the studio, a month-long sojourn into reggae's depths has seen such artistes as Freddie McGregor, Luciano, Tony Rebel, Queen Ifrica, The Abbysinians and The Congos lend voice to a project that, while propitious in the short-term for them, can have much longer-lasting success for Barmagrande on the other side of the world.

The band, made up of brothers Sandro and Marco Donda and Emma Lercari, do not, however, attest to the enthralment of fame or success. They measure success as more a slow burn that leaves traces of their impact and as such, don't favour the offerings of the usual suspects. Even within the aforementioned list of artistes my order was almost totally tip-tilted, an almost apoplectic look took Sandro as he mentioned the influence working with Bernard Collins had on him; Emma was just shy of likening him to a god. Their idea for the album Back from the Future was to go back to their past and rekindle with their roots reggae origin.

They had departed from their reggae start through an inability to find a blend of musicians who could authentically represent the sound. But, after years of experimentation and through the mentorship of Jamaican musician, Franklin Montague, who's been living in their hometown for eight years, they were able to better hone the skill of playing reggae.

So they came to Jamaica, after first debating the merits of going to France or America, and were fortunate in their decision to record at Harry J's. It was a no-brainer for them having Stewart co-produce their album. Sandro described the eureka moment when he suggested it to his brother; "Marco, how do you feel about..?" an abrupt interruption, and an emphatic "Yes!" met his suggestion.

The ease of this decision came from their knowledge of Stewart's history on landmark albums of Bob Marley, the grammy-winning offerings Calling Rastafari by Burning Spear and True Love by Toots and the Maytals and his work with Sly and Robbie — whose album with French DJ Bob Sinclair served as Bermagrande's introduction to Queen Ifrica and Tony Rebel. This endeavour serves many functions beneficial to Jamaicans, not the least of which is the opportunity for our musicians to work on such projects.

Those who shared their skills included Everton and Evrol Gayle on trombone and saxophone, Evrol Ray on trumpet, Uziah 'Sticky' Thompson, Noel 'Scully' Simms and Denver Smith on percussions and Dalton Browne on guitar and backing vocals. Stephen Stewart composed and played keyboards.

It's a big production with big names; they even endeavour having the input of Max Romeo and Bunny Wailer on some songs. But, even bigger than the names attached is the fact that the names most exciting to the Italian band were those of our woefully forgotten artistes. Cedric Myton singer of The Congos and Bernard Collins of The Abyssinians are not names that incite fervour in the hearts of young Jamaicans today, but these are the people who were formative of the love for reggae music and Jamaican culture that the rest of the world embraces. To them, a decidedly more populous group than our two plus million, Reggae is far from irrelevant. So then, what are we doing?

On Friday October 28, at the tribute to Bob Andy the love and fellowship that permeated the cast of artistes, musicians and technicians backstage was so strong that it filtered out to the audience and enhanced their experience from more than just the audiovisual, but to the existential. I am convinced that when our artistes perform for a worthy cause they are at their best; they made me feel proud and patriotic.

Much love to Phebe-Ann Henry for co-authoring this article.

Email: che.campbell@gmail.com

Read More: http://www.jamaicaobserver.com/entertainment/Is-reggae-relevant-_10099495

Celebrating the Jamaican in us

Groundins

By: Charles H.E. Campbell

THE Edna Manley College of the Visual and Performing Arts successfully executed the inaugural, of what they hope will become a biennial event, Rex Nettleford Arts Conference, over two days, last Thursday and Friday.
The conference theme was 'The Arts: Catalyst for Caribbean Development'. To quote from their website, "The purpose of the conference is to create a platform for discourse with practitioners, writers, researchers and arts educators. The conference further seeks to create interdisciplinary dialogue on the role of the arts in economic development, generate discourse around the arts being a viable medium for wealth creation and to create a space for critical exchange of ideas that make the connection with the arts to society." I was able to attend a few of the seminars, and was very impressed with the research, scholarship and presentations of our locally based, as well as the overseas presenters.

A random sample of papers include: Pipe dream or reality: Towards an enabling policy framework for the development of the cultural and creative industries by Denise Salmon; Reviving Jamaica's commitment to the art-driven curriculum in schools by Brian Heap, a most enlightening paper, filled with both alarming and encouraging statistics and facts. He made it clear that the legislative framework and curriculum guidelines were already in place, but the arts fraternity is 'asleep at the wheel' (since vehicle analogies are popular these days), in not aggressively lobbying for its implementation in all of our schools.

Other presentations included: Why are funny men so funny by Owen Ellis; The power of art to heal, by Carol Campbell; Promoting an "experience" economy: Exploring the intangible paradigm shift taking place in Caribbean heritage tourism, by Janice Francis-Lindsay; The existence of the Jamaican visual arts industry: Contemplations on the present and the future, by Winston Campbell; The creative process: An analysis of Rex Nettleford the choreographer as cultural philosopher, by Monica Lawrence; and youth empowerment through the arts, by Sheila Graham.

There was such a wide array of relevant topics addressed, that I would do a disservice to the conference if I even attempted to highlight all of them, in this column. Needless to say, as it was so eloquently stated by The Most Honourable Edward Seaga, in his remarks at the opening ceremony in the Vera Moody Concert Hall last Thursday night, 'this type of conference was well overdue'.
Seaga gave an analytically brilliant dissertation, contextualising our international renown for artistic and sporting excellence and achievements within Jamaican cultural norms, impulses and complexes.

At the risk of oversimplifying his sociologically informed definition of a main personality characteristic (flaw or attribute) of the average Jamaican; as he puts it, he/she is "not a team player", in essence, he posited that the causation for this trait, is the general lack of regimentation in various critical aspects of our lives, starting from birth, with our mothers firstly rejecting a proper infant feeding regime, then making us believe we could do no wrong and fostering our penchant for instant gratification by willingly satisfying our whims and fancy, rather than saving to invest in our future through education and training.

He then chronologically, took us through all the life-stages to adulthood, demonstrating how our society had failed in many respects, to inculcate discipline in its children and citizens, unwittingly re-enforcing those traits that have come to serve some of us so well in our personal creative pursuits. These same traits, he pointed out however, have made us largely ungovernable, and prevented us as a society from forging unity over common goals to drive our quest for true nationhood.

The former Prime Minister's dissection of this dominant, but largely overlooked feature of our everyday lives was so incisive that he's had me reflecting on its many implications and consequences, since I heard him. Ironically, those of us who sat at the back of the concert hall were simultaneously experiencing, first hand, the 'every nigger is a star' syndrome, through continuous interruptions of his speech by so-called ushers, and cast members, who felt oblige to hold small talk with each other, seemingly on the top of their voices.
What is amazing though, is that while being so clinically observant about this sociological background, which in my view is of relatively recent vintage, Mr Seaga's speech paid scant attention to the pre-condition of political tribalism, and the pre-existence of garrisons ruled by thugs, which made the very warping of our cultural ethos and norms a prerequisite for its perpetuation.

It makes one wonder, if any of our current politicians, who have benefited from the corruption of our culture and regression of the society, can now be relied upon, to make the fundamental changes that a majority of Jamaicans — fed-up of the rot — are clamouring for.

While congratulating him on his ascension to the pinnacle of political power in Jamaica, if Andrew Holness truly wants to leave a lasting legacy that, in the long run, will accrue to the eternal benefit of the average Jamaican he may begin by taking concrete steps to dismantling the garrisons and its attendant anti-social habits and cultural manifestations.

Email:che.campbell@gmail.com


Read more: http://www.jamaicaobserver.com/entertainment/Celebrating-the-Jamaican-in-us_9987841#ixzz1biWwC2iB

Bob Andy, songwriter extraordinaire

Groundins

By: Charles H.E. Campbell

I happen to believe that Bob Andy is the greatest songwriter Jamaica has produced to date. Most of our so-called songwriters are in fact, excellent poets, but if you examine the structure and flow of Bob Andy's lyrics, you will realise the marked difference between them and those of the average Jamaican song.

Born Keith Anderson, Bob co-founded The Paragons and penned their number one hit Love At Last for producer Coxsone Dodd, before launching his solo career in 1966 with his blockbuster hit I've Got to Go Back Home. This song, while revered for its spiritual overtones of repatriation and reconciliation, has become a perennial party, dance-floor stomping anthem, all over the world. Over the years this song has been covered by Chalice, Freddie McGregor, and namesake Horace Andy.

During this prolific era of his career Bob bombarded the local airwaves with other timeless reggae standards such as Feeling Soul, My Time, Going Home, and Too Experienced — still one of my all-time favourites. The latter later became a massive hit for Barrington Levy. Other versions were recorded by The Body Snatchers, Eddie Lovette, and Los Pericos — a popular Argentinean band.

During this early period of his career, Bob Andy penned many songs for other stable mates, including the following songs made popular by singer Delroy Wilson — I Don't Want to See You Cry, I Want to Let You Know, It's Impossible, Open Up the Door, Touch Me Again, We Belong, What Else Can You Show Me, and You Won't See Me (Honey Child).

Some of the most potent, socially conscious lyrics of Bob Andy's long, successful career came during the 70s, in sync with the major local and international issues of the time. In fact, Bob has never shied away from controversy, either in his lyrics or personally, identifying with progressive movements for liberation and self-rule. Check it Out succinctly expressed the growing disillusionment, at the time, with trickle-down economics, and our national policy of Industrialisation by invitation. The lyrics of the first verse went:

Come listen to me

I've made a discovery

I want to share it with you

I'll have you know that it's true

Multinationals are really criminals

All forms of gambling

There's no way to win

How prophetic those words have become as over the last 40 years the world has witnessed the greatest concentration of wealth in the control of a few. Another great song of that era, Fire Burning, was not only an instant, massive hit, but, at the time, generated significant heat among the chattering classes. Its international truism, however, has weathered the test of time, making its message as wise and relevant today, as it was back when it was first released. The lyrics are worth reprinting here in full:

I was drawn into myself

Observing all this time

From every angle I could see

My people, you're meeting hell

Brothers have turned to crime

So they die from time to time

We'd like to ask you leaders

What have you got in mind

I see the fire spreading

It's getting hotter and hot

The haves will want to be

In the shoes of the have-nots

If the sign is on your door

Then you will be saved for sure

But if you are in pretence

You're on the wrong side of the fence

Oh yeah - you better believe me

People - Believe, believe, believe me when I tell you

Another thing I saw in visions

Right in front my eyes

Sisters prostituting, selling away their lives

They get but very little pay

The ones who clean the mess

Minority who sits on top

Just rate themselves the best

But I see the fire spreading

It's getting hotter and hot

The haves will want to be

In the shoes of the have-nots

If the sign is on your door

Then you will be saved for sure

But if you are in pretence

You're on the wrong side of the fence

Oh yeah - you better believe me

People - Believe, believe, believe me when I tell you

It is therefore appropriate and very timely for the Friends of Bob Andy, some of the best of Jamaica's current and legendary musical talent — artistes, musicians and arrangers — to unite and collaborate to present an extraordinary concert and celebration of the legendary Bob Andy and his internationally acclaimed songwriting skills — Bob Andy Unplugged — Tribute to the Songwriter on Friday, October 28 at the Karl Hendrickson Auditorium, Jamaica College.

Email: che.campbell@gmail.com

Read more: http://www.jamaicaobserver.com/Entertainment/Bob-Andy--songwriter-extraordinaire_9864676#ixzz1aJiGKoBI

Let's Protect The Brand

Groundins

By: Charles H.E. Campbell

THIS is the final instalment in the series related to my observations of and prescriptions for the European reggae market.

This analysis is important because this market holds the greatest potential for the growth of our unique brand. Like I said on August 28, "The Jamaican brand of reggae is still the most alluring. Being Jamaican lends some authenticity and credibility to the artiste as well as the event's programme... We, however, are continuously missing the boat by not exploiting this for maximum returns, by properly registering and protecting the Jamaican reggae brand, and through the promotion of cultural tourism."

While it is true that a few of our artistes have harmed our reputation through intransigence and unethical behaviour while on tour, unfortunately, our competitive advantage is being further eroded by exploitation from unscrupulous European business people. For example, "too many so-called European booking agents are there giving some of our artistes a bad name, by pretending to represent them based on some prior, nebulous association, and accepting bookings on their behalf."

Here are some of the more common infractions that I've discovered, although I should point out that these 'tricks' are not restricted to French and/or Europeans alone:

a) Passively giving the impression that they represent an artiste or band which they don't. Sometimes it's as simple as putting the name and likeness of a popular artiste on their website in the hope of catching the eyes of festival and venue bookers. When someone calls to book the artiste, they claim that particular person is not available and propose an alternative that the individual/entity may book instead.

b) Falsely claiming to represent an artiste who may or may not already be represented by someone else. Bookers don't like to get involved with an artiste who has more than one representative, so this tactic can be used to scare bookers away from particular artistes. Another ploy that's used is to try to book the artiste knowing that if you wave some money in front of his/her face the artiste will jump because they either have no loyalty and/or a signed/written contract with their official agent.

c) The 'bait and switch tactic' where an agent proposes and books a popular Jamaican artiste they really do represent only at the last minute to switch that artiste with one or two others who are less known and less expensive for various reasons. Usually, the reason given is that the artiste wasn't granted a visa or had an accident. By switching to lesser known artiste(s) the agent might even end up with a bigger fee. Another devious strategy in this regard, even more disadvantageous to our brand is: European promoters who claim to represent popular Jamaican acts and then when booking requests come in, stall, then at the last minute claim the act is busy to then suggest cheaper European alternatives that they also manage.

d) Promoters who put the name(s) of artistes on their advertising whom they did not book and don't expect to show up. This is getting less and less popular because of the Internet and also because of the very real possibility of prosecution.

e) European promoters whoclaim to book for the local acts but do so at exorbitant fees which they then take cuts from before passing to the second or third agent, the much lesser sum reaches our artistes.

f) Most artistes do not ask for and do not receive a full accounting of the tour. They only ask for a fee without knowing how much money the agent is selling the gig for, and thus making on the tour. An agent usually earns a percentage (usually between 10 per cent - 15 per cent) of the net, with the artiste taking the rest. Without the tour accounts, the agent could be making more money than the artiste/band.

g) The most common and easiest 'trick' is to cut back on promises made during the negotiations; cheap backline, bus, hotels, etc.

h) These atrocious business practices are not only being used by small unknown agents and promoters. In fact, the biggest reggae agency in Europe is very famous for most of these malpractices.

It was for this very reason I proposed on August 28 that "Jamaican booking agencies should register and establish offices in Europe, possibly manned jointly by Jamaican and local representatives."

In order for us to protect the Jamaican reggae brand in Europe, the Jamaican Music industry needs to unite and establish formal working alliances with major European organisations, and a more collaborative, structured relationship with their festival organisers.

Email: che.campbell@gmail.com

Read more: http://www.jamaicaobserver.com/entertainment/Let-s-protect-the-brand_9784455#ixzz1Z4ZSdaA1

The right side of history

Groundins

By: Charles H.E. Campbell

Recently, my colleague Clyde McKenzie rationalised the dearth of good lyrics in reggae, as a consequence of the successful conclusion of the era of epic global struggles against inequities such as racial prejudice, and the oppression of indigenous peoples, as well as, injustices such as apartheid and colonialism. These were atrocities against which, as a people, Jamaicans were unified.

This opposition inspired many of our songwriters and reggae musicians, from the 60s through to the 90s, to create some of the great, timeless worldwide anthems; the rallying cry for various liberation and human/civil rights movements demanding change, international human rights, peace and justice. We can proudly claim to have been on the right side of world history, on all these issues, and played a critical role in their resolution that belies our small size. 'Wi likkle but wi tallawah!'

This established a tradition, making reggae unique and famous among other musical pop forms, for its universal viewpoint, the absence of narcissism and nihilism, thus driving its penetration of the global marketplace.

McKenzie reasoned that presently, there is no such overwhelming global issue on which to concentrate our focus and creativity. Now it seems, there is a lull in our interest in world affairs, as evidenced by the lack of commentary in our songs, on matters that, in a previous generation, may have arrested the attention of our artistes.

Conversely, in France I was asked what has changed in the Jamaican society, especially among the Rastafari bredrin, diluting the potency of our lyrics, even from our roots reggae artistes, replaced by the relatively recent onslaught of narcissism and anarchic tendencies, especially in the Dancehall genre.

This was juxtaposed against dancehall artistes from African countries and French territories, whose lyrics are still in that traditional mould of social commentary on contemporary issues, and who are reaping the resultant success and rich rewards in the European marketplace. That has prompted me to examine McKenzie's analysis from another perspective, looking inwardly at changes in our socio-cultural impulses and their causative factors. There is no doubt in my mind, that in so far as the music fraternity is concerned, our modus operandi for grooming, educating and socialising our artistes and musicians have drastically changed.

Today, unfortunately, the youths are adversely affected by the lack of informal interaction with the more experienced members of the fraternity, or from the wisdom of elders and gurus like Mortimer Planno and Brother Sam Brown. They enter the world stage, uninitiated in its wiles and mores, and without a worldview, grounded in our history and culture, and fortified by knowledge of one's self-identity.

In this void, substituted by the sycophantic entourage, there is an absence of the traditional 'reasonin with seasonin', within the industry, about global affairs, leaving our local artistes largely uninformed. Despite this, there are some crucial issues on which the attention of the world is riveted, such as the Palestinian question, which sits at the core of many of the geo-political events now playing out in the Middle East, and the twin issue of global warming/environmental protection, that beg attention of the creative genius of our artistes and songwriters. Another matter of profound dimension and consequence for our own industry is the prediction by economists that the world is facing another five years of economic stagnation.

This means that the ranks of the unemployed are going to swell, and the standard of living for many people is going to be lowered, while simultaneously, the world witnesses the greatest accumulation and concentration of personal wealth.

This means that the ranks of the unemployed are going to swell, and the standard of living for many people is going to be lowered, while simultaneously, the world witnesses the greatest accumulation and concentration of personal wealth.

Already reeling from the effects of the recession, with a growing despondency and alienation from their society, the youths and under-privileged of Europe are searching for inspirational music in their quest for identification with some positive force in their lives. As Bob Marley would say 'come wi go chant down Babylon one more time'. It is time for Jamaican reggae music to re-take its mantle, begin to identify with and sing about the daily struggles of these segments of the world's populations, who are crying out for a voice to articulate their needs, frustrations and causes.

But I guess that the Jamaican society may first need to rediscover its soul. After all, that's the well from which all our artistes and musicians spring. In fact, even in our still fiercely tribalised society, it may be a most opportune time, given that the yoke of gangsterism has recently been tentatively broken, providing our artistes with a greater feeling of personal security and less fears of recrimination, victimisation or persecution for exercising their freedom of expression. It might yet be the breathing space we need, to spur an outpouring of suppressed, but deeply held views on the state of the nation and world at large. Who knows?

Email:che.campbell@gmail.com

Read more: http://www.jamaicaobserver.com/entertainment/The-right-side-of-history_9664936#ixzz1XhPjPwNR

Should the JLP apologise over Dudus?

Should the JLP apologise over Dudus?

Pregnant with possibilities

Groundins

By: Charles H.E. Campbell

Today I am picking up from where I stopped last time, reporting on my observations and interactions while attending, as well as, the main characteristics of Reggae Sun Ska; using these facts to extrapolate to the larger European Reggae scene, in determining how we can better serve and increase our market presence and share there.
There were some notable features, some of which I have already made mention, without yet expanding on them. For instance, quite unlike our practice in Jamaica, each act was allotted a performance time of one hour.

This allowed them all, sufficient time to weave their songs into a narrative, thereby developing an intimate rapport with their audience, while steadily building up to their crescendo. This is an approach I would recommend that Jamaican event promoters adopt, in the production of our large stage shows and festivals. At present they are usually stacked, on the front end, with too many acts of unknown, untested quality. This often causes our audiences to become dreary and tired, and therefore less appreciative of the performances of the headliners, who then come too late into the show, with too little time to perform their full repertoire.

Throughout the three nights, it became patently obvious that the greater audience responses were received by those acts that sang each entire song. Also, it seemed that those acts that stood up straight to perform, rather than slouch – as is now a common practice of too many of our young artists – projected better and had more impact.

Another interesting fact was that all artistes were listed on the programme in terms of genre and country of origin. For example, Toots & the Maytals were listed as Reggae/Jamaique, and Danakil was listed as Reggae/France. The obvious implication is that although the European Reggae scene has matured and is dynamic, with the native populations more accustomed to, and readily identifying with their home grown talent, the Jamaican brand of Reggae is still the most alluring.

Being Jamaican lends some authenticity and credibility to the artiste as well as the event’s programme. Many people, including Roger Steffens expressed the view that Jamaican musicians give the music spirituality, a distinctive sound, an inimitable vibe and a unique feel. We however, are continuously missing the boat by not exploiting this for maximum returns, by properly registering and protecting the Jamaican Reggae brand, and through the promotion of cultural tourism.

Maybe, this is because we can’t come to terms with the fact that the major factor sustaining Reggae’s phenomenal penetration of the European market is the alluring appeal and adoption of many cultural features of the Rastafari Movement. When one travels overseas, you begin to realise that there are two strongly countervailing perceptions of Jamaican society. One is of a country and people heeding and adopting Marley’s lyrics, in which Marcus Garvey’s prophetic words have come to pass. In this regard our Island is perceived as a cultural Mecca, a genetic melting pot and the musical capital of the world, located in the most exotic and tropical of environments. Alternatively, the other, unfortunately, is a country that is blighted by extreme poverty, class polarisation, and high levels of violence. Ironically, the symbol of Rastafari reigns supreme in either scenario, as a self liberating movement promoting universal justice; peace, love and harmony, quite unlike the local perception of some pot smoking social drop-outs and deviants.

In an article titled ‘European penetration requires new strategies’ on November 8th 2009, I proposed five approaches to the expansion of our market share, and they are worth repeating today. Especially our younger artistes should actively pursue collaborative works with well known European artistes and producers, as a way of broadening their appeal, as the local radio stations are swamped with their music. Live instrumentation has made a big comeback in Europe, therefore we should return to the tradition of employing our great musicians to record our music. Jamaican booking agencies should register and establish offices in Europe, possibly manned jointly by Jamaican and local representatives.

Too many so called European booking agents are there giving some of our artistes a bad name, by pretending to represent them based on some prior, nebulous association, and accepting bookings on their behalf. Finally, the Jamaican Music Industry needs to establish working alliances with major European organisations, and a more collaborative, structured relationship with their festival organisers.

Email: che.campbell@gmail.com

Read more: http://www.jamaicaobserver.com/entertainment/Pregnant-With-Possibilities_9534696

Reggae Sun Ska

Groundins

By: Charles H.E. Campbell

At first glance, the title of this article would give anyone the impression that this is about a new event to take place in Jamaica. That of course, could not be further from the truth and although totally understandable given the symbiotic relationship between Jamaica with the sun, ska and reggae, would therefore be a bad misconception.

It however reintroduces the rhetorical question of who owns reggae; meaning pragmatically, how best can we preserve and protect this great musical idiom created by our musical pioneers only fifty years ago, and even more importantly, in what fashion, could Jamaica begin on a path to reclaiming its musical legacy, retain its special pole position from a marketing standpoint while benefiting the Jamaican economy as a whole. These are issues which I'll attempt to address in an upcoming series of articles.

So, what is Reggae Sun Ska? You may be asking. And why has it provoked these thoughts of mine. You may even be thinking, here goes Charles again, leading us down the garden path, flogging a dead horse. Be that as it may, I dare to tread where angels fear.

To put my opening comments in context, and properly introduce my subject, let me start at the beginning of this episode. At one of JaRia's weekly Wednesday events, Reggae Nights, held at the Edna Manley College, during Reggae Month this year, I was introduced to Fred Lachaize and Arnaud Bengochea, who are principals of this fifteen year old annual French Reggae Festival called Reggae Sun Ska, by Sam Clayton Jr.

Sam has spent the last ten years of his life working in the French reggae industry, as a producer, artiste/tour co-coordinator, production manager. He, along with these businessmen had come to Jamaica to attend JaRia's concerts, as well as take the opportunity to do some recordings with Jamaican musicians, for African Reggae act Takana Zion, co-produced by Sam and Stephen Stewart, and film a video of a single of his called Rasta Government. Incidentally, this song is currently a big hit in the French market. They were impressed with the format of our programme, the wide array of acts presented, and the orchestration of our music at the awards show.

Our deliberations explored practical ways in which we could forge a closer working relationship between the Jamaican and French music industries, leading to improved self-regulation on both sides, and hence, a better working environment for all.

During these talks, they extended an invitation to be their special guests at the three-day festival which was staged from August 5-7 in a relatively small French town located in the Medoc region, named Pauillac.

I attended the festival, along with fellow JaRIA Directors Joan Webley and Stephen Stewart, two people whom I have come to regard highly, because they will not drop the soap in the shower, and I have come away with the following observations.

The festival garnered a total audience of approximately fifty thousand people, spanning three generations. Twenty-four acts, of which thirteen were from Jamaica, were presented over three days, at a rate of eight acts per night, each being given an hour of on- stage time. Luciano's mainly Caucasian, European backing band was so tight, if one closed his/her eyes you might believe they were Jamaican. I was honestly surprised at the audience's response to the Heptones and Toots. Word for word, they sang along in unison to every single tune. When I made this comment to Arnaud after, he responded that with widespread disillusionment among the 18-30 year olds, of Europe, they had gone back to the message music of ska and Roots Reggae.

He bemoaned the lack of conscious lyrics even from young roots reggae artistes, and suggested that, given the music's glorious tradition of promoting progressive world causes. It was bewildering to him that Jamaican artistes were not addressing global contemporary issues such as preserving the Environment, and liberating Palestine from Zionist dictate.

The dancehall genre was represented by only two acts, none of which were Jamaican. Again, Arnaud rationalised this absence by explaining that that the dancehall market had shrunken, and its target audience was now mainly the 30-35 age group. Except for the Sunday which started at 4:30pm and ended at 12:30am, each night the live concert began at 6:00 and ended at about 3:00 am. Patrons drove from all over Europe, mainly Germany it seems, to attend, and camped out in parking lots, vineyards, on verges and in green spaces all over town. The camping grounds located on the festival site itself were a hub of activities 24/7.

Finally, I was impressed with how the festival used imaginative, creative ways to promote good environmental practices, while reducing the human footprint on the venue. I will continue this analysis in my next commentary.

Email: che.campbell@gmail.com


Read more: http://www.jamaicaobserver.com/entertainment/Reggae-Sun-Ska_9439228#ixzz1V1tRdpWH

Long Live Emancipation

Groundins

By: Charles H.E. Campbell


TOMORROW is celebrated as Emancipation Day in Jamaica. Even today, in light of our abject failure since 1962 to complete the process towards psychological liberation or full-free, to many Jamaican patriots this milestone bears more cultural significance than does Independence Day on August 6.

That is because August 1 symbolises the culmination of the pre-emancipation struggles of the Jamaican people, in eventually overturning, against all odds, what was essentially a ruthless, genocidal system against the black race.


Even after Marcus Garvey, Bob Marley and reggae music have revealed so much about the true African contribution to world history and development persists among large segments of our population.

For generations throughout slavery, our British colonial masters, in their quest for perpetual, absolute dominance over us, had systematically attempted to implant into our subconscious intolerance of our diversified and unique features, a derision of our African heritage and culture, and a penchant to mimic that of our oppressors, bleach our minds, and equate it to enlightenment. Unfortunately, even after Marcus Garvey, Bob Marley and reggae music have revealed so much about the true African contribution to world history and development, this trait persists among large segments of our populations, across the social classes, and certainly within the state apparatus.

This capitulation of the British was ultimately spurred, in large part, by the last, wellorganised, extensive slave revolt, led by Daddy Sam Sharpe that enveloped most parishes in the south, west and north-western regions of Jamaica, on some of the most profitable estates.

Make no bones about it, however, the Jamaican Maroons had fought hard against the Spanish, followed by a bitter 80-year war against the British whom they defeated decisively, time and time again, forcing them to sue for peace. In so doing, the Maroons finally won their physical freedom, negotiated, expanded and retained control of their independent territories, over 100 years earlier.

In fact, if truth be told, ever since the imposition of chattel slavery on Jamaica, purely to create the surplus that drove the British industrial revolution, and for the economic aggrandisement of the British oligarchy, the plantocracy was never allowed to attain total dominance or achieve peace islandwide. The estates, and by extension the system, was undermined, sabotaged, and disrupted many times, in open revolt. The English authorities and their local surrogates — the plantation owners — had endured, but were losing more and more ground and morale against a determined, considerable and continuous rebellion throughout the 300 years that slavery officially lasted. For this reason, our nation is deeply indebted to our illustrious ancestors for their sacrifices and struggles.

Sadly, however, most of us over 50 years of age were then compelled in school, to learn about our history through the eyes, interpretation and books written by the British and their apologists.

In an official attempt to right the omissions of those history books, and give a more objective account of our history, since independence, the Jamaican state has seen it fit to anoint as national heroes, some pivotal, symbolic leaders of our fight against foreign domination and slavery. This includes Nanny of the windward Maroons, who was responsible of the first defeat in battle of the (then) modern British army, and Sam Sharpe, who was defeated by betrayal, but delivered a mortal psychological wound to the British oligarchy, and a crippling depletion through mass desertions from its armed forces.

From the immediate post-emancipation period, our National Heroes are Paul Bogle — the leader of a peasant revolt the shook the foundations of the British empire and led to the re-institution of direct rule from London to the ire of the local despotic ruling class who were tricking the masses back into slavery, and George William Gordon, whom they feared more for his increasingly successful mutual security schemes and the economic wealth and independence it was creating among the peasantry, than his direct association with Bogle.

Customarily, we commemorate Emancipation Day in Jamaica mainly through fairs and vigils, largely incorporating traditional art forms. This is very appropriate since these art forms were utilised during slavery, not only for their aesthetic values, but to deliver encoded messages in the developing Jamaican dialect, to communicate critical information, explain and promote planned strategies and tactics for insurrection activities, in language ‘backra’ could not easily decipher.

Throughout our history, the artiste community has been at the forefront and in the vanguard of our striving to liberate ourselves physically and psychologically. It is little wonder then, that reggae has emerged as an outgrowth, to continue this glorious tradition, as we have become a beacon of hope to the oppressed — including indigenous and aboriginal — people all over the world. I wish for everyone, even those yearning for a return to British rule, Happy Emancipation Day and Independence when it comes.

Email: che.campbell@gmail.com



Read more: http://www.jamaicaobserver.com/entertainment/Long-live-emancipation#ixzz1Tv1BXucN

Sumfest highlights seismic shifts

Groundins

By: Charles H.E. Campbell

ON an annual basis, in a true sense, Reggae Sumfest is a good snapshot, reflecting the current state, impact — national/international — and mood, not only of the local music industry, but also of the social and economic environment in which it operates. Looked at with a keen eye, the line-up for the three big nights this year confirms a realignment occurring in the constellation of dancehall and reggae stars, and the types of songs and tunes that are emanating from Jamaica.

Dancehall night is headlined by the five top superstars — Vybz Kartel, Mavado, Bounty Killer, Beenie Man and Elephant Man — who together have largely ruled the genre over the last decade or more. However, the inclusion of younger artistes like Aidonia, Konshens, Khago, Seanizzle, Laden and Fambo, who are all riding high on the significant number of hits which, between them, they have released in the last two years, should attract a bumper crowd, as well as give patrons a night filled with a wider variety of the styles current in dancehall, both musically and lyrically.

A significant characteristic of most of these relatively new acts is the shift in focus of their lyrics away from the brutish, violent language and images, the constant glorification of the gun, gay bashing and the promotion of misogyny, which dominated the genre locally for more than a decade, buttressed by Christian fundamentalism. This feature had so come to typify dancehall music in the minds of many, that it eventually began to stifle its continued growth outside of Jamaica running counter to the sensitivities and clout of an increasingly successful, politically connected and integrated, powerful social movement, along with tremendous support from human rights activists, with a more liberal viewpoint and self-interest taking hold in many of the major reggae/dancehall markets of the world.

Given the consistently weak sales of CD singles and albums due to a mix of modern technology, illegal duplication, pirating and the global recession, more than before, live performances have now become the primary source of income for reggae/dancehall artistes. More than most others, however, this retinue of young artistes has filled a vacuum on the international circuit, during a time when the visas and entry permits of Jamaica's top dancehall artistes were being cancelled right, left and centre. As an unintended spin-off, this punitive action, on behalf of interest groups by overseas authorities, plunged them into the limelight, and facilitated them in gaining tremendous worldwide exposure through performance tours.

This has had a cumulatively positive impact on all their careers, as well as serving to improve the stage presence and craft of some. Furthermore, as the prolonged loss of international income and prestige has effectively paralysed the careers and deeply hurt the pockets of the traditional purveyors of the sewer lyrics, we are gradually witnessing a similar, less dogmatic trend, even amongst them, borne out by a detected scaling back and toning down of the presence of offensive words and messages in much of their recent releases. In this context, Sumfest should highlight some seismic shifts in dancehall music.

In sharp contrast, since its inception, reggae has traditionally incorporated elements of mysticism, political commentary, reality and romantic ballads to produce its enormous catalogue of international hits. On Friday night, some of Jamaica's best known international exponents will be performing on Sumfest, including Tanya Stephens and Half Pint, both of whom I rate among our 10 best songwriters, the inimitable Beres Hammond, who seems forever to be on a continuous roll, and young Christopher Martin, who astonishes me with his growing writing and performing skills. Of course, one of the world's greatest songwriters, R Kelly, is also slated to perform that night.

On the Saturday night, I expect Gyptian and Cherine Anderson, whose international careers both soared this year, along with Jah Cure, Protoje, Wayne Wonder and Hezron to have an impact, along with the sensational Trinidad/American Nicki Minaj, who borrows so much from our culture to enhance and promote her musical career. Look out for Chalice, however. I saw them recently, and they are in fine form, and could very well steal the show with their fine showmanship, and technically sound, melodic music.

Sumfest director Sydney Reid tells me that the work to upgrade and resurface the car parks, roadways, ring road around the concert area and along the vending and sponsors areas and entrances to the restrooms has been completed. He said, also, that "the roadway leading to the VIP compound and the VIP viewing area in front of the stage has been completely redone and is now covered and compacted with river stones, making the entire area mud-free". Therefore, even if, like last year, the rains come, patrons should be largely unaffected, and will enjoy much improved facilities, regardless.

Email: che.campbell@gmail.com



Read more: http://www.jamaicaobserver.com/entertainment/Sumfest-highlights-seismic-shifts_9232295#ixzz1SU4j5tuh

The World Loves Reggae

Groundins

By: Charles H.E. Campbell

ANDREA Davis must be congratulated for conceptualising and launching International Reggae Day in 1994.

This media festival held each year on July 1, has accomplished one of its goals of focusing the local and international media on celebrating our indigenous genre of music for which Jamaica has become famous all over the world. In Andrea's words, "The world loves Jamaica for its exotic beauty, indomitable spirit, resilient people and unrelenting creativity", (Daily Observer Friday, July 1) words which aptly describe her own personal characteristics.

Over the years, she has doggedly pursued the promotion of this festival, despite the lack of adequate sponsorship. This is such an appropriate launch of the month, because Jamaica's entertainment calendar peaks during July/August, with events such as Portland Jerk Festival today, Reggae Sumfest from July 17 to 23, ATI weekend in Negril from July

29 to August 1, followed closely by our Independence celebrations from August 1 (Emancipation Day) to August 6. These are all big outdoor festivals that have weathered and withstood the test of time, by continuously fine-tuning and upgrading their products to a world standard, each with its own unique attributes and flavour that attract large local and international audiences. They demonstrate the untapped economic potential that can accrue to Jamaica

by pursuing entertainment tourism aggressively, using reggae's appeal to enhance the thrust. It is one of our greatest resources, but we are yet to come up with a national plan to maximise our competitive advantage from our association with its creation and development.

In a radio discussion on RJR's Beyond The Headlines with Robbie Shakespeare and myself on Friday evening, a part of the discussion centred on whether the changes in our local music were positive. While I take no issue with the authenticity and enormous appeal of dancehall music, I believe we sell ourselves short, by not providing more diversification in the type of music aired on local radio. Even with an expansion, over time, in the amount of radio stations existing in Jamaica, for an entire generation, in the main, there has been such a sameness of programming, that original reggae is relegated to very little space on prime time radio.

The end result is that many youths below 25 years of age, even our younger musicians, are not acquainted with the songs of artistes such as Don Drummond, Millie Small, Alton Ellis, Delroy Wilson, Desmond Dekker, Prince Buster, Derrick Morgan, Roy Shirley, Jacob Miller, and the list goes on. There are however, some notable, recent exceptions worth mentioning. For example, Bess FM and Mello FM do themselves proud daily, with a much broader musical repertoire than most other stations.

In contrast, reggae music makes up a significant part of mainstream radio in Europe, Asia and Africa. Roots

reggae is now experiencing resurgence in Europe, with a new generation of fans and musicians leading the way. As Robbie Shakespeare said in that interview, foreign musicians and artistes are now producing and making many of the recent reggae hit songs, but they have yet to fully capture that special ingredient that seems to come only from Jamaica.

The international market therefore is still hungry for the authentic thing. This summer, for instance, I detect that the touring schedules of many of our artistes have expanded in the duration and number of countries included. Our touring artistes are the perfect ambassadors who could help in promoting a renewed thrust to marketing Jamaica as the world's number one destination for entertainment tourism.

What Jamaica needs to do, desperately, is to establish some official entertainment zones in all parishes across the island, so we can spread

the benefit more evenly. Simultaneously, we need to deepen the integration of music into the school curriculum, so that our budding talents get the kind of foundation which most of our earliest artistes and musicians benefited from at the dawn of our music, 50 years ago.

Email: che.campbell@gmail.com

Read more: http://www.jamaicaobserver.com/entertainment/The-world-loves-reggae_9127621#ixzz1R6a1szCj

Music industry an economic imperative

Groundins

By: Charles H.E. Campbell


A confluence of heritage, creativity and economic imperative has brought us to the cusp of a trio of events to be staged in 2012 which we should wisely exploit, both symbolically and ergonomically, to maximise on the excellent opportunity it provides for the exposure of Jamaica's music industry and our potentially lucrative cultural tourism product.

I am referring to the 50th Independence celebrations, the 50th birthday of the reggae genre, and the 30th Olympic Games to be held in London, England. Of course, if we are really smart, the fact that it will also be the 125th anniversary of the birth of Marcus Garvey will not escape our attention.

Garvey was a prophet in his own right — recognised as the 20th century's best known and greatest international symbol of the movement of Africans and blacks worldwide for freedom, independence and equality. However, our national aversion to issues of race, and the hornet's nest it may stir up locally has inhibited our potential to benefit economically from his vision and worldwide appeal.

Garvey once said "Why should we give opportunity to native talent? There is one thing that is native to the Negro and that is that he can sing. I do not care where you take him from. Take him from the backyard, take him from the kitchen, the Negro sings his music just the same. He can sing his music and I believe that such native talent should be encouraged and the only way you encourage it is to have a national theatre [movement] in Jamaica."

Significantly, Garvey's PPP political platform in 1929 included the establishment of a national opera house, with an academy of music and art and the beautifying and creating of the Kingston Race Course (now National Heroes Circle) into a national park, similar to Hyde Park in London.

At the time, this would have been insightful, far-reaching investment in infrastructure and the natural talents of our people, had it been implemented, but to our detriment, it has been largely ignored by the state. Even after we gained our Independence in 1962, our own political leaders failed to facilitate, harness and mould the enormous creative abilities of our people into the national economic powerhouse it has always had the potential of being.

Left to their own devices, however, our artistes and musicians created and continue to produce, prolifically, a new internationally popular genre of music and a local industry that has already evolved beyond the wildest imaginations of some, and contrary to the dire predictions of others.

All of 92 years later, when global economic trends are re-enforcing the wisdom of Garvey's advice, in his address at the opening of the Inter-American Development Bank's Caribbean American Art Exhibition in Washington, DC, recently, Prime Minister Bruce Golding said "If you look at how world trade is moving from product to services and to more exotic areas of endeavour, the creative industries represent one important area that we will now have to pay more attention to".

So ironically, we have had to wait until our backs are against the wall, when we have begun to lose market share, due in part to our indiscipline, but primarily due to some self- serving, protectionist policies of foreign governments, before we finally awaken and smell the roses, realising that the partial solution for our economic and social development has been staring us in the face all along.

Prejudice just clouded our vision and kept us as primary producers of raw materials, while others packaged, marketed it and kept the value-added profits, just like in the days of slavery and colonialism.

Since there is now some sort of a national consensus that in going forward, the enhancement and expansion of our cultural industries is an economic imperative, I hope we can quickly convert this recognition into constructive dialogue with the private entertainment sector about determining a mutually agreed list of priority measures which the Government of Jamaica must implement in short span to encourage and facilitate the growth of the industry.

For far too long the State has looked askance at its admittedly flawed evolution, due to the lack of an enlightened national framework to nourish and give it sustenance, probably, because the politicians have neither been able to tame nor control it.

Now, they can no longer ignore its awesome potential in these economically perilous times. It's high time for the music industry to unite and demand our rightful, well-deserved seat in the national decision-making councils.

Email: che.campbell@gmail.com

Read more: http://www.jamaicaobserver.com/entertainment/Music-industry-an-economic-imperative_9029184#ixzz1PjMxiApr

Music Doctor

Groundins

By: Charles H. E. Campbell

DURING the first decade of our modern popular music, its creators -- the musicians, artistes and producers -- started from a sound base in which the various church choirs (and halls), school bands, especially Alpha Boys' School, and later The School of Music, The Military and Constabulary bands, the big Jazz/swing bands or combos of the time, all played a most significant part in their development. Subsequently, they sought to constantly and continuously hone and upgrade their skills through formal and/or informal means.

In preparing themselves for life, and the profession they had chosen, most instinctively sought to expand their education, knowledge of history, heritage, and folk tradition and how those related to the world in which they lived. This approach profoundly influenced their lifestyle, and more so, the music, songs and genres which they created and bequeathed to us.

Many like Joe Ruglass, Joe Higgs and Ernie Ranglin even cultivated an interest in philosophy, becoming gurus, seers, role models, songwriters, composers and teachers, to the second post-Independence generation of musicians, artists, cultural professionals and entrepreneurs that came of age in the seventies.

Just by being in their presence and reasoning, one would obtain an increased knowledge of self-identity, potential, universal principles, and the nature of the business, through their wisdom and understanding. These were by no means, rich people or high profilers. They were quiet intellectuals, the consummate professionals, fiercely patriotic, and the salt of the earth.

This is the tradition from which Dennis Howard sprung, and because his father is Jimmy Solo — as he is popularly known — Dennis is from the bowels of our culture and is well-steeped in its rites and evolution. Jimmy is a long-established exemplary member of that ilk referred to above, who at the tender age of 14, in 1958, started spinning records for Thompson Hi Fi based out of Pink Lane.

During these early years of our sound systems, Jimmy was a close friend of Duke Reid, yet well respected by Coxone, and was able to move from one dance to the other without acrimony from either. He used this period and relationships engendered with the two greats as an invaluable apprenticeship. In 1974 Jimmy solo became road manager for Shang Hi Disco, originally owned by Sydney Errar and his brothers, which was then operating out of Rose Lane.

Jimmy 'tricked' a younger audience to gravitate to this sound system through his superior knowledge of the standards made popular by the more established sets, combined with his magical touch in its sequencing at his sessions.

Four years later (1978), Jimmy became the sole proprietor of the Shang Hi, adding the catch-phrase Solo Phonic to the name, and relocating it to his bar, The Jazz Hut, which was first based at 109 Orange Street and later at 126 Orange Street. From these locations, Jimmy and Solo Phonic Disco (as most people soon began referring to it) became quite famous for his Round Robins, Red Stripe Road Shows, and Independence Street Dances.

I well remember one special dance attended by President Julius Nyerere during his official visit to Jamaica. Throughout the '70s and '80s this popular spot was like a fraternity base for professionals from the cultural and media sectors. Over time, some of my more enlightening, uplifting and spiritually fulfilling discussions and debates occurred within those confines with people like Tony Laing and Winston Williams leading the charge.

Dennis and Jimmy were an inseparable pair over all this period, so it's little wonder that the topic of Dennis' recent, successful, doctoral thesis was 'Popular Music Production in Kingston, 1956-2006: Creative Genius, [Dis] Functional Institutional Framework'. He was an integral part of the experience.

For years, in the music industry, there has been an under-current of resentment about academics who sit in their ivory towers, profess and propound on the history, state and solutions of the entertainment sector, without adequate background, or without ever being immersed in it. Like his mentor Clinton Hutton, Dennis Howard however, comes from a different mould. He effortlessly straddles academia, the media and entertainment sectors in his daily professional life.

Starting out at JBC Radio he deliberately, painstakingly, learnt all the roles of broadcasting. While there he hosted a very popular programme then moved on to Irie FM as a founding manager, where he was responsible for many innovations still being utilised. He eventually branched out entrepreneurially as a successful publicist and event planner. In addition, Dennis lectures at the Vocational Training and Development Institute (VTDI) and the University of the West Indies (UWI).

Congratulations 'Dr Music', the entire entertainment fraternity is proud of you and hopes that your association and new-found status will effect greater objectivity and balance in the output of the university's Reggae Studies Unit, about music-related history, issues, practices and guiding principles.

Email: che.campbell@gmail.com

Read more: http://www.jamaicaobserver.com/entertainment/Doctor-Music_8969997#ixzz1OVlciClR

Edna's Stars and Breadbasket Festival

Groundins

By: Charles H.E. Campbell

FINAL-year performances at the Edna Manley College last week were a breath of fresh air which reinstated my faith in the necessity of training our young, talented entertainers.

This year saw 12 final-year students captivating the audience with their acquired skills and hard work. Each night, from Monday through to Thursday, saw the music auditorium at Edna Manley College packed to capacity and then some. The audiences were blown away by a variety of genres of music — R&B, gospel, pop, reggae and jazz. There were many powerful performances of original compositions put together by the students, many of whom were multi-talented.

The graduates displayed how versatile they were as entertainers; even though they were music students, their performances measured up to international standards and were definitely more entertaining than much of what we've become accustomed to on stages recently.

Karmardo Blake is an excellent bass player whose solo piece was described by his lecturer as being so technical that it's beyond his stage. However, he delivered it seamlessly to his audience. Leuwin Thomas' drum solo piece was also said to be the most technical piece ever performed by an Edna Manley student. He also displayed versatility as a musician with his xylophone medley as well as a vocal piece.

Geneva Williams was the only female performer of the final-year students with most of her songs being originals. She held the audience captive with her rendition of Beyonce's Crazy in Love. Conray Richards electrified the audience with his vocal ability with his rendition of Jamie Foxx's Fall For Your Type and a Ray Charles medley. Bass player Andrew Ayre's duet with Maurice Gordon on guitars gave the audience something to rave about as he displayed a combination of genres and a few electrifying original pieces.

The second bass player, Roel Miller, put on an incredible show for the Edna Manley audience. His duet with Azuri Campbell singing Forever And A Day took top spot in his performance. Vocalist Leon Campbell performed a combination of genres which included a few original pieces. He did an excellent rendition of Alton Ellis's Girl I've Got A Date which would have given Ellis goose pimples.

Kevor Williams started his set with a few early blues pieces which included Rocking Robin and Route 66'which got the audience up and moving to his beats. His originals included a hit song by his band Pentateuch Black Face. Jon-Marc Talbot opened with Stevie Wonder's Lately and a rendition of Ne-Yo's Closer.

Their tutors included Michael 'Ibo' Cooper -- co-ordinator; Derrick Stewart and Ouida Lewis -- percussions; Michael Harris and Lori Burnett -- vocals; Courtney Fadlil, Samuele Vivian and Maurice Gordon -- guitars; Major Joe Williams -- wind instruments; and Orville Hammond -- piano.

Director of music Roger Williams, himself a past student of Edna Manley College, who single-handedly championed the institution of this degree programme, must be very proud of the results. To quote the University Council of Jamaica, "Edna Manley College is an elegant institution with the most qualified faculty especially in the areas of jazz, pop and all the Jamaican genres."

On another topic, for the last 10 years the Calabash Festival had been held at Treasure Beach, St Elizabeth over the Labour Day weekend. Unfortunately, as everyone knows, Calabash is taking a break this year and so the hoteliers, business people, farmers, fisherfolk and residents have come together to launch the Treasure Beach Bread Basket Festival, which will include a Farmers' Market.

The organisers of the festival believe it has been aptly named as it is to be held in St Elizabeth, which is considered the bread basket of the nation because most of the fresh fruits and vegetables consumed by Jamaicans are grown in that parish. In addition, farmers and fisherfolk will have an opportunity to sell their produce and catch to the thousands of patrons who are expected to flock the festival.

The farmers' market gives patrons the option of purchasing vegetables, produce and fruits at Kingfisher Plaza in Treasure Beach.

The Treasure Beach Bread Basket Festival will take place from Friday, May 27 through to Sunday, May 29. It is slated to begin with a Culture Night at Taino Cove hosted by Jamaican storyteller Amina Blackwood-Meeks and will feature Cen'C Love, a singer, songwriter, musician and daughter of the legendary Bunny Wailer; the Grange Hill Jonkunnu Band; the Manchioneal Cultural Group performing Quadrille and Bruckins and Senor Daley of Klassique Disco.

The Talking Trees Literary Fiesta will be held on May 28 at which time there will be a recorded talk at 2 Seasons Guest House before moving into a 'Readings' segment to be headlined by Nigerian author A Igoni Barrett, winner of the 2005 BBC World Service short-story competition and the 2010 Chinua Achebe Centre Fellowship.

An Evening of Song will take place at Frenchman's Reef Restaurant, featuring classical music, Jamaican folk songs, Negro spirituals, show tunes, jazz and more.

Saturday's events conclude with A Night of Great Entertainment at Jack Sprat Restaurant. This event will take the form of a stage show featuring headliners Reggae star Tanya Stephens, Protoje and Rootz Underground.

The Treasure Beach Bread Basket Festival culminates on Sunday, May 29 with the Sunset Resort Bread Basket Brunch offering a fare of the finest products of St Elizabeth, together with live entertainment.

The Treasure Beach Bread Basket Festival's final event will be a Fashion and Art Show at Calabash House, featuring the launch of the Masai line of Caribbean fashions by Jackie Cohen of Mutamba, and Art Wearables by Elizabeth Eyre Seltzer, fabric artist and designer. The art exhibition will showcase several Jamaican artists, including some from the Treasure Beach community.

Email: che.campbell@gmail.com

Read more: http://www.jamaicaobserver.com/entertainment/Edna-s-stars-and-Breadbasket-Festival_8846169#ixzz1NDX6LdpK

Politicians fixated on bricks and mortar

Groundins

By: Charles H.E. Campbell

MY last article generated some valuable feedback, encouraging me to continue this week to highlight some of the structural deficiencies inhibiting the development and growth of the entertainment sector.

One response in particular from Ramesh Chaitoo addresses the inaction of regional governments over the years, in putting in place the necessary national superstructures as well as infrastructure, required to take better opportunities of the obvious comparative advantages in our creative sectors; so that we can better trade and compete in the international marketplace. It reads, in part, as follows:



Dear Mr Campbell:

"I read your article on rebel music and the establishment in the Jamaica Observer on April 24, 2011. I am very much interested in obtaining your paper that was presented at the International Reggae Studies Conference on February 19, 2010 entitled, 'European Penetration Requires New Strategies'.

I moved from Canada in 2003 to the CRNM to head their Services Trade Unit in Barbados and immediately started to promote the creative sector as a potential engine of growth to policy makers in the Caribbean and spoke to politicians on several occasions. I also commissioned research on the sector and held several regional consultations with industry representatives and made recommendations to the decision-makers on what is needed to stimulate the development of the creative sector, in particular, entertainment. I am still convinced that it can become a major export sector for all of CARICOM if the right policy measures and incentives are put in place.

I attacked the perversely high tariffs on all inputs to the cultural industries but in vain. Nevertheless, I was one of the Caribbean negotiators who ensured that the trade agreement (EPA) between the Caribbean and EU included significant provisions and market access for the entertainment sector. However, since the Economic Partnership Agreement was signed, practically nothing has been done on the Caribbean end to start to take advantage of the facilities in it for entertainers or creative persons in general. I am now based in Brussels and doing other things, but still trying to see how to change that.

"I appreciated your argument in the Observer article. Caribbean politicians seemed fixated on 'bricks and mortar' approaches to economic development."

Ramesh Chaitoo, Trade and Development Consultant, Brussels.

Given that as a background, I was not very surprised to read Mr Seaga's pronouncement, made during his recent UTech address, that we are 'a supermarket, not a factory', and therefore the European Partnership Agreement (EPA) will not benefit us. As it relates to the Jamaican music industry however, I beg to disagree. That prognosis does not apply at all. In fact, over the last 50 years, with too few of the necessary policy measures and incentives being in place, Jamaica has still been able to become one of the largest 'factories' in the world, for producing a genre of pop music that has literally taken the international markets by storm; to the point where, as it now stands, many other states and nationalities are greatly benefiting, at our expense, because our succeeding governments have largely failed to legislate and institute the measures necessary for protecting and preserving the music and the industry that has evolved with it.

Charles M Blow, describing the world's current pop musical forms, in the New York Times on April 22, 2011 stated, "It further enshrines the destructive pop culture dogma that fame and fortune grant moral wiggle room to flout the rules and obscure the truth". Reggae is the exception to this general rule of promoting narcissism; hence its unique, enormous, continuing appeal to the more enlightened segments of the world's populations. Reggae has developed a very loyal fan base in too many countries to list here. Our problem is that it is so successful, our classic catalogues have been bought, our music and culture adopted and adapted and now, we are losing market share to these musicians and artistes domiciled in those marketplaces, and they have much stronger lobby groups, much more pragmatic governments, who have taken the necessary legislative action to enhance their growing dominance in an area where traditionally we held sway.

If the Jamaican public and private sectors would only become more proactive, analytical, united and determined in its efforts to pass the necessary legislation to stimulate the local entertainment industry before it is too late, our local artistes and musicians, with their superior creativity, will still be able to make sufficient in-roads in a process of reclaiming our rightful pole position with this great music which we have bequeath to the world, and in so doing, increase the economic benefits accruing to the Jamaican society.

Email: che.campbell@gmail.com

Read more: http://www.jamaicaobserver.com/entertainment/Politicians-fixated-on-bricks-and-mortar_8768884#ixzz1LuElP58I

Rebel music and the establishment

Groundins

By: Charles H.E. Campbell

NO one can fault Omar Davies' description of some of the most glaring examples of the indiscipline, short-sightedness, and the unprincipled business practices of many of our artistes over the years, while on the international circuit or the negative impact it has had on our music industry as a whole.

In fact, I myself have written and spoken publicly about this albatross around our necks, on a number of occasions. At the International Reggae Studies Conference on February 19, 2010, I presented a paper titled: European penetration requires new strategies, in which I addressed this very issue candidly and quite comprehensively (blog post for Tuesday, March 2, 2010 http://groundingsblg.blogspot.com/). Be that, as it may, I honestly do not think that Dr Davies has thoroughly answered the question reportedly asked of him concerning the earning potential of the creative economy, simply by highlighting this contradiction, because it is certainly not the most fundamental deficiency in the structure of our local music industry. 'Rebel Music' as he refers to it, is being stifled by inaction from the establishment.

Sometimes I wonder if our politicians even study their own manifestos. For instance, the PNP's 2007 election edition spoke of the intention to 'extend the Attractions Incentives Act to the construction, development and upgrading of event facilities'. Presently, Jamaica does not even have one concert hall, or large outdoor amphitheatre designed, built and devoted to showcasing our music at an international standard! Furthermore, in a kneejerk reaction to legitimate calls for updating the Noise Abatement Act, the PNP Government of the day rushed amendments through Parliament, making the police the sole authority that issues permission under this act, without simultaneously legislating exclusive Entertainment Zones in each parish, so that the then burgeoning live music sector, could continue its growth in appropriately dedicated spaces.

I just had a personal experience in St Catherine, where an Inspector of Police was with-holding a permit for a stage show, unless the promoter conceded to her unreasonable demands, to hire the amount of police, at their rate, to work at the event. Should that really be the predominant criteria for issuing permits?

Lest we forget, it was they who converted the Bob Marley Centre for Performing Arts in Montego Bay, into a site for upscale housing, in the heyday of Sunsplash, which was then attracting over five thousand visitors — not locals — to that resort town annually. Herein lies two of the major interrelated stumbling blocks to developing the true potential of our music to contribute to the economy.

Two other serious impediments to the development of the industry are the farcical Places of Amusement Licence, which allows each Parish Council to set arbitrary fees and conditions at their whims and fancy, for the use of venues and the Town and Country Act under which placement of advertisement paraphernalia are governed, without any uniform, much less objective standards and criteria. This, in my humble opinion, is an untenable situation inimical to the growth of the industry, on which the government needs to institute some urgent reform, in an attempt at a more structure policy to enable the sector to pull itself out of the current doldrums.

Let's come now to the need to incentivise the sector. There is a draft Entertainment Encouragement Act that has been withering on the vine for nearly fifteen years. The JLP's manifesto committed to passing it into law in this term of office. This would encompass formalising import policy on such things as essential tools of trade. The current list is far too narrow, and was drafted long before Jamaica developed a full-fledged entertainment sector. As it is presently constituted, it only covers musical instruments, and even so, whereas one can obtain duty reductions on the importation of guitars, it does not cover guitar strings.

Furthermore, no modern entertainment sector can operate without equipment for recording studios, re-enforced sound and band gear specially designed generators, staging equipment, specialised lighting, trusses and other rigging equipment. This act should also address how and at what rate GCT is assessed for events. As the system is presently structured, these promoters are liable to pay full GCT on every ticket printed for an event, yet in every other sector, the business is allowed to deduct GCT paid on input costs from GCT collected on direct sales. Furthermore, this is done on a monthly or quarterly basis. Why should this principle not apply also to the entertainment sector? Frankly, we should be treated no differently than the Tourism Industry on this issue of taxes.

Finally, for years, payola has played a significant role in suppressing quality music, yet our politicians have not to date found it fit to pass legislation making the practice illegal. We really are not serious.

Email: che.campbell@gmail.com


Read more: http://www.jamaicaobserver.com/entertainment/Rebel-music-and-the-establishment_8703501#ixzz1KkxJXiXl