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

Copeland Forbes Reggae's Premier Proselytizer

Groundins

By: Charles H.E. Campbell

I was totally shocked to learn that the award given to Copeland Forbes by King of Kings Promotion, for outstanding contribution to the development of the (Jamaican) music, was the first award he was receiving in Jamaica. Yet, he has received some two hundred and fifty such, from far flung countries across the globe.

This itself speaks volumes, and goes to the root of what is, at least from my perspective, one of the main objective/psychological impediments to the development of a full-fledged local industry. It is an almost total disconnect of Jamaicans outside of the entertainment sector, with the continuous international impact, penetration and magnitude of reggae music.

It is my firm belief, shared, I know, by Copeland himself, that if this information was widely publicised to Jamaicans, in real time, giving the details of the countries and cities around the world, where reggae artistes are performing on a daily basis, there would be a greater appreciation of the enormity and untapped income potential of this resource. This should pragmatically lead to a breakdown of the prejudices stymieing its transformation into an economic growth stimulant including planned, programmatic linkages and assimilation with other sectors where there already exists an organic relationship, such as tourism and agriculture.

Historic photo of Jimmy Cliff and Copeland Forbes on tour in Johannesburg in 1980

Cordell Green refers to Copeland Forbes as a reggae proselytiser and explorer who has maintained his humility throughout the years, even though he has played a pivotal role ever since he joined the entertainment industry forty nine years ago, on December 15, 1962, as a member of the Harmony Cats, playing harmonica and melodic. Copeland's next involvement was as a dancer in a group called The Coasters, who toured with The Mighty Vikings. Later, Copeland migrated to New York and among other things eventually ventured into acting, with four movies to his credit.

Then the year 1972 came along, Bunny Wailer had just split from the Wailers after their tour of England, and the raw, brand-new image of the dreadlocked Wailers Band, joined by Joe Higgs as Bunny's replacement, was in New York to open for Bruce Springsteen at a venue called Max Kansas City.

Copeland assisted with the organisation and logistics of the band's performance and Bob Marley was obviously sufficiently impressed to ask — what seemed to him a very innocuous question at the time — the date of his birth. Bob excitedly responded, 'Marcus Garvey month! Come wid wi, you a wi up front man!' This was a turning point in Copeland's career; he had finally found what his lifelong niche became, managing tours and artistes. Just imagine, for a moment, that back then, Johnny Nash was still being referred to as 'The King of Reggae', singing Bob Marley songs.

Four years later, Copeland Forbes began managing the then very hot Mighty Diamonds with their string of hits and a recent contract with Virgin Records. Since then, and at various times, he has gone on to manage Peter Tosh and his son Andrew, Jimmy Cliff, Sly & Robbie, Third World, Marcia Griffiths, Luciano, John Holt and Gregory Isaacs.

It is especially as Jamaica's most experienced, esteemed tour manager, that Copeland has become known, famous and in demand by booking agencies and promoters globally. He's an authentic globe trotter, backed by the power of our music; using his humility, negotiation and logistics skills and his business acumen, to break down ethnic, racial, linguistic, cultural, geographic, bureaucratic and even diplomatic barriers. Copeland has managed tours for The Wailers Band, Toots & the Maytals, Bunny Wailer, Black Uhuru, Dennis Brown, I-Three, Freddie Mc Gregor, Beres Hammond, Mutabaruka, U-Roy, Chakademus & Pliers, among a host of other acts.

A single glance at Copeland's itinerary and one immediately deduces that this man, along with the music he proselytises are still constantly busy uplifting the spirits, or winning new converts in all corners of the World. Countries such as England, Germany, France, USA, Guam, Greece, Australia, Chile, Brazil, Peru, Ecuador, Japan, South Africa, Israel pops up at you. It is indeed fitting, that next year, the 50th anniversary of our independence, coincides with Copeland Forbes' 50th year of meritorious service to the Jamaican reggae music industry. We should not let it pass unheralded.

Worrell King says Copeland Forbes richly deserves the award he was recently given, for the work and vision he has provided to reggae music for almost five decades.

It seems a prophet is seldom honoured in his own land, like Copeland, Worrell has toiled for seventeen years, with minimal sponsorship, to promote the concept of a festival — Western Consciousness exclusively highlighting good, clean lyrics. To demonstrate the point that the event is genre neutral, long before it became en vogue, the festival became the platform for dancehall acts, performing under their birth names, to strictly use songs from their musical catalogue which are popular social commentaries or inspired by romance. This year the entire festival is a salute to positive dancehall music. It is being staged on Saturday, April 30, Paradise Park, Savanna-la-Mar.

Email: che.campbell@gmail.com

Read more: http://www.jamaicaobserver.com/entertainment/Copeland-Forbes-Reggae-s-premier-proselytiser_8650367#ixzz1JDyLk8gv