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?