Reggae's Good Tidings

Groundins

By Charles H.E. Campbell

DESPITE the sudden spate of robberies and gun violence we are experiencing, the society has generally been trending away from a very dark period of our history, when many of our workingclass communities were held hostage by politically connected narco-criminals.

As civil society, and even state agencies retreated from these areas, most social infrastructure and services disappeared. This led to urban blight and stigmatisation, as a consequence of which, life in the ghetto became even more insular, crude and brutal.

The void created was filled by enterprising, benevolent dons and merciless gangs who exploited the needs of residents, commanded their silence, services and loyalties, while their lawless, oftentimes misogynistic perversions ruled supreme. This was taken to the point of poisoning the minds and values of the young, growing up in this violent, inhumane environment. This was often reflected in our lyrics and musical tastes.

Three recent events are positive milestones in a gradual realignment of our music, songs, as well as life in our inner cities.

In mid-November, I assisted Junior Lincoln with staging the JaMIN Song Competition finals, which was combined with the reopening of the historic Ambassador Theatre in Trench Town, West Kingston, after nearly 40 years of closure. This was the venue where the careers of many of our early performers such as Bunny & Skully, Lascelles Perkins, Derrick Harriott, Ken Boothe and Errol Dunkley were launched by Vere Johns.

Derrick Harriott

Over the three days of preparatory work, I was elated about the return of that famous characteristic of civility and charm, how orderly things proceeded, at the co-operation of the residents, and the courteous, disciplined behaviour of the youth.

Everyone expressed optimism and pledged that this would become the nucleus of the establishment of economic and cultural enterprises within the community. A realisation of this goal, in the cradle of our music, and hometown to a large portion of our pioneering vocalists, will help to pivot the thrust to develop Kingston's cultural tourism product.

It was a most pleasant, déjà vu experience for me, because from 1969 to 1975, I had spent some wonderful, conscious-raising time in the area amongst some Rastafari ‘bredren’, as well as by doing constructive community organisational work.

The second positive symbolic event was the presentation of the University of Technology’s Chancellor's Medal to the Jamaican music industry on Saturday, December 8, at the Courtleigh Auditorium.

This is the first such recognition of the music, by any major institution in this country.

It is noteworthy because the objective of the award is to salute the contribution of an individual or institution whose value is of distinctive and distinguished national/ international significance. Hearing and seeing our young musicians and vocalists imbibe, interpret and perform the songs of our pioneers, was like witnessing a figurative passing of the baton.

Finally, there was the excellent news that Di Blueprint Band, who are members of JaRIA, won the Global Battle of the Bands competition in London last Sunday night. I wish to heartily congratulate them. This is the second year in succession that a Jamaican band has taken this title. You may recall that Dubtonic Kru, also a member of JaRIA, was also victorious, using the exposure to launch a successful series of concert tours across Europe and North America.

These developments, separately and together, bode well for the future of our music industry.

Email: che.campbell@gmail.com

Read more: http://www.jamaicaobserver.com/entertainment/Reggae-s-good-tidings#ixzz2FENqYwMy

Reggae Songwriters Reprised

Groundins

By Charles H.E. Campbell

THE feedback received from my recent commentary, Wanted: Good Songwriters, confirm the issue is topical, and crucial to our music export sector's resuscitation.

I had clearly struck a sensitive chord, or maybe it was just an off-key note. The responses were vociferous in calling for a media policy change as a pre-condition to the encouragement of songwriters and good reggae songs capable of creating another world hit. This would, therefore, reposition Jamaican Reggae at the centre of the International music industry.

Today, I am publishing a selection of these comments from some successful practitioners such as Freddie McGregor, Jubba White of Dubtonic Kru, and Don McDowell, which fully express the angst within the Jamaican music sector.

Freddie McGregor: "Great piece, except will radio in Jamaica go back to playing great songs? We must accept that there is a greater evil destroying the very fabric of what we are trying to achieve. Great song writing and a great song means nothing if it is not rotated constantly so it becomes the popular song it has the potential to be. Take for example Tommy Lee, his song is so rotated, every child — seven years and over — knows it word for word. Why not the same for any song we deem to be a great song by way of class, song writing skills, and vocals.

A number of people on radio today are definitely not musical; that's the first problem. How do we change that? The second problem is: how do we get rid of hustlers off our radio stations? Since we have so many stations competing for top spot, there is no wonder it will not change, because everybody's playing the same one dozen juggling. Also, if you release a good song as a single, you don't get much play. Then there are street team junkies...The bottom line is that good music in Jamaica stands no chance, therefore, the best of it has migrated. You can find them on eBay for up to £400. One has to be outside of Jamaica to hear great Jamaican music these days... sad so sad. Thank God for Sean Paul, who dem call uptown DJ. A him a hold up JA. Music-wise... keep up di work Charlie. Bless."

Jubba White of Dubtonic Kru: "Very well said, but also what I might add is that when our media peeps start actually highlighting those who actually have something to say, in terms of lyrical content and even ethics, we might start seeing increase in the influence. That I think is one that's most lacking."

In addressing the need to establish appropriate business models and promotional vehicles to drive the process, Don McDowell suggests: "Yeaman. Well said. Also needed is a major reggae tour promotion facility operating out of Jamaica akin to Sunsplash or the likes thereof, taking the best of the music across the globe. Will need music industry and other private sector partnership set up as a public company on the Stock Exchange, plus government facilitation as necessary."

Given these comments, it's imperative for the Minister of Information to bring the proposed amendments to the Broadcast Commission Act to Parliament. We also need to reactivate the discussions between the Jamaica Media Association and Jamaica Reggae Industry Association (JaRIA), which commenced in Reggae Month 2012, to arrive at a consensus on the way forward.

Email: che.campbell@gmail.com

Read more: http://www.jamaicaobserver.com/entertainment/Reggae-songwriters-reprise_13126949#ixzz2DubrIHrR

Against Scammers & Demons

Groundins

By: Charles H.E. Campbell

Right off the bat, let me declare that we at the Jamaica Reggae Industry Association (JaRIA) are totally opposed to the illegal practice of scamming as well as the worship of demons. Furthermore we do not support the promotion through songs of any antisocial behaviour inimical to the best interest of the Jamaican populace. Unfortunately though, as I have repeatedly pointed out in my columns over the years, the dancehall fraternity practices the principles of buzz marketing to promote their products. This essentially requires an outrageous or deviant catch phrase or hook line that will instantly grab the attention of the media and propel debate and discussions which then drive the popularity of the particular song in reference. It’s a tried and tested strategy which has worked effectively most of the time.

So here we are again with two current dancehall songs {Tommy Lee's "Uncle Demon" and Vybz Kartel ft Gaza Slim "Reparation"} grabbing the attention of the media, outraging civil society and earning the wrath of the Minister of National Security, Honourable Peter Bunting and opposition spokesman, Christopher Tufton. They are both calling for new laws to impose sanctions on artistes who sing about illegal and/or antisocial activities and behaviour. I am for freedom of speech and therefore am totally opposed to any form of censorship. This is not the approach that should be taken. What is required is the pending amendments to the broadcast commission act be brought to parliament expeditiously, speedily debated and enacted into law. This would make payola illegal in Jamaica and consequently open up the airways to a broader range of music. So much excellent music is being produced in Jamaica which is not being aired on radio because of this dastardly practice. It would broaden the remit of the act to include sound systems as a mode of public broadcasting and provide sanctions for any media concern which plays these antisocial songs on their systems or networks.

In my view though, this could be a case of smoke and mirrors, a distraction from the lethargy in our political class and government to pass laws and take decisive measures to stamp out this crime that has so injured this country’s reputation and international business relations. To quote Member of Parliament for Central St. James, Lloyd B. Smith “the government (of which he’s a part) has not been effectively responding to the lottery scam phenomena which has its roots in the western parish.” In his Gleaner interview, he also says that Montego Bay has “always had a sub culture of operating outside the law” and quoting the Gleaner he argued that not enough was being done to counter criminal activities such as scamming. Lloyd B. Smith makes a profound point in saying that “In Montego Bay rarely does one find anybody against scamming”. This creates fertile ground for the Vybz Kartel’s lyrics which says “big up every scamma/Weh mek US Dolla/Build up di house fi yuh mama”.

This whole affair also forces me to ask the security authorities, how is it that they continue to allow Vybz Kartel to record and release songs from behind bars? There must be some collusion with prison authorities. Donkey seh “dis werl nuh lebble”.

Email: che.campbell@gmail.com

http://www.jamaicaobserver.com/entertainment/Against-scammers-and-demons_13017662

Wanted: Good Songwriters

Groundins

By: Charles H.E. Campbell

I am elated about the feedback I have been receiving on my last two commentaries. This is in regards to conversations they have generated with senior, knowledgeable music industry professionals.

In summary, three structural weaknesses have been identified in order for Jamaican reggae music to re-position itself at the apex of the industry. These are: the lack of good songs with which a world audience can identify; weak professional artiste management; and finally, modes and channels for international marketing.

In an interview with Balford Henry, published in the Sunday Observer on October 28, 2012, Aaron Talbert, VP Records' vice-president for sales and marketing, was quoted as saying: "It takes much more now to make the whole fan base know what's going on. Even for that audience that is committed to the music and the culture, there's a lack of a channel to reach all those people at the same time."

I feel strongly that in order for us to compete with international marketing companies and other mainstream musical genres, Jamaica needs to establish a marketing aggregator for its creative products. This is an idea that Junior Lincoln has long-touted. It would require a public/private sector partnership which would register subsidiaries in all the major commercial capitals of the world, especially where reggae/Jamaican cultural products already has a latent market. The main objective of the entity would be to pool the products of our creative/cultural sectors for the purpose of promoting and marketing, using the very popular Jamaica brand.

In the area of professional management, our artistes have to reform the approach of hiring uninformed family and close friends to manage their international careers. There is no doubt that undisciplined  personal behavior and unethical business practices have significantly hurt our reputation with the media, promoters, venue operators across Europe, North America and Asia. Often times this is due to the inability of the artistes' manager to effectively manage the affairs of his/her protégé.


It is the common belief amongst all my correspondents however, that what Jamaican Reggae needs at the moment are good songs in the mold of Peter Tosh, Gregory Isaacs, Bob Andy and, of course, Bob Marley.

Just recently, we got a clear indication of the enormous impact that Bob Marley's music had on none other than US President Barack Obama. Obama stated the following to MTV's Sway Calloway: "I can remember when I was in college listening and not agreeing with his whole philosophy, necessarily, but raising my awareness about how people outside of our country were thinking about the struggles for jobs and dignity and freedom."

Our songwriters today seem disconnected from the major global issues that arrest people's attentions. Human Rights, global warming and environmental abuse, the plight of the Palestinians in Gaza and The West Bank, the apparently insatiable greed of the international capitalists and their drive to accumulate wealth at the expense of working people and the developing countries, the growing disparity between the declining wages of the working class relative to the exploding and irrational incomes of management and increasing company profit, are all burning issues which deserve to be written about.

E-mail: che.campbell@gmail.com

Read more: http://www.jamaicaobserver.com/entertainment/Wanted---good-songwriters_12899930#ixzz2BN5O6AO3

Consensus in the creative sector

Groundins

By: Charles H.E. Campbell

SINCE the latter part of September, I have participated in a number of activities including the WIPO/JIPO National Workshop on "How to make a living from Music"; The Entertainment Advisory Board Retreat; and, The Ministry of Culture/PIOJ Sector Planning Workshop for Culture, Creative Industries, Entertainment and Youth.

Participants in WIPO/JIPO Symposium.

What is very clear is that there is a general consensus in this sector about the priority issues mitigating the growth and development of the creative industries and entertainment. Even more invigorating is the realization of a broad consensus on what are the priority actions over the medium term for the policy framework and actions that are required to re-position these sectors to increase their economic viability and contribution to the Gross National Product.

There is little doubt that many members of the fraternity remain skeptical that we will see these discussions bear fruit in a new alignment of public policy along the lines agreed. This is because some of the issues have been under consideration for more than two decades, yet, it seems, there has not been the political will to take the steps that are necessary, including appropriate legislation, to fully exploit the abundant creative talents of the Jamaican people and, more importantly, to convert that into successful enterprise and a burgeoning sector.

I honestly believe that the underlying reason for this is a deep-seated, social prejudice against the people who make up a majority of the sector. There is a national schizophrenia which produces revulsion of the predominantly black images that are portrayed in our creative endeavors from film and literary arts to theatre  dance, the visual arts and, especially, our music. The strong African retentions that are exhibited in our arts and which is appealing to people of diverse cultures all over the world, are deeply resented by the power brokers in Jamaica, who have held sway since independence. Along with tremendous expansion and international penetration of our arts, against all the odds, thankfully, I think that we are experiencing a generational shift in technocratic and political leadership and with that an enlightened change in the mindset of officialdom.

So despite my own skepticism  there is a gut feeling that this time around we may be able to influence and effect changes to how the sector is operated, regulated and governed. Some of the priority issues around which there is consensus are:

* The need for the enactment of an Entertainment Encouragement Act;

* The need for a marketing aggregator to promote and distribute our products worldwide;

* The need for a Creative Industries Policy;

* The establishment of a Cultural and Creative Industries Council;

* Establishment of a National Centre for the Performing Arts inclusive of a fully equipped Concert Hall, along with other suitable venues and public spaces across the

island for cultural expression and performance;

* The launching of a Cultural Industries Enhancement Fund; and,

* The need for government to sign the Madrid Protocol to give our intellectual property greater protection worldwide.

By the way, Sound Exchange is currently looking for over 50,000 artistes and labels including Jamaicans, who have not collected royalties owed to them for digital streams and Internet radio. Many of our artistes risk losing royalties collected three or more years ago.

Email: che.campbell@gmail.com

Read more: http://www.jamaicaobserver.com/entertainment/Consensus-in-the-creative-sector_12805597#ixzz29xPEkU4U

Branding Jamaican Reggae

Groundins

By Charles H.E. Campbell

IN response to my commentary headlined Reggae at 50 and published in this newspaper on Sunday, August 26, 2012, Sam Clayton Jr stated: "Based on my personal involvement in the music business in Europe and North America, I have no doubt that Jamaica is still the headquarters of reggae music, because in spite of the fact that we don't have the biggest festivals, I don't know of any reggae festival that does not have Jamaican bands performing. I also don't know of any major reggae release in Europe that does not have a significant Jamaican connection; Jamaican studio, producer, musician(s) or feature artistes. Every major new innovation and advancement in reggae and its sub-genres comes out of Jamaica. Add to this the undisputed fact, the best reggae musicians and producers are Jamaicans."

Sam has lived and worked in the entertainment industry in Europe for over 10 years, so he should know.

This is the kind of response I was hoping to evoke from members of the music fraternity, because we need to focus on what remains our competitive advantage and how to maximise the potential income from this asset, through the protection of our intellectual property. The government needs to act swiftly, to legally protect reggae as an authentic Jamaican music/art form.

Jamaica's popular musical idioms such as ska, reggae and dancehall, must be formally protected as our intangible cultural heritage, similar to tango, whose origins have been officially assigned to Argentina and Uruguay and which has been inscribed on UNESCO's Representative List of the Intangible Cultural Heritage of Humanity. The formal recognition of reggae as Jamaica's National Heritage will enable us to maintain control over the definition, recognition, and identification of the musical form. This will guarantee that economic, moral, and trademark rights as well as geographical indication rights which flow from the use of the indication or designation 'reggae/ska/dancehall' would be retained in and with Jamaica. In pursuing this goal, we need to also develop a certification process which will determine and give a seal of approval to the authentic Jamaican reggae product.

Just like our Blue Mountain Coffee, Jamaican reggae is seen as the premium reggae product in the international market place. Therefore, the government of Jamaica needs to establish symbolic seal, for Jamaican ska, reggae and dancehall, which producers of music and promoters of festivals — if they so desire — would stamp on their products, for the obvious marketing advantage which this would automatically offer. The income earned from this, could be put in a fund, which would assist with the education and/or development of upcoming acts. Additionally, this would further boost our cultural tourism efforts through the promotion of our recording studios, musicianship and even historic locations such as Trench Town, Orange Street, and Warika Hill, which now have reputations of mythical proportions because collectively, they had a profound impact at the formative stage of our music's development.

Email: che.campbell@gmail.com

Read more: http://www.jamaicaobserver.com/entertainment/Branding-Jamaican-Reggae_12708434#ixzz28doX5pWl

Evolution of J'can music (Part 2)

Groundins

By: Charles H.E. Campbell

The musicians who formed the Skatalites were successful jazz players on the live local circuit. Unfortunately the group stayed together as a unit for less than two years. However, the musicians continued to record for various producers. By the band's formation in 1964, they had been doing studio sessions for Clement 'Coxson' Dodd, Duke Reid, Prince Buster and other producers for up to 10 years. For the sound systems operating then, R&B music was the staple played in the dances, but its popularity was on wane in North America. Of necessity, the sound system operators began to produce their own music, initially, exclusively for their systems, and then eventually they released them through regular outlets. The Jamaican musicians employed, tried to copy the R&B of that early period 1953-1959.  This sound, minus the American feel, was called Blue-Beat. Later, by mixing a touch of Jazz and Mento, a new genre evolved in the early 60s.

Ska was, therefore, the ultimate replacement for R&B. The lasting significant influence of the R&B is the emphasis on the after-beat, which has become a main characteristic of Jamaican pop music. This, in fact, completed the ancestral/ spiritual connectivity and circle with clap-hand singing in Jamaican churches and mento music, which had earlier influenced American Jazz at its dawn ... plantation music, was at the root of all these musical idioms.

At first, the ska beat was vibrant, mirroring the hopes, aspirations and optimism of the Jamaican masses. As hopes however, began to fade and disillusion set in, the first generation of post -independence musicians and artistes — influenced in large part by Rastafari — created two distinctive characteristics of Jamaican music. Firstly, there was a slowing down of the music and a stylistic change to staccato sounding bass lines, as henceforth, it was not played on the first beat. Secondly, using many Rasta songs adopted from church hymns, social themes, including a recognition and honour of Africa, laments about poverty, topical and protest songs which urged us to preserve and protect our roots, became the dominant lyrics of the decade of the 60s.

In the 60s and the 70s rock steady and reggae music began to penetrate international markets through the works of Bob Marley, Peter Tosh, Burning Spear, Jimmy Cliff, Toots and the Maytals, Dennis Brown, Millie Small, Desmond Dekker, Ken Boothe, Delroy Wilson, Alton Ellis, Bob Andy, Lee 'Scratch' Perry's music and numerous others. Through the appeal of their songs and the worldwide penetration of the touring Reggae Sunsplash festival, between 1984 and 1996, Reggae music became the anthems of the disenfranchised and dispossessed across the globe. The Rasta language was popularised through the music, becoming the lingua franca of the urban youths, freedom fighters and human rights activists, indigenous and repressed peoples.

Dancehall music arrived at the cusp of the technological revolution. With the discovery of digital recording in early to mid- 80s, Jamaica's output of recorded music per capita became greater than any other country in the world. While it has a heavy reliance on this technology, is totally stripped down, raw and minimalist, the rhythms of early dancehall music exemplified by the team of King Jammy, Steely and Clevie, were drawn from African-based, rural folk forms such as Etu, Pocomania and Kumina.

In its incipient stages, Reggae was promoted mainly by its Diaspora, but has since become main-stream. Today, everywhere in the world you go, people are listening to Reggae, from Ska to Dancehall. Generations have discovered that, culturally, reggae music and "livity" means a humane, spiritual, wholesome life. To quote Michael Manley, "it is commentary; satirical at times, often cruel; but its troubadours are not afraid to speak of love, of loyalty, of hope, of ideals, of justice, of new things and new forms. It is this assertion of revolutionary possibility that sets reggae apart."

Email: che.campbell@gmail.com

Read more: http://www.jamaicaobserver.com/entertainment/Evolution-of-J-can-music--Part-2-_12606047#ixzz27QhLUsrN

Evolution of Jamaican Music (Part 1)

Groundins
By: Charles H.E. Campbell


FROM the latter part of the 19th century throughout the first 50 years of the 20th, Jamaican mento was the popular indigenous music played live at events in Jamaica. It had gestated as a mix of African and European music, mostly played by indigenous instruments and banjos. Evolving over 100 years or more, simultaneously with Jamaicans dispersing throughout Central, South and North Americas, it cross-fertilised and diffused into other music idioms. Mainly for international marketing purposes, it was often confused with, or deliberately labelled as calypso, as all Caribbean music was then labelled.

During the heyday of the plantation era, when many estates across the region were owned and managed by a network of interrelated families, skilled Jamaican musicians were in great demand and were, therefore, transported around the continent for special occasions. Furthermore, there were several large migration waves of skilled labour, in pursuit of economic opportunities, during the establishment of Metropolitan New York City, the South American gold rush, the sugar and tobacco booms in Cuba, expansion of the banana plantations into Central American territories and the building of the Panama Canal. As a consequence, segments of the Jamaican population, including skilled musicians, settled in places like Panama, Nicaragua, Brazil, Colombia, Peru and Cuba, as well as New York, in the north, and in the southern plantation belt of the USA.

At the dawn of the 1950s, first Ken Khouri, followed soon by Stanley Motta, acquired disc-cutters and established recording studios for "high-quality recordings of voice and music", aimed primarily at Jamaicans in the diaspora, the tourist market, night-clubs and dancehalls which were beginning to mushroom across Jamaica.

In 1955, Jamaica began pressing its own mento records. Of historical significance is the fact that, like dancehall music today, many of the initial releases were risqué. Local opinion makers reacted adversely and this eventually led to the adoption of what some termed the "calypso morality code" in 1956. This restriction played a part in mento's demise and fortuitously, the beginning of ska's evolution and rise to prominence — outside the mainstream — which began circa 1958.

By then, live music as a form of social entertainment, had given way to sound systems and our now famous dancehall culture was already born. This movement initially thrived on competition between producers such as Clement 'Coxson' Dodd, Duke Reid, King Edwards and Prince Buster. This was followed in the mid-70s to mid-80s by competition between Dodd's Studio One and Channel One recording studio owned by the Hoo Kim brothers and driven by master musicians such as Sly Dunbar - Drums, Ranchy Mclean - Bass, Ansel Collins - Keyboards, Duggie Rad Bryan - Guitar, Uziah 'Sticky' Thompson - Percussion, Tommy McCook - Sax, Scully Simms - Congas and Bongas, Don D Jr - Trombone, Marquis - Sax and Bobby Ellis - Trumpet. The latter were largely responsible for the rise of the Rockers sound.

With Jamaica hosting more bars per square mile than any other nation on earth, and the jukebox being a primary feature of these establishments, this complemented and facilitated the flowering of the new musical genre. Add to this mix, the introduction of the role of the disc jockey/DJ, led firstly by Winston 'Count Machuki' Cooper, live in the dancehall, followed by King Stitt and U-Roy live and on tracks as well, by the 60s Jamaica's indigenous music industry had taken firm roots, coalesced around the sound system and the dancehall as its base and main propeller.

Jamaica is unique in this aspect of its post-colonial social transformation, as we attained mass cultural liberation, in a real sense, before achieving our political independence in 1962.

Email: che.campbell@gmail.com


Read more: http://www.jamaicaobserver.com/entertainment/Evolution-of-J-can-music--Part-1-_12477954#ixzz261OVl8sv

Reggae at 50

Groundins
by Charles H.E. Campbell

OLD time people used to say: "Cow don't know di use a him tail till him lose it."

Outside of formal sessions, I have been having a series of discussions with delegates attending the University of the West Indies' Sir Arthur Lewis Institute of Social and Economic Studies (SALISES) 50/50 conference. The most popular issue that these delegates have raised with me time and again is the current raging debate about whether Jamaica is the headquarters of reggae.
Using any objective measuring stick, be it size, and frequency of festivals and shows, volume of music products sold, or successful artists/musicians, sadly we are no longer in pole position.

Those readers that follow my columns already know that as painful as it is for me, personally, to admit, on the issue of whether Jamaica is still the headquarters of reggae, I stand squarely with Lloyd Stanbury. While a lot of revisionists have been attempting to distort the accurate genesis and history of reggae music, and we have not taken decisive steps to protect our musical legacy, it is beyond dispute that Jamaica is the birthplace of reggae. For me, to find it necessary to even state that fact, is a symptom of our dismal failure, as a country and an industry, to ensure that Jamaica is given due recognition for the creation of this internationally popular musical genre.

The more profound issue at the moment however, is whether or not Jamaica is entirely missing the boat, in terms of not exploiting the true potential to make substantial foreign exchange earnings from marketing this unique national resource. European countries like Germany and France, which I accept are larger economies than ours, are generating more annual revenue from the production and distribution of reggae related products as well as the staging of live shows. For example, between those two countries alone, there are more than 500 ska bands, yet Jamaica struggles to sustain only two. YARD Beat was formed in 1995 and released their first album 'Strait from Yard', in North America, over 10 years ago. Currently, they are in studio putting the final touches to an impending release called Ska Magic. This group includes a roster of stellar musicians such as Barry Bailey - trombone, Everton Gayle - sax, Vivian Scott - trumpet, Keith Francis - bass, Patrick Anderson - drums, Joy Fairclough and Anthony Johnson on keyboard and Portland White on guitar.

Yard Beat

The second aggregation, appropriately called Ska Rebirth, is lead by the legendary Sparrow Martin, master drummer and director of the Alpha Boys School music programme. The group essentially consists of past students from that institution. They have made the Skatalites' foundation catalogue a major part of their repertoire. Ska Rebirth did a scintillating performance at the Jubilee village during our recent independence celebrations which achieved worldwide media coverage. One German media house in particular, in reporting stated: "Sparrow Martin, Ska Rebirth... Ska God... terrible among men."

Ska Rebirth

The reality is that because of our failure to sustain ska's popularity locally, Jamaica has never had more than two locally based active ska bands at any point in our history. While a lot of artistes and musicians include ska songs and or tunes, as a part of their repertoire, we have had very few successful Jamaican bands devoted exclusively to the genre.

This is just the tip of the iceberg... more anon.

Email: che.campbell@gmail.com


Read more: http://www.jamaicaobserver.com/entertainment/Reggae-at-50_12346397#ixzz24gZYXp9Z

Jamaica Land We Love

Groundins

By: Charles H.E. Campbell

Having the opportunity to travel around the country three times in the last three weeks, while assisting the Jamaica 50 Parish Committees, with the planning and execution of Jamaica’s Golden Jubilee commemorative events on the 5th and 6th of August, reinforced my love and admiration for the Jamaican people and our cultural identity.

These Committees in the outlying parishes are mostly drawn from the JCDC, professional classes, civil servants, the political directorate and Custodes. They give of their time voluntarily in developing and managing various aspects of the celebratory activities in each parish. What I experienced with each and every committee was their strong sense of pride in Jamaica and commitment to the task at hand, fully recognizing that Jamaica was the centre of attraction for the rest of the world during this special period. They all went about their tasks in a very civil collaborative and dignified manner, which made the hard work and long hours necessary for implementing this ambitious project more worth it.

‘Man plan an God wipe out. ‘... (Jamaican Proverb) With their strong faith in God and convinced that He would not rob us the opportunity to celebrate this unique, once in a lifetime occasion, even when Tropical Storm Ernesto threatened to derail all our careful planning, these patriotic Jamaicans doggedly persevered in carrying forward the execution of their tasks, sometimes under extremely adverse weather conditions. Their efforts were richly rewarded by the throngs of ordinary Jamaicans, dressed in our national colours, in such an array of styles and fashions that one could not escape being caught up in the intense patriotic spirit and fervour on display in each parish capitol.

A large section of the crowd, at the Jamaica 50 Grand Gala

The decision of the Jamaica 50 secretariat to place screens in all the parishes broadcasting the Olympic races in which our athletes participated was an insightful decision in hindsight. Just before each race, the park in Mandeville for instance would suddenly and almost mysteriously swell with people wanting to watch and cheer our athletes on. When they excelled, the jubilation was contagious and uniquely Jamaican in its character. While the National Anthem was being played at the Grand Gala all the Jamaicans in the Mandeville Park properly stood at attention and most sang along with utmost respect, pride and dignity in being Jamaican.

Half Way Tree Square during the female 100M race at the 2012 London Olympics

These events have established a higher uniform national standard in most parishes, with the exception of Montego Bay, where for many years they have traditionally staged an event of this stature. One of the legacies of the Jamaica 50 Secretariat, if the blueprint is closely followed in ensuing years, will be a significant upgrade in the physical layout and technical equipment used in the staging of national events around the country. Given Jamaica’s reputation for the staging of world famous events and a national objective to convert this into increased tourism earnings, these events, were transformed, to meet the minimum international standards in one fell swoop.

EMAIL: che.campbell@gmail.com

Colonialism in Reverse

Groundins

By: Charles H.E. Campbell

Wat a joyful news, Miss Mattie,
I feel like me heart gwine burs
Jamaica people colonizin
Englan in Reverse
By de hundred, by de tousan
From country and from town,
By de ship-load, by de plane load
Jamaica is Englan boun...

Oonoo see how life is funny,
Oonoo see da turnabout?
Jamaica live fe box bread
Out a English people mout'.
(An excerpt of Colonisation in Reverse by Louise Bennett Coverly)

Louise Simone Bennett-Coverley or Miss Lou,a Jamaican poet, folklorist, writer, and educator.

THE above poem was a tribute to Jamaicans who have made major contributions to the development of the British society since the Second World War in various capacities and sectors of the economy. This relatively large Jamaican population and their offspring in Britain was also the base of the Internationalisation of Reggae music, as they popularised it all over Europe in the '60s and the '70s. They continue to provide a viable outlet and a spring board for our artistes on the European market.

In the 50th year of our Independence, it is truly colonialism in reverse as our Jamaican athletes and musicians are taking London by storm. While it is well known that our track and field athletes are expected to come away with a significant haul of medals, the fact that a large contingent of the crème de la crème of our artistes and musicians will be performing for 12 days at one of the most prestigious venues in the world, might not be as popularly recognised.

To quote from Google, "The O2 arena is a multi-purpose indoor arena located in the centre of The O2, a large entertainment complex on the Greenwich peninsula in London, England. With capacity of up to 20,000 depending on the event, it is the second largest arena in the UK after the Manchester Arena and one of the largest in Europe. In 2008, The O2 Arena took the crown of the world's busiest music arena from the Manchester Arena, a title which it had held since 2001."

The list of artistes reads like a who is who in Jamaican Reggae and Dancehall. It includes: Lee Scratch Perry, U-Roy, Yellow Man, Ernie Ranglin, Sly Dunbar, Robbie Shakespeare, Monty Alexander, Mutabaruka, Lloyd Parks Band, the Abyssinians, John Holt, Mighty Diamonds, Leroy Sibbles, Freddie McGregor, Marcia Griffiths, Maxi Priest, Taurus Riley, Gyptian, Toots and the Maytals, Horace Andy, Johnny Clarke, Morgan Heritage, Shaggy, Raging Fyah, Jimmy Cliff, Derrick Morgan, Max Romeo and Bob Andy. The mere fact that a promoter would invest in such a major venture, during the Olympics, when London is inhabited by people all over the world, speaks to the enormous power and international appeal of Jamaican popular music.

Meanwhile, back on the rock, the Jamaica 50 Secretariat, through their international media partner RJR will be broadcasting our celebration from the National Stadium facilities and selected venues across the island, throughout Western Europe, England, Florida, Canada and selected African countries. This is more ample evidence of the commercial viability of exporting our cultural products in a national thrust to increase the contribution of the cultural/creative industries to Jamaica's gross national product.

Email: che.campbell@gmail.com



Read more: http://www.jamaicaobserver.com/entertainment/Colonialism-in-Reverse_12054423#ixzz22DTznz00

Jamaica 50 Jubilee plans

Groundins

By: Charles H.E. Campbell

THE Jamaica 50 Secretariat and the Jamaica Cultural Development Commission (JCDC) have recently published details of their programme for the Jamaica Jubilee celebration. Happily, these are much more extensive and diversified than I had expected them to be, given budgetary constraints of the two entities. There is significant integration of the activities being executed by both agencies. While the JCDC is the lead implementer of events around the country, the Jamaica 50 Secretariat has put its main focus on the Jubilee Village headquartered at Independence Park [National Stadium].

The Jamaica 50 Golden Jubilee Village will concentrate its programme during the period August 1-6. The main features include food courts, art and crafts displays, a kiddies village, and commercial stalls, promoting the products of Jamaican enterprises and marketing their merchandise.

The Secretariat is currently in the process of transforming the National Arena into an exhibition hall, which will be called the Jamaica Independence 50 Expo and will include over 200 stalls showcasing the economic, social and artistic achievements of Jamaica over the last 50 years. Patrons will also get their first opportunity to see the nucleus of the new Jamaica Sports Museum, which was first announced by the prime minister in her budget presentation earlier this year.

A major performance stage and the children's village is currently being established in the car park and external spaces along Arthur Wint Drive, as part of a specially designed, temporary major outdoor venue. The programme of activities will commence from 12 noon to 1:00am each day. This includes live Olympic feeds as well as highlights from other celebrations occurring throughout Jamaica and in the diaspora. As is traditional, on Independence Day the National Stadium will be the venue for the Grand Gala, which from all indications will be a three-hour spectacle of music, images and movements by over 2,000 costumed revellers, telling the story of our glorious achievements.

Residents outside of Kingston will be happy to learn that they will have their own dedicated programmes of activities in all the parishes. To begin with, there are over 80 street dances planned for the period. In every major town, there is a diverse list of cultural activities which will be taking place over two consecutive days of August 5 and 6. Through the use of audio- visual equipment and inter-connectivity, 17 of these venues will be fully amalgamated, complemented by large screens and broadcast capability. This will provide every parish with snippets of the highlights of events at the Jubilee Village, the Olympic races as well as sharing the programme content from selected sites with the rest of the locations and bring the excitement in Jamaica to the world.

The general feedback on the ground is that many Jamaicans residing in the diaspora, who watched the last Olympics in America, Britain and Canada, but were dissatisfied with the focus on American athletes versus our own, are coming home to join us in this special period of celebrating our Jubilee and the anticipated successes of our athletes at the London Olympics.

Email: che.campbell@gmail.com


Read more: http://www.jamaicaobserver.com/entertainment/Jamaica-50-Jubilee-plans_11952612#ixzz20jlCR1i0

Mikey Bennett, the patriot

Groundins

Sunday, July 1, 2012

By: Charles H.E. Campbell


WE all should stop and take a page out of Mikey Bennett's book of diplomacy. In all his public utterances since the controversy broke about the 'official' Jamaica 50 song versus a commercial jingle, Mikey has been a model of restraint, sobriety and perfect gentleman. He has continually urged all Jamaicans to be patriotic; to look at the bright side, and so unite in celebrating our 50 years of political independence, as well as bask in the glory of the worldwide popularity of our Jamaican music.

As this producer extraordinaire, has repeatedly pointed out, Jamaica could never have paid for the tremendous international publicity that this controversy has generated. There is a saying in the music business, which carries some merit, that all publicity is good. It has therefore been a blessing in disguise and Jamaica should wisely be maximising on the potential commercial spin-offs that it offers.

BENNETT... model of restraint, sobriety and a perfect gentleman


On reflection, this would have largely been a non-issue and would not have gone viral nor gained such enormous traction, if our music brand was not so well known, loved and in demand globally. To demonstrate this, Alexander Walford, the European Commission Policy Officer responsible for trade between the Caribbean and Europe recently said "the demand [for Jamaican music in Europe] seems to be almost insatiable."

Over the last 60 years, Jamaica has been credited with creating five new genres of music including mento, ska, rocksteady, reggae and dancehall. Since Millie Small's song My Boy Lollipop soared to the top of the British charts in 1964, Jamaican artistes have accomplished at least one international hit song every year. From then on, all over the world, generations of music lovers have been listening to our music and adopted many other aspects of our culture. In today's market place it is not simply the music that has a commercial value but it is our lifestyle, our story, our rich narrative that is so appealing to people of various nationalities.

Reggae, therefore, constitutes only one part of a greater Jamaican artistic/cultural whole, in which, admittedly the voice plays an imperative, central role. As many of our public commentators and musical analysts have already suggested, with the attention of the entire planet now squarely focused on Jamaica, this is a perfect opportunity to organise the production of a compilation album of songs incorporating all the various genres, which we have popularised in all the continents. In addition, many artistes have already recorded a number of excellent songs, in tribute to the Golden Jubilee of Jamaica's independence and these should be included. This album should be accompanied by the making of appropriate music videos that capture images of Jamaica's alluring cultural life and beautiful tropical vistas.

This compilation encapsulating our dynamic musical legacy would be a premier coffee table souvenir item, which will have a very long shelf life. Without a doubt, Jamaicans at home and in the diaspora as well as our massive fan base shall take great pride in purchasing and promoting it to their friends and associates. As Bob Marley's song of the century urges 'One Love, One Heart, let's get together and feel alright.'

Email: che.campbell@gmail.com


Read more: http://www.jamaicaobserver.com/entertainment/Mikey-Bennett--the-patriot_11848480#ixzz1zNoDG7JI

Portia and Quao

Groundins

By: Charles H.E. Campbell

Sunday, June 17, 2012


FROM the early 1930s through the 70s, disparate strands of the national decolonisation movement -- including elements of the Jamaica Progressive League, Marcus Garvey's United Negro Improvement Association (UNIA), and People's Political Party (PPP) along with many creative workers, such as thespians, actors, writers, visual artists, novelists and musicians — helped to develop the People's National Party and its programme and were later subsumed by it.

Through institutions like Jamaica Welfare and the hard work and perseverance of people like, Tom Girvan, Louise Bennett, Ranny Williams and a host of others, whom may not wish, at this time, to have their affiliation made publicly known, because our politics has become so tribal, the PNP played a pivotal role in facilitating Jamaica's cultural/artistic indigenisation, evolution and development.




SIMPSON MILLER ... proposed the National Commission on Cultural and Creative Industries

Both Norman and his son Michael Manley, certainly understood the role and potential of popular culture, and the latter used it to his maximum benefit. His 1971 musical bandwagon was the most extensive island wide tour of Reggae artistes and musicians up to then. It was during the younger Manley's first term in office, when People's freedom of speech was given more latitude, that Reggae music and other popular cultural forms really synthesised, blossomed, gained the attention of the world and began to flourish internationally.The nucleus of our modern, creative-cultural industries went through its initial birth pangs, taking distinct shape and form.

Inexplicably, during their second stint in office, the PNP seemed befuddled by the increasing commercial success that the industry had achieved during the 80s. Its failure to register the Jamaica Reggae brand and protect our intellectual property as well as establish an Entertainment Encouragement Act, squandered the potential that the music industry created for the country to encourage and facilitate major investments, and the repatriation of considerable foreign exchange, generated in the international market place.

In fact, although I was disappointed with how much they achieved, if one objectively compares the JLP's 2007 and 2011 manifestos with the PNP's, in both instances, one would have to concede, that the JLP's showed a better grasp of the status quo, and what was required to "tun up d ting".

Knowing that there are senior people in her party that are sceptical about the industry's real potential, I was taken by complete but pleasant surprise therefore, to hear the Prime Minister's announcement of the proposed National Commission on Cultural and Creative Industries, and the excellent rationale and terms of reference given for its establishment. To quote her, "whether it is our music, our cuisine, our dance and other forms of our artistic expression, they all represent significant value with tremendous economic potential". She went on, "this Commission will assist the government in establishing the enabling policy and legislative frameworks to maximise the benefits of the Cultural and Creative Industries".

Although di harse dun gawn tru d gate, betta late dan neva, this would be a quantum leap forward. The Prime Minister, however, needs to know that, given the PNP's recent history of inaction in this area, there are many naysayers within the creative sector. This is evidenced, for instance, by the almost total lack of public discussions on this potentially game-changing announcement. The industry is taking a wait and see attitude; action speaks louder than words... and please keep the charlatans and dilettantes off the commission.

On a more imminent matter, the Charles Town Maroon Council will be staging their 4th Annual International Conference from Thursday June 21st to Saturday June 23rd in Charles Town, Portland. Nineteen scholars from around the world will present papers on issues including Maroon history, identity, politics, culture and gender studies. On Quao day, June 23, the Nanny Quao Abeng Award will be presented to the granddaughter of the late Paul Robeson, on his behalf. This is an annual celebration of the Maroon Warriors' victory over the British troops in the final battle of the 1st Maroon war at Spanish River, which led to the signing of the 2nd peace treaty with the Maroons in 1739.






Email: che.campbell@gmail.com



Read more: http://www.jamaicaobserver.com/entertainment/Portia-and-Quao_11721819#ixzz1y5zjBSaT

Calabash's rich literary traditions

Groundins

By: Charles H.E. Campbell

Sunday, June 03, 2012


LONG before the event, I had made up my mind that I would immerse myself into the Calabash Festival programme, having seen the various personalities who would be interviewed, read, or have their prose/poems read, spin records, or play live music. The producers had promised us a special event celebrating our Golden Jubilee and the programme was thoughtfully designed to achieve this objective.



No-Maddz

My biggest anticipation on Friday, was to see how well the literati would receive the performances of Raging Fyah and No-Maddzs. It is my belief, that in our anxiety for Jamaica to join the renaissance in live reggae music being experienced by the rest of the world,in our renewed appreciation of live reggae music, sometimes, we give unadulterated love and uncritical support to the young groups who have been coming to the fore, over the last five years or more. When I attend their events at the few venues, where they have "cut their teeth", the audience at times, seem so sycophantic that one feels compelled to behave likewise and remain silent on any perceived flaws, which if moderated may enhance their stage craft.

By now, all my readers know that in my view, Raging Fyah is one of the hottest young groups in Jamaica at this moment; furthermore they have the kind of lyrics and music that the world is clamouring for. Their lead singer has the kind of charisma and mystical aura that makes him a potential super star.

Raging Fyah's performance on Friday night, however, was not as electrifying or dynamic as one has come to expect from them. I have concluded that they have become too reliant on audience response to propel their usual high-energy stage routine. This performance came at a critical time, just prior to them embarking on their international career. I hope they have come away recognising the need to rap with their audience in-between some of their songs to connect intimately. Lead singer, Kumar Bent's natural charm and charisma are well suited for this purpose.



Raging Fyah performing at the Calabash Festival 2012

The open mic sessions at Calabash on Saturday and Sunday were an eye opener in the versatility and creativity of our young poets and novelists. One of the poignant observations, from some patrons, was that the pieces presented by the students and purveyors of the written word, were much better poems than that of our professional performing poets, who seem to have become so caught up with their ability to string "big" words together, that they may be better defined as word-smiths rather than poets.

For me, the two other memorable features of the festival were the interview of South African revolutionary and author, Ronnie Kasrils, which confirmed the inspiration that Jamaica provided, by way of our symbolic banning of trade with South Africa in 1957, followed by the music of Bob Marley, Peter Tosh and Jimmy Cliff, during the bitter anti-apartheid struggle. Unwittingly, he also provided us with a stark contrast to our local arm-chair revolutionaries of the period.

I had a eureka moment, sometime during the festival, when it dawned on me that the success of our modern pop music is to a degree, because of this rich, literary tradition on which it has been built. Calabash ended on a high, with the live musical review of 50 years.


Email: che.campbell@gmail.com

Read more: http://www.jamaicaobserver.com/entertainment/Calabash-s-rich-literary-traditions_11586424#ixzz1wuX6hV4w

"Brevett Disenfranchised"

Groundins

By: Charles H.E. Campbell

Sunday, May 20, 2012

The Skatalites were formed by Clement Dodd in 1964, under the leadership of Tommy McCook, primarily, as his studio band at Studio One. This arguably, was an amalgamation of the most accomplished Jamaican session musicians, who, individually, and in various combinations, had been behind the catalogue of Dodd, Duke Reid and Prince Buster since the mid 50s. It was made up of nine, now very famous, National Cultural Icons, including McCook as leader, along with the incomparable Don Drummond, that brilliant keyboardist and arranger Jackie Mittoo, ‘Dizzy’ Johnny Moore, ‘Jah Jerry’ Haynes, Roland Alphonso, Lloyd Knibb, Lloyd Brevett, Lester Sterling and lead singer Doreen Schaeffer.



The Skatalites

Over a period of approximately 18 months, they backed the live appearances of many artistes promoted by Coxsone and other promoters. Four years after the group split up in 1965, Don Drummond met his untimely death. Between then and 1983, the other members performed mainly in two succeeding groups; the Soul Vendors and the SuperSonics. In 1983, at the urging of Synergy Productions and the prospect of the Skatalites performing live at Reggae Sunsplash that year, the group reunited.


It wasn’t however, until 1987 that the Skatalites were first formally incorporated in Jamaica by ‘Dizzy’ Johnny Moore and Jackie Mittoo. In 1990, the group lost its second member, when the genius Jackie Mittoo passed on. In 1996, a U. S based registration was done with the associated trade mark being owned by Tommy McCook, Roland Alphonso, Lloyd Brevett, Lloyd Knibb and Lester Sterling. Within this period, the Skatalites recorded 3 albums for Shanacie Records.

Calamity struck again in 1998, when both Tommy McCook and Roland Alphonso died. In September 1999, another trade mark registration was done in U.S.A, in the name of Skatalites Inc., listed as a Jamaican corporation, which seem to represent only the U.S. based quorum of members that were still alive. In October of 2000, Ken Stewart, who had previously been employed by Tommy McCook to replace Jackie Mittoo as keyboardist, after he died, became the manager of the band.

By 2004, it seems that there was discord within the group because when Lloyd Brevett gave the forms for registration of the trade mark to Lloyd Knibb and Lester Sterling to sign, while they were traveling on a tour bus in Switzerland, the latter two immediately tore up the forms. Brevett was not invited to join the group’s tour later that year. Since then, a persistent attempt to disenfranchise him has been set in motion by certain parties associated with the group.

Double tragedy struck when ‘Jah Jerry’ Haynes died in 2007 and ‘Dizzy’ Johnny Moore passed on in 2008, leaving Lloyd Knibb, Lloyd Brevett, Lester Sterling and original vocalist Doreen Schaeffer, as the only living members of the original Skatalites. In 2011, this trade mark was re-applied for with Lloyd Knibb as an individual correspondent, but the questions remain, whether this was granted before or after his passing, in that same year, and what about the interest of the estates of all of the other deceased members, including Lloyd Brevett, who just recently passed on as well.



Lloyd Brevett

The veil also needs to be removed from who has been receiving digital royalties from SoundExchange, on behalf of the Skatalites; how and to whom it was distributed.
Lastly, one significant piece of musical history, seldom referred to, is the seminal fact that the Wailers’ early formative career and catalogue under Studio One, was jointly done with the Skatalites.

Email: che.campbell@gmail.com

http://www.jamaicaobserver.com/entertainment/The-Skatalites-musical-journey_11507384

Unreliability of local charts

Groundins

By: Charles H.E. Campbell

Sunday, May 06, 2012

MUSIC charts are supposed to reflect a relatively accurate picture of the popularity of a particular song in the market place, or some segment of it, at a particular point in time. There are supposed to be complied and assembled based on a set of objective criteria and data.

These charts are a critical cog in the professional life of an artiste, as they are relied upon for historical accuracy, by the press, record companies, booking agencies, promoters, event patrons and the general buying public, in determining what's happening on the ground. The publication of music charts therefore, impact the very livelihood of artistes and likelihood of them being booked for concerts, overseas tours, international recording contracts and request for press appearances among other things.

A sampling of the most popular local charts include: Richie B's on Hot 102; on TVJ there are the FIWI Chart, ER Chart and Suzie Q's Video Chart; CVM TV has a chart called The Hitlist.

Another dimension of this sordid, conspiratorial scheme, by an alliance of music and media operatives, so as to unfairly profit from payola, at the expense of promoting and maintaining fair-play and good standards in our music which is being broadcast on air, is the manipulation of some of our music charts, creating a distortion of the information being provided to the industry as well as the marketplace.

In a perverse way, payola may ironically increase access to the airwaves, in the sense that, songs that wouldn't normally make their way into the media get prominent airplay, because people were paid to list this song in their charts and/or to play it on their programmes. In so doing, these manipulated charts create a false impression of the true situation on the ground and lead to a historical distortion of our music industry's environment and legacy.

It is my considered view, especially with CD sales having less significance, that in order for our local media and entertainment industries to bring things back to some relative degree of rationality, an overarching, authoritative national music chart should be designed and developed using popular sources such as: YouTube, iTunes , Soundcloud and MySpace. This initiative would go a far way in reducing the tendency of our wayward network in their conspiracy to manipulate the airwaves to satisfy their personal greed, with no regard for the disservice that they are doing to Jamaica music industry.

Quite frankly, I think some of our media managers are very short-sighted, because as significant amount of the money being earned unethically by these culprits could legally be earned by the stations/networks themselves by offering to the music industry scheduled slots within their daily or weekly broadcast times to allow for artistes, producers or booking agencies to promote their works, while fully disclosing to the discerning public the sponsors of these special programmes.

In closing, I learned that Lloyd Brevett made his transition on Thursday, May 3, 2012 and wish him God speed. Walk good my friend.

Email: che.campbell@gmail.com

Read more: http://www.jamaicaobserver.com/entertainment/Unreliability-of-local-charts_11412214#ixzz1uDsPVh4R

More Money for Artistes

Groundins

By: Charles H.E. Campbell

It seems like we have finally found a minister of information with the gumption to do what the government should have done years ago.

After numerous consultations with stakeholders, the Broadcasting Commission of Jamaica has recommended and Minister Sandra Faulkner has accepted a number of proposed amendments to the broadcasting act, to be placed before parliament in this our 50th year of independence. Five of these proposal, if approved, would be a quantum leap forward for the entertainment industry in Jamaica.

One amendment seeks to make playlists mandatory and formally give the collection agencies like Jamaica Music Society (JAMMS) and Jamaica Association of Composers, Authors and Publishers (JACAP) the right to access music sheets to determine how much is owed in royalties to their members. In addition, when it is made into law, as a condition of their license, the act will mandate all media entities to pay royalties to the creators of the music, for the station's use of their works. This is a major milestone because presently, there are too many radio stations and cable networks that are not registered with our collection agencies nor honouring the rights of our creators of musical works to attribution and royalties.

Another new clause will require that all media houses establish a mechanism to receive submissions of recorded music and provide objective vetting and evaluation of all music prior to its being played on air.

After intense lobbying by the entertainment sector lead by Jamaica Reggae Industry Association (JaRIA) -- and the recent unwarranted public abuse on radio of one of our members, Tony Rebel -- finally a grievous practice which has crept into our radio station to which our media managers have cast a blind eye, is to be ameliorated, by a new clause in the act which will prohibit radio disc jockeys who produce their own music, from playing it on their own programmes. Furthermore, the media houses to which these radio disc jocks are affiliated will now be required to regulate how often the music of the connected persons is played on the stations.

Finally, and most important of all, the Broadcasting Commission of Jamaica and the minister have agreed to recommend for parliamentary approval, a clause which will expressly make payola an illegal act in Jamaica. Specified fines have also been proposed for breaches of this clause in the amended act.

These are some of the issues that JaRIA, since its inception, and intensified since Reggae Month 2011, has made priority issues in its lobbying and advocacy initiatives and efforts.

The above mentioned five proposed amendments, in their entirety, in addition to others which will now bring cable stations into the loop, if approved by parliament, will modernise our legislation to cover all the new forms of broadcasting. It will also update the definition of broadcasting and streamline the operations of our media houses. The sum effect of the amendments proposed will redress long-standing inequities which are pervasive in our media. They will bring more justice to our creators of music and more money for our Artistes, Producers, Composers, Songwriters, Publishers and Musicians.

Email: che.campbell@gmail.com
or
Read more: http://www.jamaicaobserver.com/entertainment/More-money-for-artistes_11301903#ixzz1sswcqpgv

ATTRIBUTION AND ROYALITES

Groundins

By: Charles H.E.Campbell

Music is the life-blood of most social events. Musicians and artistes create and produce music for all occasions from birth to death from war to peace, for rites celebrating birthdays, romance and thanksgiving services for our dear departed ones.

Most of our religious, secular, national and climatic seasons and holidays, such as Christmas, Easter, Carnival and Independence are commemorated by, and with music. For these reasons, music has become an integral feature of the majority of businesses that provide a space for social interaction and relaxation. The electronic media relies heavily on music as a large component of its daily programming.

Recognizing the important value of all forms of music in giving our life's inner peace, joy and fulfillment, over the years international convention has been established to provide the creators of music with reasonable recompense for their works.

These avenues of income include fees for live performances and appearances, as well as income from the sales of their musical products and merchandise.

In recent times, modern technology and the current worldwide recession have conspired to reduce income earned by artistes from these two main income streams. While the technological revolution has allowed consumers easier and timely access to musical works of their favoured artistes and musical groups, it has simultaneously reduced the artistes' income from physical sales of their products. Secondly, the frequency of live events has a decrease globally.

There is a third source of income however, in which Jamaica is guilty of lagging behind much of the rest of the world. In order for us to preserve Jamaica's rich musical legacy and save the music for the future, we must make positive changes towards reasserting and respecting the legal rights of artistes, with respect to attribution and royalties for musical works which are used in public places and by the mass media.

In practical terms, what this means is that the operators of nightclubs, restaurants, bars, hotels, radio and television stations, including cable companies and networks , sound systems operators, promoters of live events including concerts, stages shows, dances, barbecues and even fundraising events for charity purposes must begin to take seriously and honour their legal obligations to register with, and pay the appropriate fees to, our local collection agencies -- Jamaica Association of Composers Authors and Publishers (JACAP) and Jamaica Music Society (JAMMS) which protect mainly the interests of our producers.

In so doing, Jamaica will improve its commitments under international conventions and more importantly will provide the practitioners with the means and motivation to continue to produce the type and quality of musical works for which we are the envy of the world.

Email: che.campbell@gmail.com
or
Read at: http://www.jamaicaobserver.com/entertainment/Attribution-and-royalties_11271897and-royalties_11271897

NARCISSISIM AND DANCEHALL

Groundins

By: Charles H. E. Campbell

In the main, over its lifetime, Reggae Music, musicians and artistes have had the commendable, unique characteristic, among all pop music genres, of not promoting or succumbing to narcissistic tendencies.

Reggae has thrived, penetrated numerous other world markets and cultures, and has sustained its world wide popularity. At our core, Jamaicans are a cosmopolitan people, given the cross-fertilization and ethnic assimilation, inherent in our cultural background and traditions as well as our geographical location, at the cross roads of world trade for over 500 years. This has bequeath us with a continuous window to the world and a constant pulse on global trends. We are famous for our ability to empathise with the struggles of peoples from far-flung countries with whom traditionally, we have no direct cultural links. This world view has served us well, with an innate ability to interpret our national or personal life-challenges and strife in such a way that it has a karmic connection with peoples and nations of all creeds, nations and religions.

At its dawn, the evolution of our modern Reggae Music was significantly influenced by other musical idioms which were current in that era, including Mento, Ska, Jazz, Rhythm and Blues/ Soul and Rock and Roll to a lesser extent. Essentially, our songs highlighted, voiced concerns and even sought redress on issues such as national, class and race discrimination, prejudice and oppression. They became clarion calls for justice, peace, universal love and harmony. Early dancehall music maintained this progressive formula and approach.

In the 80’s, one of the international markets places that eventually came under the influence of Reggae/Dancehall’s militant anti-establishment stance was the alienated Urban North American youth, who were experiencing the twin evils of racial and class stigmatization and victimization. Their collective self-worth especially among young urban males was very low. Therefore, when they began to interpret and adapt the music from their cultural perspective, Hip Hop was born with all its negative features such as narcissism, vulgarity, crudity and misogyny.

In the 90’s, as Jamaican Dancehall acts began to obtain distribution contracts with American record companies, some A & R executives used undue influence to encourage our artistes to borrow from and infuse this Hip Hop beat and lifestyle into their music. Before that we did not call our women ‘hoes and bitches’ nor did we call our bredrin ‘dawg.’ What we are left with in Jamaica today is a poor imitation of Hip Hop music as the sound track to what we still euphemistically call Dancehall music.

The irony is that while our local media remains, to too large an extent, focused on this segment of the industry, internationally, from a marketing standpoint, Dancehall music has seemingly reached a plateau, and therefore this has not been an effective long-term marketing strategy. In fact, what we are observing in the international market place is a resurgence of requests for overseas performances and tours by those Dancehall Acts who came to the fore during the 70’s, 80’s and early 90’s.

Meanwhile, based on their publications and programming, our local media appear to be totally oblivious to these current trends. Their daily restrictive diet and corrupt payola practices continue to stifle local creativity, diversity and Jamaica’s once proud position of being the market leader in Reggae Music.

Email: che.campbell@gmail.com

http://www.jamaicaobserver.com/entertainment/Narcissism-and-dancehall_11109148