RFUK NETWORKING PARTY - SUNDAY 13TH DECEMBER 2015

by Coral Consciouslee

18th December 2015

I write with a now deeper respect for artists, DJs, promoters, producers, engineers, musicians and all other aspects of the music industry.

 

On Sunday 13^th December 2015, Reggae Fraternity UK had our very first major event. The preparation and work that went into it – for me - was a boot camp training to what it takes to plan, arrange and host an event.  Let me tell you about the RFUK Team of which I am honoured to be a member of.  The team consists of 7 individuals who share a passion for promoting excellence and professionalism especially in UK Reggae.  I am amongst 5 artists and one other who between them have decades of musical experience, who also are creative in other aspects and have professional qualifications in other fields to bring to the table.  Me? I am fortunate that for some divine or universal reason I have been placed to be in this position. 

Since April 2015 we have slowly but surely gained the measure of each other, our strengths and abilities and how best to utilise what we have between us for the good of the organisation. It’s voluntary, but the keyword we use is “professionalism”.  To that end we have had to pull together in honesty and integrity to make sure we deliver on the words that are spoken in our meetings or that one may see on our facebook pages, blogs and on our website.

 You can imagine what planning our first event was like.  What I initially thought would be a simple straightforward procedure (I tend to think very simplistically), had to be broken down and planned very carefully to the tiniest detail. Can you imagine the volume of phone calls, emails, Skype meetings and face to face meetings that took place over the last few months – considering that RFUK only started in April? 

 

However as plans for the event started to take shape, I thought about the artists and those who would be coming, would know and feel we had brought this event together to show how much we thought of UK Reggae Artists and hopefully give an insight in how things could work if we in the UK pulled together.

For me it was an event that I will never forget. By 7pm, sound check was complete, security and ticket collectors were ready, DJ Mikey Notch from Thirdimension Sound (RJR Radio) was playing UK Reggae music, bar staff was ready, the allocated artists area was secure.  We were ready and waiting.  I imagined the thought that goes through every promoters head as I walked through the venue, checking and rechecking everything: Is anyone coming? If so, how many were coming? More importantly WHAT TIME would they be coming? 

We needn’t have worried.  As if planned, it seemed that everyone started arriving at the same time.  For the next couple of hours there was a steady stream of artists, producers, promoters, members of the public.  It got so busy I didn’t realise until the compere came on the stage that the place was full! When did that happen?  Not that I was complaining or anything! 

 

The artists were excellent! They sang as if they were at Wembley Arena! I confess that sometimes I forgot that it was actually our event and could be found at the front of the crowd, camera in hand screaming in reckless abandon.  I clapped my hands; I clicked my camera and then would dash off to make sure everything was in order.  This wasn’t just somewhere where artists got up and sang because there was a mic; the audience were treated to a first class show.  The atmosphere was exciting, magical, electric, guaranteed to change whatever mood one was in, into a happy, carefree one – even if only for a few hours.

One of my main pleasures at such events is watching artists catch up with each other.  I like observing the men standing chatting and the women sitting together laughing and listening to each other intently.  Artists are human too! 

 

There were touching moments: Sutara Ji (a.k.a. Lorna Gee) in tears on stage as she sang Louisa Mark’s Sixth Street with Carroll Thompson. The eruption of the crowd as Lorna Gee came back on the stage to “toast/rap/ride” the rhythm as only she can. The artists congratulating each other as they came off stage. My shock and surprise at being invited on to the stage to be presented with a birthday cake and having the whole room sing me happy birthday.  It was beautiful – all of it.

As I write, I look at my handbag and see the business cards and contact details of artists and other individuals from the music industry who wish to be involved with what Reggae Fraternity UK are trying to achieve – I was given all of those cards last night.  Sunday night was a success.  Yes... there are things that we will tweak and improve upon, but we achieved our goal.  We showed that by uniting and working together, by staying focused and having a common aim, we can achieve great things indeed.  We can achieve an event where top UK Reggae Artists were more than happy to attend and support the next generation of artists coming up.  As I walked around the room, the celebrities in attendance read like a who’s who in UK Reggae. All of this in a few short months.

As we drove home, there was so much to reflect upon: Promoting UK Reggae Excellence = Reggae Fraternity UK.

 

ARE WE REALLY THAT HELPLESS??

 By Coral Consciouslee

3rd November 2015

 

In an industry where one’s reputation is based on one’s conduct or performance, I was saddened to know that yet another artist has had to go public and complain about a promoter.

UK’s rising Reggae Star, Aysha Loren took to social media yesterday to vent her frustration and outrage at the shoddy treatment she and fellow band members received at the hands of a promoter.  Apparently he waited until after the show to tell Aysha, that she nor her band members would not be receiving any payment, because he had no money with which to pay her.

As Aysha pointed out (and it was evident), the venue was very well attended! This meant that even in ticket sales alone, revenue would have been generated, so why, knowing full well that such actions would be broadcast, did the promoter in question not show any remorse or any intention of fulfilling his side of the agreement?  The other burning question is, did Lukie D receive HIS agreed fee for his performance? If this is the case, the international artist has once again been given preferential treatment over a UK artist!

My blog is not merely to state the obvious, but to highlight the very urgent need for us to change in how we do things here in the UK.  For things to change, we have to take effective action.  To be effective we really do need to come together and commit to working to a higher standard.  The saying “all singing from the same hymn sheet” springs to mind.  Even though contracts can and will be broken, there should be a consequence for the promoter or artist if this happens.  The promoter should NOT be able to get away with his actions without any repercussion or penalty.  I am sure as I type, the promoter in question will not only be counting whatever profit/loss he has made, but he will already be busy promoting his next event or venture. 

I saw some of the comments under Aysha Loren’s status.  “Put it down to experience”. “Did you have a contract?”.  “Did you have a rider in that contract?”. My all time favourite : “Leave him to God”.  So in a nutshell, seemingly there is nothing Aysha or her band members can do.  She and they used their own resources which includes time and effort, which whilst appreciated by her fans and those who attended, was laughed at by the promoter himself! Another pertinent question is does the fact that Aysha is a female singer have any bearing in the promoter’s stance in this situation? Would the promoter have handled things differently if it involved a male? Questions, questions, questions!

I call on artists, musicians and like-minded individuals to boycott promoters who behave in this way.  The power is in our hands; if we choose not to put our hands in our pockets and take our hard-earned cash and pay for a ticket, that promoter is rendered inactive, the event cannot take place.  Naming and shaming is not a spiteful or malicious act.  By refusing to name and shame we give that promoter licence to do it to others, we are actually giving them permission to waste other people’s time and money. We also need to stop being “armchair” critics.  There are ways of supporting positive change and I would be wrong not to promote Reggae Fraternity UK of which I am a member.  I joined because I want to be instrumental in causing change to the Reggae Music Industry in the UK especially; I truly believe it can be done.  What are you doing to contribute to change? You may say you are not an artist, musician, promoter or DJ; however without you, the general public, none of this is possible.  As Chronnix sang “I’m recruiting....”

“Better must come”....but who is going to do it? How will it happen? When will it happen?

It’s up to us...

GIANTS OF LOVERS ROCK - 9TH EDITION

By Coral Consciouslee
27th October 2015

So...the 9^th year of the legendary Giants Of Lovers Rock took place this weekend.  I was fortunate to be able to attend and found it a very enjoyable experience.

We arrived a little later than planned to find the show had already started.  Even better, there was quite a gathering already in front of the stage. The band sounded tight, the mic was pitched just right.  One could hear the quality of whoever sang very clearly. 

As one may have seen from the flyer, those performing read like a who’s who in the Reggae Fraternity and they most definitely did not disappoint.  We were treated to a minimum of two or a maximum of four songs from each artist.  I found the show engaging and entertaining.  Robbie Gee and Eddie Nestor kept the crowd laughing, alert and attentive, before, between and even during each performance!

The show did seem to have a more polished and professional appearance compared to my last attendance.  One particular thing that really pleased me was seeing a lady doing sign language to the left of the artist on stage.  She was very good considering how many songs she had to sign.  What a feat!  I thought Orlando was very good to consider those who might not be able to hear, but decided to come to the show.  I did wonder however, why the screens around the 02 were not used to enable everyone to comfortably see those who were performing on stage.  The place was quite full and the stage, although raised, may have been difficult for some to see, depending on where they were standing.

Reggae music is a genre that is viewed as the music of black people, but I noticed that there seemed to be more of a mixed multitude at this particular event. Music like sport, can often bridge what can be perceived as an ever-widening gap in culture and ethnicity.  It was good to see,

Where I had chosen to stand gave me the advantage of meeting and greeting the many artists who were going on to the stage and also the pleasure of watching everyone having a “catch-up” with each other.  I remember seeing Victor Romero Evans recording Michael Gordon’s performance on his phone!  There were some stunning vocals and the audience responded accordingly to the familiar songs that they know and love so well.  I don’t usually state an obvious preference, but I have to say that Mr Paul Dawkins sang so perfectly and beautifully, my jaw dropped and I stopped dancing!  The mic, the band and his voice were in perfect harmony and sinc.  I sincerely hope there is a recording because for me he was the artist of the night.  I also loved the way he used the stage and how he engaged the crowd. 

Orlando Gittens very cleverly blended up and coming artists such as Cassandra London (who was well received and gave an outstanding performance), with UK and international artists so that there was a spectrum of many songs for the listener.  I think each individual in the audience would have heard at least one favourite song before they left the show.

My one regret is that I had to leave before the show finished in order to catch the last train.  Although I stated that the show started more or less on time, I do think that there may have been too many artists for the time allocated.  To miss the performances of Janet Kay, Carroll Thompson and a few others was disappointing. 

That aside, I had a very good time and I congratulate Orlando Gittens and his company Music Therapy, on his dedication, perseverance and hard work.  I also commend all those who contributed to making it a memorable evening; I am sure the best is yet to come. 

MANAGEMENT IN REGGAE

By Nadine White
17th October 2015

Managers are responsible for overseeing business transactions surrounding the artist and helping to ensure that they come to fruition. With the help of a Public Relations faction, they would also help to ensure that the integrity and public opinion of the artist remains somewhat intact. There are many who assert that good managers are easier to come by in Jamaica than in the UK; at the last Reggae Fraternity UK (RFUK) meeting, legendary producer and co-panellist for the evening Mad Professor argued this point, suggesting that UK reggae practitioners/artists take some hints from how business is conducted on the Jamaican reggae circuit.

Certainly, in the past, you had stables such as Penthouse records that were said to have assisted in nurturing artist development and provide ad-hoc, informal training. But whilst UK reggae artists can certainly learn a thing or two from Jamaican reggae artists and practitioners (particularly from a marketing standpoint), I do not think that one country is particularly better off than the other, in terms of management.

Prof’s assertion lead to me consider what qualifies one to call themselves or indeed another a 'good, effective manager'? As far as I am concerned, some formal/academic training within a relevant field to management is necessary for the cause. Yes, hands-on experience cannot be beaten but it can be enhanced. The study of business related subjects such as Accounting, Finance, Business Studies, Management make valuable additions to vocational experience.

There are also certain qualities which make for a good management which, frankly, cannot be taught such as foresight, tenacity, patience and interpersonal skills. Unfortunately not everyone possesses these and, hence, not everyone is capable of managing artists or anything else, for that matter. An individual who instead encompasses unprofessionalism and cut throat opportunism, an insistence of "flying by the seat of one's pants" is not management material, yet these tend to be the type of characters who occupy many management positions in reggae. And reggae is a small scene, so it is not hard to encounter folk!  Whilst this abrasiveness is probably a direct result of wear and tear from certain extenuating life experiences, it still has a knock-on effect on the high turnover rate of artists and occurrence of perfectly avoidable business losses.

After a very public, bitter parting of ways with former management team Heavy D Promotions, Jamaica Dancehall artist Gully Bop declared: “I need a manager, not a damager”. I won’t get into the “isms and scisms” of that particular fall out because mi nuh know ‘bout dat, but I will say that more of the former and less of the latter is needed in reggae, for sure.

 It also saddens me to observe that many managers within reggae are either the spouses, bed mates or relatives of the artist, who are just ''trying a t'ing". One cannot conduct their business affairs off the back of ‘bring ins’! We all want to feed the team, sure, why not? But it is important for a manager to know what they're doing otherwise everyone will be hungry, mi love!

When Busy Signal and the same Gully Bop left third party companies and came under the management of family members, suddenly their level of wider success and quality of musical output began to decline. It can all be a bit too messy; emotions and personal convictions can kick in - in lieu of business conduct - and judgement can become impaired. Hiring family members is a question of executing sound judgement and applying ethical principles; does the artist pre-consider scenarios where there might be a conflict of interests? UK massive, did you know that The Equality Act 2010 outlaws special treatment in terms of “pay, promotion and working conditions” when it comes to hiring members of one’s family? I wonder if this standard is upheld when we conduct our ‘business’ in reggae or is it a case of cutting corners?

I'm not saying that it’s always bad for business when the manager is related to the artist though [for the purpose of this blog, let’s call them ‘famagers’]; Beyonce was managed by her father and Michael Jackson by his and they’ve both enjoyed resounding success. Sanchez has been managed by his wife Monica Jackson since 1995. It is said that Bob Marley’s children manage his Estate alongside a team of specialist staff; an autonomous and family orientated set-up.

On the other hand, the Marleys’ cultural and economic stance puts them in a rather unique position  for self-governance so they are a bit of an anomaly. Besides, as far as I am aware, most of the Marley sons’ individual careers are managed externally. And, no offence, but I am sure that the outsider knows little of what the pressures of working in the music industry as man and wife yield behind closed doors. As for Beyonce and Michael Jackson, their paternal relationships became extremely strained and the management arrangements did not stand the test of time either. After eventually firing her father, Beyonce admitted that: “she just wanted her Dad back”. So whilst apt ‘bring-ins’ can indeed beget fruition, can one ever truly win with a ‘famager’ at the helm of their career?’. I mean, the arrangement stands to mash up or at least permanently, negatively alters relations!

Reggae artists needn’t go about, trying to manage themselves either; as far as I’m concerned, that only stands to distract them from making good music. However, there are many who either cannot afford good management (granted), opt for famagers for a discounted rate or are simply too cheap to invest in good management. These are problems that need addressing. And when we are talking about the order of business, formality is needed otherwise it just will not thrive…whatever your profession.

It is a ‘catch 22’ and no one said that it’s an easy situation; after all, reggae music is about striving for betterment. I was going to end with ‘Rome wasn’t built in a day’ but when it comes to our music and culture, that reference does not seem appropriate. Still, y’get the idea!

IS IT TIME TO REDEFINE THE TERM "BLACK PEOPLE TIME?"

By Coral Consciouslee

8th October 2015

On June 22^nd 1948, The Empire Windrush carrying 492 Jamaican immigrants finally docked down at Tilbury Docks.  Those on board had been told to come to “The Mother Land” for a better life. I remember my own mother telling me that she was told the streets were “paved with gold”.

As promised, our parents and grandparents did find jobs, although these jobs were far below their qualifications back in their homeland.  The accommodation offered was often cramped and small.  In addition to finding homes and jobs (not necessarily in that order), one of the extra-curricular activities of our forefathers was, of course, parties.  Having to adjust to a new lifestyle, the one thing that was not open to negotiation were the parties.

With the influx of people from the Caribbean during the 1940s and 50s, this meant there was an abundance of Ska, Jazz and Mento, - evolving primarily into Calypso and Reggae in the 60s - to listen and dance to. Often feeling excluded and alienated from the “British” way of life, parties were quickly established, taking place mainly in people’s houses.  How can we forget the dark chocolate shiny hue of the wooden gramophones on which records would be played into the early hours of the morning?  There is an article that relates how UK MC Tippa Irie recalls his parents renting out the basement of their family home as a venue for parties and band rehearsals. These “blues parties” were a focal point for the transmission of Jamaican working class culture, with food, dominoes and simply gathering together to gossip and reminisce. Or dance…  Anyone attending the blues parties, or dancehalls would expect to get home by daylight.

I should add that it wasn't just parties that were in abundance, but shows featuring very talented musicians and artists.  These shows continue until this very day.   

Which leads me to my original question: Is it now time for us - the children and grandchildren  of our parents - to continue to evolve and perhaps start to change how we do things, in particular our timekeeping? 

Our timekeeping can have a major impact on the opportunities and quality of events that exist for us. I have spoken to DJs, musicians and artists who have turned up for events, only to be told they cannot perform because the promoter waiting for patrons to attend, couldn't start the show until everyone arrived.  It is a double-edged sword; some would say that the show should start on time regardless. The whole point of parties and shows are for the us, the audience.
If we are content to spend our hard-earned money on a ticket and arrive at an event 12.30am onwards when most events now finish at 4am in the morning, what would we do if we had our own building? The promoters I have spoken to have an air of resignation, usually saying “That’s how black people are, we won’t change”.  Why can’t we change? What stops us from aiming to come to an event, say for 10pm? Not to mention how we are perceived when we approach the owners of certain venues.  Our timekeeping or lack thereof, represents a lack of discipline that one could argue, permeates our present day lifestyle and dare I say, sometimes prevents us from being taken seriously.  Curiously, this state seems prevalent amongst those of us on the reggae scene.

Pause and consider if you will, the owners of these venues.  They know more often than not, that if we as black people are hosting an event at their venue, they can expect not to see anyone from when the doors opens until at the earliest 11pm.  This means loss of revenue and generates a reluctance on their part to do business with us.  However we will complain that it's because we are black!  It IS because we are black, but not necessarily the way we portray it.

The sad thing is, no matter what time we attend events or what time we get home, we will make sure that we are at work on time the next day!  We show more respect to our employees, than we show to each other!

These are no longer the windrush years.  Indeed if our parents are now facing the twilight years of their lives, we are definitely looking at middle age.  We are now the “big people”.  We are no longer in our early 20s or even 30s. Do we need to perpetuate what our forefathers did? If we can do better, shouldn’t we practice better?

My dream is to attend an event which is well organised, starts on time and finishes at a decent hour.  Whilst there are events where I have experienced this, it is the exception rather than the rule, something that is within our power to change. As well as being able to set our watches by GMT (Greenwich Mean Time), wouldn’t be nice to be able to do this also by BPT (Black People Time)?  Think about it.....