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.....

THE BBC WANTS YOUR POP REGGAE GEMS!

By Nadine White
3rd October 2015

BBC Four: 'The People's History of Pop'

Since its establishment in 2002, BBC Four has been committed to broadcasting international films, new arts and music programmes and factual documentaries between the hours of 7pm-4am.

We have recently received information surrounding a music programme currently in the works, 'The People's History of Pop' (PHOP). Independently produced by 7 Wonder, an award-winning media production house, the documentary will chart the UK's popular music heritage from the 1950s to the Noughties.

This unique project will be narrated from the fans’ perspective as opposed to the conventional formula of interviewing artists/producers; a refreshingly grassroots approach. Oh and speaking of roots, there’s a particular angle embedded in this programme for reggae music. It is widely known that reggae has played an integral part in UK popular culture. The genre's historical pop sensibilities have seen its appeal integrate into wider society and the ranks of mainstream.

Many viewers will recall ‘Reggae Britannia’ (February 2011), a documentary which was aired on BBC Four and addressed the evolution of reggae within the UK, influence on other musical art forms and its impact on the development of second generation Caribbean identity. This show attracted an audience of over 415,000!

Of ‘The People’s History of Pop’, Executive Producer at 7 Wonder Steve Condie says: “we are making a new kind of social history programme and offering everyone a chance to share their part in the musical brilliance which is one Britain’s greatest achievements”. So, with that said, there is a call for UK reggae patrons to submit their memorabilia via the PHOP website; this can be anything from footage, posters,  images, recordings, mixtapes, written material…even ticket stubs from that old sound clash, concert or dance.

So why not get involved? You could be featured in this documentary when it airs in 2016! And even if your stuff does not make it onto the big screen, all submissions will still be featured in an online archive. You cannot say that we do not keep you posted about what is going on!

See more information about PHOP at http://bbc.in/1SrYL4U including how and where to upload content.