Promotion of black reggae artists (Was RE: Informer/Snow)
ac99...@umbc2.umbc.edu
I know this subject is a bit belaboured by now but I'm going to look at one
dimension of it.
One issue of this discussion was the fact that Snow's label was promoting him
heavily, even to the point of selling copies of his album cheaply to make it #1.
For all who brought this point up, I say it is valid. Sure Snow got much more
promotion than Supercat, and maybe even Shabba. But, We know this is not the
first time such a thing has happened. True, part of the problem lies with the
Shabba's record label (Epic), and SuperCat's record label (can't remember), but
they can't take the whole blame.
The other part of the problem is that reggae artists tend not to support
each other (outside of doing duets, etc.). In Jamaica, it seems all the artists
are in the same boat, so they stick together and try to make it together. How-
ever, once a major label in the U.S. or Europe picks them up, they tend to for-
get who helped them get their, and those they left behind that are still strug-
ling. It seems that it's a case of "Well, I made it, you should be able to.",
IMHO.
Another part of the problem is that those of us who listen to reggae on a
constant basis, don't promote our reggae artists either. I know plenty of
people who like reggae (well, dancehall anyway), but the problem is that they
have no means of getting it. The only people who seem to carry it are the
small, specialized "corner stores", which don't have the coverage of say the
Wiz or a Sam Goody or something of the sort. Let's face it: people tend not
to want to look very hard for things, they expected things to be readily avail-
able and easily accessible. Think: That's why advertising is so important, be-
cause people don't look for it, it sort of goes out and looks for them.
My point is this: We can cry "NO SUPPORT!! NO SUPPORT!!" all we want, but
before we do let's think about this. Are we as reggae listeners doing our share
to promote reggae? Do we try to look for inroads (radio, record stores, etc.)
in which to promote reggae? What we need to do is share the music with others
(I'm not even going to get into the racial issue) and create a demand for it.
Only then will reggae artists (other than Snow, Shabba, and Supercat) get the
coverage they have worked so hard for and deserve.
One more thing : all you owners of sounds need to give us some help too!!!
Just my HUMBLE opinion
Richard Thomas
ac99...@umbc2.umbc.edu
P.S. Flame all you want, I've said all I care to about the Informer/Snow issue.
Enuma Olanrewaju Ogunyemi
>The other part of the problem is that reggae artists tend not to support
>each other (outside of doing duets, etc.). In Jamaica, it seems all the artists
>are in the same boat, so they stick together and try to make it together. How-
>ever, once a major label in the U.S. or Europe picks them up, they tend to for-
>get who helped them get their, and those they left behind that are still strug-
>ling. It seems that it's a case of "Well, I made it, you should be able to.",
>IMHO.
Just to point out to you that there are numerous cases of regggae artists
starting their own labels because of the draconian behaviour of producers, who
cut a riddim, paying a paltry one time fee to the DJ, regardless of whether the tune
goes to be no.1.
Jr. Reid has his label JR, Super Cat (along with Robert Livingston) has
Wild Apache (though since his signing they have had no new releases, Freddie
MacGregor has Big Ship, Red Dragon has dragon (though his has been
the only releases), Rula Brown has Bee Cat, etc.
(This is not even mentioning the efforts of long-timers like Sugar Minott with
Youth Man Promotions and Gregory Isaacs with the old African Museum and his
current efforts).
This might seem to be tru for some artists: Shabba hasn't worked with
other dancehall artists since his signing (except with Papa Biggs. on "Nigga for
life" which I haven't seen anywhere as a release) only with Hip-Hop artists; Buju
seems to have forgotten his former mentors : Brothers Flourgon and Red Dragon, I
have never heard him big them up...
Cobra, on the other hand used a female DJ (I think Lady patra or Venus)
on his Columbia release, helping her to get a record deal with the company...
Now if VP records, YEARS AGO, had listened to the advice that I had given them
about marketing, they would have control of a much larger buying audience. AS it
is now, everyone is pissed off at VP, and some of the top producers are using
other distributors: Donovan Germain of Penthouse has started his own
distribution, Philip Smart has Tan Yah, Dave Kelly and his brother have Madhouse
(Formerly Rude Boy Kelly), Pow Wow is making a comeback after the wane in 90/91
that saw the apparent death of Shelly's, Blue Mountain, Super Power and other VP
competitiors. Star Trail is also coming up with the result that VP is being cut
out of the unsigned artist base, while facing some pressure from the major labels
(not really too much because the labels often turn round and market them to a
different audience, excluding the fans that helped them make it in the first
case).
These mom and pop stores are the sustenance of the 200 single a week
dancehall industry: You would be amazed at the amount of merchandise that moves
through these deceptively small stores. Better than a Sam Goody's where the
workers will be sure to mix up all the Ranks, Generals, Colonels, Bantons,
Majors, Demuses, Cats, Apaches, and Indians!!! Now do you support your local
reggae shows - radio and club? You are on to something on that....
ac99...@umbc2.umbc.edu
ekun...@athena.mit.edu (Enuma Olanrewaju Ogunyemi) writes
Enuma,
I agree with you that lots of artists are starting major record labels, but
the problem still lies with the lack of coverage in places where there are
relatively few Caribbean people. For example, New York and Washington, D.C.
have lots of reggae access. But travel 30+ miles up I-95 to Baltimore (Where I
live and attend school), and you find that yes there are mom and pop stores that
carry reggae, but their collections are paltry by comparison. I, myself get all
my records directly from V.P. and R.A.S., because of this. So we're back to
square one - No promotion, reggae does not spread.
About artists forgetting their roots : I apologize, as that was not meant
to be a blanket statement. But, let's face it : too many artists do forget
their roots, and it hurts the reggae trade in general. That was really my
point.
While mom and pop stores are the sustenance of the 200 single a week dance-
hall industry, we also need the bigger stores to help the cause. If people have
to go to a mom and pop store all the time (which sometimes they have no idea of
where it is, much less whether they carry dancehall or not), reggae will always
stay "underground", aside from those who use it to "enhance" their releases,
I.e. Wrecks and Effect with the rumpshaker reggae remix.
On the issue of support, I do support the trade. I try to listen to every
reggae/calypso/etc. show i can find, and I go to as many shows as possible. As
a member of a sound, I make reggae tapes for people. Being in college, I have a
broad listening base, and their have been times when I've had the last 2nd gen-
eration copy of a tape I've made (I always keep the originals), and have given
it to someone who asked - no charge !! just to spread the music to those who
want to hear it. I also support all the sounds that play in the Baltimore/
Washington area -- Emperor, Afrique, Raw Deal, Cignall International, and the
rest, too numerous to name here. I can't support my own sound, because they are
based in Bermuda, and when I'm there in the summer, I not only support them (I
have to), but I try to support everyone else, too when we're not playing any-
where.
I also give people lists of radio shows, clubs, and record sources once I
find they are interested. I have also given my sources to several mom and pop
stores that didn't carry reggae before, and some of them do now.
Just my humble opinion,
Richard Thomas
ac99...@umbc2.umbc.edu
P.S. This is not a flame.. I agree with most of what says, but believe we the
reggae-listening public at large all have to do our fair share to promote
reggae.
mike pawka
I agree ... I go to all the shows and concerts I can, make tapes for
anyone I run into who shows any interest, buy too many CDs and occasionally
organize USENET news groups . :-) (Sorry folks, I couldn't resist ...)
EZ Noh, mike
Robert Nelson
>constant basis, don't promote our reggae artists either.
What about rec.music.reggae? There are nearly 10,000 readers sharing ideas
and recommendations of reggae music. That's probably a higher
circulation than any of the reggae magazines. Plus, everytime we buy an
album/cd, reggae magazine or concert ticket that's promoting the music.
I know plenty of people who like reggae (well, dancehall anyway), but the
problem is that they >have no means of getting it. The only people who seem
to carry it are the >small, specialized "corner stores", which don't have
the coverage of say the >Wiz or a Sam Goody or something of the sort.
Most Sam Goodys/Hastings/Musicland etc have about two rows devoted to
reggae. By the time you've accounted for Bob, Ziggy and UB40 that doesn't
leave too much room for anything else. The only chain store that I've seen
devoting significant room to reggae (including imports/independents) is
Tower Records. Most smaller markets don't have a Tower. Nearly every
city has a cool independent or reggae culture store. Check your yellow
pages I guess. The Bay area alone has more than 50 cool record stores with
all sorts of imports, used vinyl etc. (BTW If anyone wants a list of them
you can mail me)
Let's face it: people tend not >to want to look very hard for things, they
expected things to be readily avail->able and easily accessible. Think:
That's why advertising is so important, be->cause people don't look for it,
it sort of goes out and looks for them.
Yes, but reggae is a marginalized music genre that only now is getting
mainstream radio play. It's never going to be as easy to find as
Michael Jackson records etc. And I agree advertising and promotion are
essential. But reggae labels like Heartbeat and RAS probably have 1/100th
amount of the promotion budget CBS or Atlantic has. What does a full page
ad in Rolling Stone cost? Probably $1000 or more. People who love reggae
music have to aim their sights a little lower: magazines like the Beat and
many other reggae related fanzines; look for college and non-commercial
radio stations with reggae shows. These types are in it more for the love
of the music rather than the profit angle.
> My point is this: We can cry "NO SUPPORT!! NO
SUPPORT!!" all we want, but before we do let's think about this. Are we as
reggae listeners doing our share to promote reggae? Do we try to look for
inroads (radio, record stores, etc.) in which to promote reggae? What we
need to do is share the music with others (I'm not even going to get into
the racial issue) and create a demand for it.
That's a great idea. Maybe we can compile a reggae directory, so
vacationers, people new to a certain town can know right where to go for
reggae.
Robert.
mike pawka
To followup on this some more, the reason I think we should support
reggae is not too make it more popular, I like it just as it is. I don't want to
see it turn into the "in thing" (I doubt this would ever happen, you must admit,
it's not for everyone, I'm not sure why, but feel this from observing others
reactions). I was an R&B fan in the late 50's and early sixties and saw the
degradation that came with the "Motown" explosion of the mid and late sixties.
But I don't want to see reggae fade either. Maybe I'm spoiled because we have
access here in Southern California to dozens of concerts per year and all the
CDs and tapes you can put your hands on or afford. We reggae lover's are a select
group now, I kinda like that. Plus I'd hate to see huge crowds everywhere next
time I go to JA (besides at Splashtime). Does anyone agree with me on this?
Sometimes I get this nightmare that it's all a fad and will go away ...
EZ Noh, mike
seivw...@evax12.eng.fsu.edu
Mike,
I hope that thisis all not a fad too. But when I hear things from A-A like,
do worry about understanding the words as long as the bassline kicks. This
makes me wonder about the interest the person has in the music. For me,
dancehall music and hip-hop music are part of a movement/lifestyle. You
have friends that you would attend the concerts with, wear the fashions
synonmous(sp?) with the music and all that other stuff. I would hate to
this interest in the Caribbeans as a fad too!
Roy Boy
mike pawka
!> In article <1993May26.2...@nosc.mil>, mi...@jammin.nosc.mil (mike pawka) writes:
!> > In article <1993May26.1...@nosc.mil>, mi...@jammin.nosc.mil (mike pawka) writes:
!> >
!> > To followup on this some more, the reason I think we should support
!> > reggae is not too make it more popular, I like it just as it is. I don't want to
!> > see it turn into the "in thing" (I doubt this would ever happen, you must admit,
!> > it's not for everyone, I'm not sure why, but feel this from observing others
!> > reactions). I was an R&B fan in the late 50's and early sixties and saw the
!> > degradation that came with the "Motown" explosion of the mid and late sixties.
!> > But I don't want to see reggae fade either. Maybe I'm spoiled because we have
!> > access here in Southern California to dozens of concerts per year and all the
!> > CDs and tapes you can put your hands on or afford. We reggae lover's are a select
!> > group now, I kinda like that. Plus I'd hate to see huge crowds everywhere next
!> > time I go to JA (besides at Splashtime). Does anyone agree with me on this?
!> > Sometimes I get this nightmare that it's all a fad and will go away ...
!> >
!> > EZ Noh, mike
!>
!> Mike,
!> I hope that thisis all not a fad too. But when I hear things from A-A like,
!> do worry about understanding the words as long as the bassline kicks. This
!> makes me wonder about the interest the person has in the music. For me,
!> dancehall music and hip-hop music are part of a movement/lifestyle. You
!> have friends that you would attend the concerts with, wear the fashions
!> synonmous(sp?) with the music and all that other stuff. I would hate to
!> this interest in the Caribbeans as a fad too]
!>
But then I remember that I've been going to concerts for 10 years and
attendance has been constant if not slightly increasing. But, every once in a
while you see a "dread" looking person on TV commercials, a sure sign of a fad. ??
EZ Noh, mike
Robert Nelson
> EZ Noh, mike
The funniest one I've seen lately is the TV commercial with the lovely,
young J'can woman hawking Pringles potato chips. I know I think of Jamaica
whenever I see potatoes. So do you think these Pringles are ital? :-)
Robert.
Robert Nelson
>reggae is not too make it more popular, I like it just as it is. I don't want to
>see it turn into the "in thing" (I doubt this would ever happen, you must admit,
>it's not for everyone, I'm not sure why, but feel this from observing others
>reactions). I was an R&B fan in the late 50's and early sixties and saw the
>degradation that came with the "Motown" explosion of the mid and late sixties.
>But I don't want to see reggae fade either. Maybe I'm spoiled because we have
>access here in Southern California to dozens of concerts per year and all the
>CDs and tapes you can put your hands on or afford. We reggae lover's are a select
>group now, I kinda like that. Plus I'd hate to see huge crowds everywhere next
>time I go to JA (besides at Splashtime). Does anyone agree with me on this?
>Sometimes I get this nightmare that it's all a fad and will go away ...
>
> EZ Noh, mike
I don't think reggae is a fad anymore than blues or folk. It's a music
that's been around for more than 3 decades, changing and keeping fresh
through many generations now, despite the rock press signaling its
death after Marley died. I see your point Mike, I think it's natural to
feel protective of reggae since most of us have been into it during its down
years as well as its bloom. The fear is that mass acceptance will some how
water down its authenticity and enable the proliferation of many more "Snow-
enstein" fakes. You got to take the good with the bad.
I think reggae will continue to get more popular: black radio is much more
receptive to its dancehall variant than it was during its 70s roots heyday.
Plus with media outlets like MTV, etc. the visual avenue exists that didn't
20 years ago. And of course all the crossover with hip hop artists kind of
blurs the lines between the two music forms. The important thing, at least
to me, is that there's still room for a thriving market of independents like
RAS and Heartbeat and various Do It Yourselfers who (hopefully) will still
be around when/if the major labels get tired of reggae.
I can remember being in a San Francisco record store about 6 years ago
scrounging for old vinyl and the store owner advised me to get with the
times no one was into reggae anymore; everyone was into "worldbeat". I
don't think that rationale applies today.
Robert.
LIB...@byuvm.bitnet
rne...@alexandria.lib.utah.edu (Robert Nelson) says:
>The funniest one I've seen lately is the TV commercial with the lovely,
>young J'can woman hawking Pringles potato chips. I know I think of Jamaica
>whenever I see potatoes. So do you think these Pringles are ital? :-)
>
>Robert.
My favorite is the Yellow Pages ad with the pseudo-calypso soundtrack and the
pseudo-Jamaican dude singing "Tek a look, mon/'Pon dis book, mon!" I always
cringe when that comes on.
For me, though, reggae is a music thing, not a lifestyle thing. I've got
short hair, a wife and baby, I live in Utah, I'm about as white as they come.
But I'm also a reggae musician and I see no conflict there. I subscribe to
the boring old idea that music knows no race -- I can lay down the crucial
riddims with the best of them, if I do say so myself. It has nothing to do
with skin color, and everything to do with intensive study and perhaps a
tiny bit of natural ability. Mostly study and practice, though.
--
Rick Anderson lib...@BYUVM.BITNET