Date: Sat, 14 Aug 1999 23:13:43 +1000 (GST) From: Jah Son Subject: Food for thought Tom lifted the following from Britain's No. 1 Black newspaper, New Nation, Issue 131 (June 7, 1999). LICKSHOT Michelle Edwards with reggae news and views NEW MANIFESTO FOR A RAGGA REBIRTH Several weeks ago, I made the agonising decision to announce the death of ragga on my pages. Drawing on both my personal experiences and those of industry folks I hang with on a weekly basis, I officially despatched the genre into a warm graveyard beside the body of bouncer Richard Parkinson who had been shot dead a week earlier in the line of duty. Barely a week after the word was out, I was bombarded by complaints, strange ramblings and gasps of disbelief from members of the establishment. Typically, those who continue to screw the industry over with their own particular practices dared to ask, "How can you kill off the music like that?" And " Who the hell are you anyway?" Were these comments offensive to me in any way? No, not in the slightest. Do I have any regrets about penning the piece? Absolutely not. What was said needed to be said. And judging by the positive response from Joe Public, who were full of comments like, "Oh God, what you said was so true" and "I'm glad someone told it like it really is," that particular column was well over due. But that was then and this is now. And if there is something I have learnt from writing Lickshot it is that you guys absolutely love it when I make strong recommendations for change. So this week, I am taking up one suggestion made to me by a friend who begged me to publish a name 'em and shame 'em list of dodgy promoters and inject some life back into the genre. Much as I'd like to entertain that thought sir, I'd be dead before the week is out. Instead, I'll take up your other suggestion to give you all my Lickshot Manifesto for the progression of the music. Only then can ragga and the music as a whole ever advance. RULE 1: Understand the meaning of business Despite what many people may think, music and the practice of entertaining is a business and should be conducted as such in a businesslike manner. According to The Oxford Dictionary, a business is defined as a "thing to be dealt with." So, start dealing with it. Artists, you should understand that music stops being a hobby when you plan to start making money from it. Stop treating it as a joke and letting your brethren round the way deal with your product. While there is no need to carry a suitcase on your head, you have to take on the responsibility for your own image, literature, etc. Record companies should be more professional in their dealing with artists. Don't expect record sales from a person you have not promoted or marketed properly. Similarly, look at the person you take on, ask yourself if you would take them on as an outsider. If not, don't expect anyone else to. RULE 2: Professionalism When key people within the industry adopt rule number one, inevitably professionalism follows. Regular readers of my column will be familiar with my constant pleas for constructive behavior. Time and time again, (I can hear you snoring already!) I find myself looking through material with no label, no name, no biography, no pictures. Need I go on? How you present yourself is important. Remember, you only have one crack of the whip. RULE 3: Promoters keeping clean When your business is dirty, it will always blow up in your face at some time or other. Anyone can be a promoter, not everyone can be good at it. Lots of trouble is caused at venues and shows on the night because of a build up of bad business behind the scenes. If you guys book a venue, pay for it in full. If you use a printer for your fancy flyers, pay them their money. And so on. 'Cause not everyone resolves their domestics in an argument, lots of people watch Crimewatch and are likely to get some unsavoury ideas. RULE 4: Audience participation Why do some people always feel they've got to get in for free. For heaven's sake, if you go out, go out to enjoy yourself. And if you come up against security, let them search you - they are just doing their jobs. Don't show off, you'll just end up embarrassing yourself. RULE 5: Value for money Many of those punters who do attempt to get in shows for free always tend to decry the outrageous door fee 25 pounds plus booking fee - they're compelled to pay. In many cases they do have a point. If promoters are charging so much at the door, they need to ensure the show the punters are paying to see warrants the fee - namely, various acts are on the bill and that their set lasts more than a mere 15 minutes. Artists should also take note. Promoters often cite the artist's high appearance fee for the sky high gate fee. Artists, if you honestly feel you're worth all that money, prove it where it matters most - on stage with a stinging show that lasts a minimum of an hour. Let your fans feel appreciated, not screwed. RULE 6: Understanding journalists' responsibility If there is one thing that is more or less guaranteed in reggae, it is that violence is part and parcel of dealings with particular artists. Just to set the records straight, journalists are in their business to educate, entertain and inform. Nothing else. We are not slaves of artists and do not have to succumb to their every whim. Artists, if you can't take the fact that we might not like your product, don't send it to us. And don't dictate or harass us into reviews, otherwise you're likely to get the dialling tone. Consider this: why do you think there are so few journalists writing about the music? Simple - they bail out as soon as the death threats come tumbling in. You can't be complaining about the lack of support of reggae music when you're contributing to its demise. =========================================================================