Papers
Kwaku, Black Music Congress (BMC) founder debate paper: aims & outcomes

Kwaku, BMC founder Black Music Congress debate paper: debate blog

Hugh Francis, Jet Star head of intellectual property & business affairs, and former recording artist

Tony Biola, founder of Urban Voice UK and head of CoVE (Centre of Vocational excellence) in music technology

Feedback
Root Jackson, musician, Congo Music director and co-founder of the BMC forerunner the Black Music Association

Neil Fraser a.ka.Mad Professor, record producer, remixer, Ariwa studio/label owner

Delroy Constantine-Simms, journalist and occupational psychologist

Janice Spence, editor of writeonpoint.co.uk

Melvin Bacon, California-based account executive at Ventura Distribution 

Kyle Bruce Vereen, musician/writer/producer of the Philly-based R&B/soul group Nu-motion Klique

KMT, club DJ and Genesis FM radio presenter

Celine Loader, editorial director of Aspire Magazine

Photo Gallery
Click to see Shut Up Shop debate photo gallery

Kwaku, BMC founder Black Music Congress debate paper: aims & outcomes

Aim of debate

The aim of the debate is to raise awareness regarding the need to understand and engage with the business side of the music industry in order to have sustainable careers, generate wealth and provide employment within our community. The fact is that that the industry is not effectively engaging with us. We need to develop an indigenous industry. Otherwise we will be consumers. In America, we look at the likes of Puff Daddy. He succeeded partly because Arista believed in his ability as a hit maker and entered into a multi-million joint venture with him. Producers like Dark Child, Jermaine Dupri and countless others have had joint venture relationships with the big companies. Over in Britain, the nearest to a joint venture relationship with a record company and a hit-maker was Jazzie B relationship with Motown and Sony at the height of Soul to Soul’s fame in the mid nineties, and Steve Jervier’s deal with Sony.

Agreed, they were not successful but the same thing happens in America, eg. Mariah Carey’s Crave deal with Sony was not that successful, but did not stop them from continuing to enter into business relationships with talent and hit makers.

·        Education and knowledge of the industry are important and fortunately there are useful courses that provide this. I have been involved in such courses that range from grassroots to post-graduate level. BTWSC, Collage Arts, City University, City & Islington College, Westminster University. BPI music education directory.

·        No shortage of talent, but without business infrastructure and support, it will be difficult for the talent to get far. There are lots of talent, that’s evidenced by talent shows, open mics and numerous courses aimed at performers. However what outlets are there once the talent has been developed or proven? Studios are churning out recording, much of it quite good, but how can they be effectively exploited if there’s no serious infrastructure to engage with

·        Also, there is the issue of longevity and live artistry

·        In order to have an economically sustainable career and longevity we need to engage with the business side of the industry: promotion, distribution, marketing, legal, and media.

·        We also have to look at building alternative and accessible options: we all cannot go to Midem in France, but what is stopping us doing something similar to what the Urban Music Seminar used to do, or even supporting the Records Fair we put on as a way of networking and trying to sell.

·        We are particularly interested in the so-called gate-keepers, like the media, the big record companies. For example Choice FM has UK Cuts, and 1Xtra has Homegrown. Whether –half an hour devoted to British R&B-based music enough, is a different issue. The only new British black artist I see a big company trying to seriously develop is Corinne Bailey Rae, who’s signed to EMI. Perhaps there are others – we need to know. Why was there no UMS last year? Why is the Urban Music Festival cancelled this year? These are also things we need to be aware of.

·        How can we make linkages if we don’t know who is doing what? It is for this reason that we propose a 2006 British Black Music report, telling us what people have been doing to build the British Black Music sector, and a directory that tells us who is who and what they are doing regarding black music – For this to work we need to be proactive by e-mailing information, that is contact details and what you do in not more than 100 words.

·        Whilst a lot of the problems that need to be addressed are offline as highlighted above, we cannot ignore the internet. This is something that Hugh Francis is going to highlight in his key note speech.

·        Lastly our community will benefit if British black music is successful. If we have economically successful producers, songwriters, managers and artists, the chances are they are going to spend the bulk of that money here – which means it helps the economy, it most likely creates jobs and wealth around their immediate communities. 

Outcomes

·        Industry to spot hit makers and enter into serious financial deals with them.

·        Exploring grass-root ways of doing business. Eg in Windrush era there was no finance, but people were creative and used Partner method to raise finance.

·        Artists need to create credible products, that is wise production wise, content wise and performance wide.

·        Media, particularly radio to help popularise British black music by supporting it more.

·        It is also important for consumers to patronise their domestic products.

Kwaku, BMC founder Black Music Congress debate paper: debate blog

Why should the Black Music Congress be asking 'Should British black music shut shop?' This provocative debate topic has engendered some emotive responses well ahead of the Feb. 4 event at City University London.

There's a lot of young black talent, we've been told. That there is great musical talent in Britain is not in dispute. But the issues are much wider than talent. There are more important business, economical and political issues to deal with. Where are the infrastructural pathways to support these musical talents and help build a sustainable domestic industry?

Some have said black music runs the music. Perhaps to some extent, but we are focused on the British portion. What percentage of black music consumption is British? Put another way, what proportion of the black music income generated in Blightly helps feed a British artist, producer or songwriter, for example? 

The scope of British black music should not be limited to 'urban', 'underground', 'street', 'on road' - that's all cool, but few adequately feed themselves by strictly confining themselves to these scenes. Is Sean Paul or Kanye West 'urban' or 'street'? Don't be fooled, they and their ilk shift units within the 'crossover' or 'mainstream' market, and have a high level of creative and financial independence. But where are their British equivalents?

The recently published The BRIT Awards 2006 nominations and the  Music Week 2005 end of year analysis are just about the best barometers reflecting what's happening in the 'mainstream' market. After you've read our brief commentary on these indicators, perhaps you'd be in a better position to ponder if British black music should just shut up shop and leave our market to the American, and the odd Jamaican, artists, producers, songwriters, record and fashion label owners...

Well, the BRIT Awards 2006 nominees have recently been announced. This reflection of the best of British hardly has any British black music representation. OK, there's the British Urban Act category, where you’ll find the following nominees: Craig David, Dizzee Rascal, Kano, Lemar, and Ms Dynamite. But what about the rest of the British categories? I guess you could mention Sugababes, whose chart-topping ‘Push The Button’, gets a best British single nom. Can we dare claim KT Tunstall or Katie Melua, whose music echoes of jazz and blues?

Looking at the Music Week 2005 end of year analysis, it appears black music hasn’t made much impact, much worse British black music. On the nation’s biggest radio station, BBC Radio 2, Stevie Wonder came back, placing ‘So What The Fuss’ at no. 10, and thankfully the Brits placed with Craig David’s ‘Don’t Love You No More’ at 15, and Beverley Knight’s ‘Keep The Fire Burning’ at no. 27. The nation’s leading youth station, Radio 1, wasn’t so supportive. Although the likes of Snoop Dog, 2Pac, The Game, Black Eyed Peas, Usher, Kanye West, Mario and Amerie all featured in the Top 30, except for hip-hip fusionists Gorillaz and dance group Basement Jaxx, there was no British representation! The commercial Independent Local Radio network was slightly better. Lemar’s ‘If There’s Any Justice’ hit no. 6, and Sugababes’ ‘Push The Button’ at no. 8.

So airplay apart, what about the sales rankings? Of the 2005 top 100 singles, Sugababes’ ‘Push The Button’ and ‘Ugly’ represented at no. 10 and 72 respectively, ex-Bluer Simon Webbe’s ‘No Worries’ and ‘Lay Your Hands’ respectively made no. 43 and 50, Craig David’s ‘Don’t Love You No More’ made no. 58, Liberty X’s ‘Song 4 Lovers’ was at no. 75. Not very encouraging for a singles tally.

Album-wise, which is where careers and incomes are made, British black music has usually fared badly, 2005 was no surprise. The big hitters from James Blunt, Coldplay, Robbie Williams, Kaiser Chiefs, and Gorillaz held the top 5 positions. Elsewhere, Faithless’ compo ‘Forever Faithless – The Greatest Hits’ lodged at no. 10, Sugababes’ ‘Taller In More Ways’ made no. 22, Basement Jaxx’s compo ‘The Singles no. 24, Joss Stone’s 2004 albums ‘Mind Body & Soul’ and ‘The Soul Sessions’ hung around long enough to make no. 49 and 95, Simon Webbe’s ‘Sanctuary’ managed no. 65, Jamiroquai’s ‘Dynamite’ surprisingly implode at no. 68, Craig David’s ‘The Story Goes’ reached no. 77, and surprisingly, Lemar’s 2004 sophomore set ‘Time To Grow’ made it to no. 81.

Of course, there’s a lot happening on the underground scene, with the likes of Kano and Sway causing excitement. Every singer and MC and a dog seems to have a mix CD out. That may be great for one’s cred, but a career it does not make. What should we be doing to make sure there are sustainable careers within the British black music scene? Those are some of the questions I hope we can answer at the Black Music Congress debate’s ‘Should British Black Music Shut Up Shop?’ at City University on Saturday Feb. 4, 3-6pm. For more info: www.bbm-on.net/debate_bookingform.htm.

Finally, for those who have an aversion to things 'mainstream', a good indicator of Britain's 'underground' music scene is perhaps BBC 1Xtra's 2005 Hottest 50. It provides a mixed message: there were 19 British records, giving us a 38% score. It was however overwhelmingly grime-tinged. The really good news was that four British records made the top 7 rankings.

Hugh Francis, Jet Star head of intellectual property & business affairs, and former recording artist

"Good For Britain: Strategic Approaches For British Black Music In The Digital Age!

Thank you for the invitation to attend your debate and to offer some reflections on the subject of British black music in the digital age. My role here today, is to be your sympathetic friend and help you improve your music

industry career through the techniques I use to sustain mine. I know what it's like to face the insurmountable problems that stand in your way.

Track 1. Introducing …. The Industry

The music industry was born about one hundred (100) years ago when technological innovations allowed capturing, storing and replaying sound. Since then, the industry has faced and adapted to many technological advances. Sound technologies evolved from mono to hi-fi stereo, to Dolby surround sound. Storage media technologies from vinyl (physical, vibration-based) to audiocassettes (magnetic) to CDs, mini-discs and DAT (digital).

Replay devices evolved from gramophones to large, in-house stereo systems to compact and portable audio devices. During these transitions, industry players either quickly adapted to the changes caused by the newer technologies or simply vanished from the scene.

Today, the industry is again on the verge of major changes brought on by the rapid evolution of the Internet and the merger of audio and computing  technologies. I believe this debate could well open up new possibilities as we discuss these changes and their possible impacts on the industry structure and those it seeks to serve.

Track 2. British Black Music Industry - Background

Black Music is a marketable commodity. The U.K., Chart is replete with the sounds created by Black Musicians, and many successful British acts could, as The Rolling Stone’s front-man Mick Jagger says; ‘pay homage (and royalties) to the Black music on which their repertoire is based.’

In the U.K., Black Culture (incorporating; Music and associated fashion products) has the capacity to transform the fortunes of numerous blacks, make a major impact on the world’s music scene and enrich the whole community in so doing. The common view is that Black music can spawn an enormous industry, leading the way in cultural enrichment and economic contribution which Black people make to the community at large.

The “Power Brokers” in the sequence – the record companies, programme executives, hall managers, and retail organisations, have effectively stifled the reach of the music, whilst exploiting its influence to their commercial satisfaction. In the process as the music does not reach its potential audience, the music-making machinery is starved of its cash reward.

Track 3. Mainstream Industry Media Control

“Of the thousands of musicians who perform and release music, why do some of them become stars and have their music heard by millions, while others don’t?”

Looking beyond the obvious questions of individual talent and ambition, let me attempt to answer it with an insider look at the business of popular music. I will draw on insights from a number of Artiste and industry professionals to explain the ways that musical and artistic expression have been severely limited by a shrinking corporate culture – a new world business order, in which four or five media/ electronic conglomerates control virtually the entire music industry.

Take a look at the four main “Gate Keepers” of popular music – those who control Radio, TV, Touring and Retail – and see how each serves the interest of the other more than the interest of music or musicians. One of the primary arguments is that the five big music companies take advantage of their lock on these four varied “gates” into the music world to push the acts they deem most profitable.

The effect is a musical landscape in which art had become subservient to commerce, “artists and radio stations have come to sound more and more alike, consumers have been systematically sold the illusion of choice, and new, original and truly alternative acts find it virtually impossible to gain exposure.

Track 4. The UK Music Industry has failed us

The UK Music Industry has failed us. The UK Media has failed us. Industry organisation such as; the BPI has failed us. AIM has failed us. Sony Music has failed us. BMG has failed us. Universal Music has failed us. Warner Music has failed us. EMI has failed us. The BBC has failed us. ITV has failed us. Channel 4 has failed us. Capital fm has failed us. Kiss fm has failed us. They can’t deny this!

And when you realise that all of those to whom you turned have failed you, its time to stop turning to them and turn to ourselves. You are wasting your time appealing to the moral conscience of a bankrupt industry. If it had a conscience, it would have straightened this thing out with no more pressure being put upon it. Today, it’s not necessary to change the industry’s mind. We have to change our own mind. You can't change its mind about us. We've got to change our own minds about each other. We have to see each other with new eyes. We have to see each other as partners, in the same bag, up-the-creek-without-a-paddle and no one to turn to but ourselves.

So, its time in 2006 to wake up. We have to come together with warmth so we can develop the unity and organisation that's necessary to get this problem solved our selves. How can we do this? How can we avoid jealousy? How can we avoid the suspicion and the divisions that exist in the community? I'll tell you how. We need self-help institutions to support our output.

These thousands of young blacks engaged in music are waking up. Their eyes are coming open. They're beginning to see what they used to only look at. They're becoming economically and politically mature. They are realising that there are new global trends. They are rethinking the future of British Black Music in the UK, USA, Europe, JA, South America and Africa.

Track 5. Online / Offline: The Internet

Is the debate about the Internet wreaking havoc on the music business outdated? Is it simply about technology running its course, just like amplification and radio before it, or other formats such as vinyl, cassette and CD? The music industry is in crisis. It’s not about “Online” or “Offline”. It’s not even about the Internet. The Internet is no longer a big deal in its own right. Within the next 2 - 4 years, Music Companies will no longer just sell music. All products will be multimedia and all will be interconnected – networked.

There is a great deal of money to be made by songwriters, composers, producers and artists in licensing music for television, video games, ringtones, films, compilations, DVDs, and TV & radio advertising. In the last few years, sales of and income from recorded music including CDs have declined dramatically throughout the world. Many in the business blame unauthorised file sharing and CD burning. In the meantime, sales of computers containing CD burners, blank optical discs, MP3 players and high-speed Internet subscriptions are thriving.

File sharing and unauthorised downloading may be responsible. But the same technologies that threaten to destroy the music business as we have known it, also present wonderful new opportunities to independent artists and entrepreneurs.

Track 6. Black music – a brief definition

What is black music? In my opinion, it is an expression of Black culture. It is considered as the output of black performers – Artiste, Musicians and Producers. It is an art-form created by black people and subsequently touched all fields of popular music? Black music represents an area of economic activity where the hopes of establishing a “success stake” in Britain is strongly felt by thousands of young Blacks engaged in music and associated products.

Black music has the capacity to transform the fortunes of numerous blacks, make a major impact on the world’s music scene and enrich the U.K. in so doing.

Track 7. Digital - The Change is Rapid

I have never seen a space change more quickly. This business is incredible in the way that it’s shifting. It’s not necessarily on any game plan or master plan, a lot of the time it feels like its being made up as it goes along. Music will appear to become even more of a commodity for consumers. It will be available everywhere through increasingly portable and invisible technologies. Business models will evolve into extensive partnerships that will include consumer brands, and where music industry stakeholders take an increasingly smaller portion of many more income streams. With digital distribution, both the package and the places it is acquired have been changed forever.

Track 8. Today, we have three different music 'industries' developing side by side:

1. The mainstream pop/rock business, which will continue to market established stars such as 50 Cent, U2, and Madonna.

2. The chaotic illegal record business, involving at one extreme pirates and bootleggers, at another experimental and political artists refusing to accept the

restraints of copyright law; and in between the usual variety of pirate broadcasters, home digital distributors, and so forth.

3. The indie, genre music scenes, local players connected through web sites, community and digital radio, but commercial in their niche, making enough money to go on making music but not necessarily seeking to play 'the game.”

The first is shrinking; the second is and always will be present; and the third is set for massive development.

The same forces that are undoing the major music companies are empowering individuals as artists and industry professionals begin tapping into some new-found powers. Powers deriving from desktop computers and digital recording facilities, from entrepreneurial and self-development resources, a segmenting music marketplace, and most importantly, from the Internet - the first tool that puts a global communication and distribution "channel" into the musician's hands.

If you build a web site, you can reach a world-wide audience. Before the advent of the Internet, only the major record labels had such power to reach the masses. With the Internet, not only can you offer samples of your work, you can also sell your music by mail-order or download. It’s not difficult to do. The Internet has given you the tools, it’s up to you to take advantage of them.

Track 9. Drivers To Success – new thinking

In our business, the people who make it won’t be just regular "give me my money" employees. They are a kind of everyday Hero and Shero whom most of us admire: the man or woman who possesses the ability to achieve impressive and satisfying results. After many years in the world of music, I have met and collaborated with some amazing black individuals ready to make their mark in 2006 and beyond. They are the new breed; intent upon reclaiming not only the roots of their music, but also reap some reward.

These individuals are brilliant musicians, superb managers, successful entrepreneurs, accomplished professionals, top salespeople, innovative technical specialist, and simply awesome performers. I have no doubt that in 2006; we will see them surfacing more and more frequently.

In observing and interacting with some of the most productive people in our community, I see that the Driving Force behind this new breed, is neither a singular talent nor even a collection of skills.

I see people who aim to become the basic unit of excellence. They are not afraid. They have their shoulder to the wheel, nose to the grindstone, eye on the ball, head above water, ear to the ground and finger on the pulse – all at the same time. You must join them! For them, this constitutes a new meaning of “private enterprise.” I am talking about single powerful occasions or periods that offered us a glimpse of ourselves as being capable of “a great deal more than previously thought possible.”

Track 10. Unfinished Business

You may not believe it, but, I am talking about people like me and you in places like; Tottenham, Harlesden, Hackney, Brixton, Birmingham, Leeds, Liverpool and Manchester. People whose environment are often less than ideal, who struggle with personal shortcomings. These new heroes are out there focusing on transforming the inevitable stumbling blocks into stepping-stones.

So, where do we go from here? First, we need some friends. We need some new allies. The entire British Black Music Industry needs a new interpretation, a broader interpretation. We need to look at this goldmine from another angle -- from the inside as well as from the outside.

In 2006, British black music should, in its original form, be sold widely; that the people who perform, produce, handle and create that music, should benefit; and that, that benefit – being the proceeds of the black community’s main asset, should uplift the economic well being of the community and its self esteem.

And remember…… what’s good for the British black music Industry is good for Britain! You are sitting on a goldmine, and you shouldn’t let anyone take it away from you!

Thank you!

Tony Biola, founder of Urban Voice UK and head of CoVE (Centre of Vocational excellence) in music technology

"In Support Of Black Music"

1.As founder and Chief Executive of Urban Voice UK together with my dedicated and committed team we run the following programmes and music training courses to assist young people

a. The Reality Check Course is a personal development programme that assists in helping young people understand the demands of the music industry and determine if they really have what it takes to sustain a career within it

b. The Gateway to music course is an accredited course that is an introduction to the music business through industry guest speaker visits as well as performance training.

c. We offer work experience and internship programmes

d. We offer pathways into further education, employment or self-employment with the music industry

e. Finally we stage the bi annual Urban Voice national talent search which results in a minimum of 15 acts/producers from across the country securing a singles deal. This event was set up to provide exposure and a platform initially for the creators and performers of black music

2.As Head of CoVE (Centre of Vocational excellence) in Music Technology

a. I am strategically placed so as to understand the Government agenda for education (white paper on 14-19 education and LSC Agenda for Change) particularly within the creative sector with the aim of feeding that info back to the community eg Propeller TV new Sky Channel (Free view 289) launching Monday 6^th February which is launched to showcase new cutting edge material film and music

b. I aim to create a reputation for South Thames College as a real CoVE that represents its students in a real and meaningful way of which over 75% are BME’s eg Sony BMG deal to give outstanding producers a chance to remix Sony/BMG tracks as part of course work with possible deals available

c. My role is to forge links between the music industry and Further Education eg Meeting with Head of Apple UK to discuss how we can tailor courses and training programmes to suite the industry

d. I have introduced mentor programmes for STC students that will include both male and female industry players from the Black community eg Alex Amosu (RnB ringtones) visit, talk and support with student ringtones assignment

e. As Head of CoVE this position affords me the opportunity to represent the black music creators as well as inform the Further Educational world at a strategic level of the existence and relevance of the black music sector to the UK music industry eg Jamie Middlerow Music industry Bible DVD.

3. As Tony Biola the entrepreneur

a. Developing a membership scheme/service which will provide a vital national support network to its members through discounts on a variety of goods and services, such as rehearsal space, showcase platforms via sky channel and the internet, as well as providing opportunities for members to generate income from their work.

4. As Tony Biola – The Artist & Songwriter

a. I am currently working on my album that will be “my offering”. A collection of original songs presented alongside guest artists I have worked with over the years (including my daughter)  The album will contain songs expressing as a father, brother, partner, son and member of the black community my thoughts on where we currently are and how we as a community, people, nation and world  need to move forward from here.

Root Jackson, musician, Congo Music director and co-founder of the BMC forerunner the Black Music Association

Question: do the black music sector want instant success? Or do they wish to
develop long term careers within all aspects of the music industry?

Neil Fraser a.ka.Mad Professor, record producer, remixer, Ariwa studio/label owner

I think British Black music, not the organisation, but music made by black people in the UK , started to go wrong in the early '90s, when the bulk of black artistes, producers, and even the media, courted the major labels. Every artist with any potential talent sought to engage a contract with one of the biggies. For the ones who were successful, they entered a situation where they ended up working with white A&R, white producers, and white management. The problem was not that they were white, but more to do with the fact that there were virtually no black artist development structure in place within the major corporations.

What has happened in music, is that we have slowly gone back to the state we were in during the '50s = the situation that drove Berry Gordy to start Motown. What is worse now, is that the main representatives of black music are white, or very near white. What is really clear, is that the slave mentality that kept us at the bottom of the economic basin, prevails. Even though slavery have been abolished for more than 100 years.

We can't fault white artists for wanting to make black music - I think it’s a reflection of the power and seduction that true black music posses. Imitation is the best form of flattery.

Where most white artists lose in natural talent, they gain in organisation and self discipline. On the other hand, most black artists are made up from kids who didn't take school very seriously, and music saved them from becoming misfits. Sadly, the lack of discipline result in many black artists' careers coming to a premature end. Idiots to Icons*

Sadly, the business of music only reflects what’s going on generally in society. Marcus Garvey showed us from the 1920s that unless we create a sound economic foundation, we would continue to be in mental slavery.

Choice FM, The Voice, New Nation and Mobo set the blueprint for the modern slave. Just check the headlines - So & So signs deal worth £5M!! Two years later So & So is bankrupt!!

Even Choice, wrongly structured from the onset failed to see the light, the final nail in the coffin came, when instead of selling to a black consortium, incorporating skilled professionals, they sold out to their major competitor: Capital Radio.

The continued existence of independent labels like Ariwa Sounds Ltd is a paradox, considering that we have had very minimal support from the "Black" media houses. We have survived under very difficult conditions, with a gross lack of airplay and media support.

To summarise: unless we understand that the music industry is no different from the sugar industry, nor the bauxite industry, or any other industry that we have supplied bulk raw labour, but end up picking very little of the fruitful benefits that come from sound economic investment. This is the age of technology. We must study the technology relating to music and be willing to invest our own money in the development of our artists and businesses.

The gains that were made in '60s, '70s and '80s, were lost in the '90s by having the wrong economic values.

Addendum: You know the answers!! You know we've had the answers for 25 years now, yet we go around and go around, and be fooled by the system!! Marcus Garvey showed us, Berry Gordy proved it! We live it, yet the majority of you guys keep sweeping the truth under the carpet!!

Delroy Constantine-Simms, journalist and occupational psychologist

Janice Spence, editor of writeonpoint.co.uk

A lot of black music coming out of the UK I'd simply describe as being dire and below standard. Plus a lot of talented black artists here, who are making good music, lack focus and refuse to put in the hard graft (I've witnessed this), so they don't get anywhere. If we want our music scene to succeed and to become well respected, then we need to start working together (just like African American artists have done). We need to start making things happen for ourselves, and stop looking to outsiders to make things happen for us.

Melvin Bacon, California-based account executive at Ventura Distribution

I had the opportunity to read your article, and I think you are on point for the most part.  As an American who loves UK Music (especially UK soul, old school acid jazz, and the new breakbeat soul), I always scratch my head when it comes to the state of black music there (in the UK).  As someone who has been in the biz for 13 years, the most astounding thing is the fact that black folks in the UK (for the most part) don't even support their own.  If you go to an Omar show at the (London) Jazz Cafe, 80% of the audience is white.  So how can you groom new soul sensations, when you don't support your own?  Omar should be the equivalent of Stevie Wonder in your country. But instead, Omar is relegated to not even being more popular than Lemar!

The UK is more pre-occupied with what the US does. All the major label execs there (BMG/WEA/UNI) take their lead and marketing ideas from the US (which is ludicrous since the marketplaces are vastly different).  The main difference is that the US doesn't pay attention to other markets. Our success in the States ensures us we can generate interest in other places.  Which leads us to the other issue: MONEY.

This is less about black music - it is about socio- economics, opportunities for people of colour. Because of how the country (UK) is run, with the Queen, you can rest assured that people of colour will only be able to have so much of a presence in the UK.  The UK will only have so many images of people of colour in the media, radio, television, etc. In fact, it isn't too much different when you go to third world countries, where the predominant images on TV are of Europeans. 

The other main difference in the US is that we force mainstream (white) America to pay attention to us.  We are able to pool resources together and monies together to make the impression, without fear of what may happen. Although once upon a time, the days of Ice T and NWA, made the country shudder. lol

Kyle Bruce Vereen, musician/writer/producer of the Philly-based R&B/soul group Nu-motion Klique

* Although not a Shut Up... feedback, this American feedback to a previous debate has been added, because it has relevance

I wanted to comment on what you reported Matthew Knowles stated about British music. I fully agree with him!!! When I was a younger writer/musician growing up in the late 70s and 80s, British music - black and pop, was some of the most beautiful stuff I'd ever heard. Some of the trend-setting hit-makers recorded their records here in Philly (i.e. Loose Ends, Five Star, etc).

KMT, club DJ and Genesis FM radio presenter

I totally agree with the points raised. I’ve been promoting U.K music, initially starting as a lover, consumer and dancer for 17 years, and now as a DJ, event Co-oordinator, and radio presenter specialising in U.K. music.

I’ve seen so many black artists in the U.K., such Julie Dexter, Floetry, Skinny Man, David J, and Taz to name just few, not reach their potential because of so many factors, but I want to focus on the business. Hence, I’m setting up a music business college promoting black artists on the lines of Jamie Oliver’s Kitchen.

Regarding communication, I have a radio show on Genesis 91.6 F.M. which has inspired Kwaku to develop a similar format on his radio show (nice thought, but since I started DJing before you probably first touched a turntable, and since I was writing about music industry issues and running music industry courses before you entered the game, I have to refute that assertion - ed).

The Diversity show appears every Wednesday 16:00-19:00, and every month, the program explores UK black influenced music such as hip-hop, R&B, ragga, hence the name Diversity. It covers topics to do with the business and the art itself and listeners are encouraged to ring the show live on Wednesdays to explore these issues.  Each week, a new artist makes an appearance for an interview, gets involved in discussions on topics related to the show, and to promote their products and create greater awareness for their works and shows. 

Divercity and KMT are passionate about supporting UK’s national talent.     

Celine Loader, editorial director of Aspire Magazine

I think 3 key points need to be clearly defined in order to find the right answers to the right questions:

1. How you narrowly define black British music to make it a distinctly measurable category?
2. How you narrowly define the issue of the debate.  Is it about black British music or about black British musicians? Obviously these are two different issues, although they do relate.  For example, The Sugababes are ‘mainstream’ pop songs. Similarly, Katie Melua, Jamie Cullum, Joss Stone, etc, all make songs of black origin (soul, jazz, blues or combinations). Lil’ Kim’s recent ‘rip off’ of Damian Marley’s ‘Jamrock’ sound also throws another angle to the whole debate. Where do you place Akon?

3. When you talk of young black British talent, do you include those who make hip-life, a modern west African sound fused with American hip-hop and rap and gaining huge popularity with the growing African community in Britain. Or do you consider these to be strictly African music? Even big US stars like 50cents, recognise the huge potential of the African market and have been making forays into places like Nigeria.

What I see with African-American artists that is regrettably absent in the UK, are the mega collaborations.  Huge stars doing cameos on each other’s videos or coming out with collaborations.  No so in the UK. The effect of these collaborations is to raise the game and strengthen the market potential of these artists, because it puts out the perception of a ‘strong black presence/a unified force’, regardless of how you define the musical genre. It is only a perception, but that is where strength starts to build.