More appropriately a study of the RECURRING and cyclical pattern of
de-evolution and propaganda with regard to Black American artists. The past
is over and can never be repeated....or can it......??
What has been discussed has been due to the fact THAT THERE ARE NO black
American DANCE artists of any number nowadays, sporting the same opportune
major label distribution or recognition as their white counterparts...of
whatever aspect of dance music they represent. If they are producing
electronically driven dance music, are known and American...chances are
they've got a pretty good situation with a major American label.
What came before has set today's climate in this industry. There are NO
BLACK Rock n'Roll artists today...FOR A VERY GOOD REASON. They were
eliminated from the playing field a long time ago,but once upon a time the
music was THEIRS alone born and bred. No one could tell me that all Black
American rock n' roll musicians/bands...just disappeared. There are probably
still black rock bands trying to get signed that will NEVER be afforded the
opportunity in today's America. Why?? Because they aren't smart enough or
talented enough? Please someone factually contradict this phenome with even
the smallest example....Alan?
The game is old...competition...dirty pool...whatever you wish to call
it....but it/the past solidly outlines what is to come--if we let it.
Okay, Carl Craig's with Caroline...King Britt has made it to radio...anybody
else??? Anybody? Kool Keith??? He's frustrated as hell and gits no
marketing support (or radio play) from his label and therefore will remain
right where he is. Who else? Let's update this to present day and back up
our discussion/argument with facts.
My tirade was in response to lack of respect for those 313 trail-blazing
artists, business peeps, record store owners and promoters that came before
affording a way for the young and inexperienced types on this list to
presume expertise about garnering success in this country. Most of you have
no clue of what these artists/peeps have gone through or what they are faced
with TODAY in order to sell product.
I'll wager that, just within the dance music arena, that there are even LESS
black artists with major label deals/ties TODAY then there were back in the
"dusty" (according to Josh) days of Juan Atkins/Lil Louis. Just within
electronic dance musics' major categories (House, Techno, Dn'B...) Let's
keep this mainstream american labels/mainstream subs only, K?
How is this relevant to the so-called underground?...again microcosm to the
macroeconomics of the entertainment industry at large in this country. If
artists like Blaze, (is this recent enuff?) once signed to Motown failed at
getting exposure and radio play for their product even while housed in a
major....what chance, then, do the independents have to facilitate/develop
market base or penetration to sell their product to potential fans in
America?
Whether you accept this or not...that is their goal--SALES and market
penetration...not just ot be coolly exclusive for y'all to selfishly
consume.
Answering that, begs further questioning...do some of you presume that their
product WOULDN'T be taken to or enjoyed by said potential audience? Cuz the
success that we independents have garnered (as well as this thread) have
proven that a fallacy.
Independent (mostly public and college) radio actively play our products
which gives a little hope and exposure for new sales/market penetration.
But again, opportunities afforded us are the result of 20 or 30 TIMES the
work of our counter-parts and non-ethnic competition.
Roll call....for dance music artists either signed to or with major label
distribution....everyone submit/post those that you know. While I have
preference for good music of any color..I'm rather certain this discussion
will still break out skewed in favor of non-ethnic (politically correct
enuff?) artists, both good..mostly bad, based in this country.
Because of the severe lack of support and active dis-interest, our mission
in establishing a base of potential buyers and fans has always been two-fold
in educating people about 'who is Juan Atkins?..' (yes, we still need to do
that Josh). Marketing against the machine/grain with unknown artists who
happened to be highly celebrated elsewhere.......makes for a looooong day's
work that most of you have GROSSLY taken for granted here.
Moreover, here's a challenge to those listees who claim expertise having
accomplished VERY little. When this 'dusty 'discussion was actually an
everyday existence (even though it still is current), there were no second
hand stories/books or american media coverage of these artists and this
movement to substantiate any "interest". Since the early-mid 90's this has
certainly turned around dramatically affording people like Dan Sicko, Simon
Reynold's, Hobey Eichlin and Mike Rubin and various others the opportunity
to cover or relate interesting stories and get paid. Most did so most
graciously, (some not) respectfully listening and were true to a mission.
Same with most of the club owners..promoters, etc. Face it, you're not
unique, you're following a trend ESTABLISHED BY OTHERS and making a good
living at it...so try to be a BIT gracious. Black promoters in Detroit are
becoming a thing of the past forced out by more well-heeled, mostly white
competition, as are the indie mom/pop record stores. Thank goodness for the
Record Times, Vibes, Somewhere in Detroit and now fewer and fewer black and
indie owned record stores in the city.
Is there no audience interested in an in-depth study (of all that we've
discussed here) and frank discussion with current black american artists
(perhaps like Blaze) to see what the challenges are for independent artists
and labels producing and trying to sell their product in America? Or are
the American trade mags simply full of fluff and payola coverage for their
major advertisers...much like U.S. radio??
Maybe I'm the only one(?) But it would appear that Lil Kim, Yoko Ono (talk
about dusty...much less undeserving) and gigantic S&D rave-o-rama's and
fashion dance are more important to Mixer's (a good example).....machine
driven audience.
Dollar for dollar, I'm still more interested in what Billboard's got to say
in print than most of the other American trade mags put together because it
is relevant to my business...not merely a reporting of who's hot and who's
not or who's on tour. This loyalty stems from the very first Billboard
disco conventions back in the 70's and they have always kept us abreast of
SOME aspect of our business.
I understand the need for fluff, but I also need veritable business
information relevant to the cause of growth and progress in our business.
We started the game and are increasingly under represented now it seems.
Generally speaking..under-representation via communication vehicles means
WAY more work.
People...report the facts. We need to address this issue intelligently and
soberly (apparently passion is only for those now fleeting dancefloor
moments??) There are still huge barriers to overcome which can only be
accomplished in communing and joining mental and informative forces.
Please PROVE this to be incorrect!!! Most of you are too quick to criticize
and hair-split semantics...where FACTual debating should occur.
set it out.
All I'm trying to address is the fact that this entire debate (and all the
threads that started with Laura's original tirade) have almost exclusivly
addressed older artist (Juan Atkins, Lil Louis...)and what 'could' have
been.
WELL THEN, WHAT WILL BE?
There are plenty of good underground artist who have had prosperous and
creative careers since the first wave hit its peak.
PLENTY?? WHO AND TO WHAT DEGREE??
ARE THEIR RECORD SALES PENETRATING IN AMERICA AND DRAMATICALLY IMPROVING
EACH YEAR??
A great example would be Felix Da Housecat. Here's a guy who released his
first record (Phantasy Girl) in 1987. His carer went up and down, and he
is just now 'breaking-out' with his current record. And he's doing it on
an indie label 'Emperor Norton'
The point is, there are ways for artist to prosper, parallel to the same
WHICH WAYS ARE THOSE??
industry that supports 'mainstream' acts like Sasha and Digweed (who still
aren't that mainstream- my dave matthews listening brother has never heard
of them)
that is all. AND IT WASN'T MUCH.
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