Tanya Batson-Savage, Freelance Writer

(From left) Robert Livingston from Big Yard, Clifton 'Specialist' Dillon from Shang Records and Lloyd Stanbury meeting in the Jamaica booth at the Midem 2006 conference in Cannes, France. - Contributed

Neither binoculars nor a telescope is necessary to see that Jamaican music can provide lucrative returns and opportunities abound in the music business, especially as Sean Paul, Baby Cham and Junior Gong experience success that, once again, inspires hope of a lasting breakthrough.

Of course, this means being willing to knock on opportunity's door. Several raps were therefore made at the first pre-Midem workshop, staged by Jampro early last week. Like any promoter's dream show, the room had a capacity audience of eager listeners.

Along with the factual bits about how to participate in the Midem, the morning's most intriguing delivery came from Robert Livingston, who explained how he had managed to "eat a food" and many of those in attendance were eager to find out how they too could dine on musical profits. The morning also featured a presentation by attorney Lloyd Stanbury, who gave a more specific take on the value of Midem.

Livingston's advice was simple - to make it one has to put oneself out there and that often involves compromises to get the larger profit in the end. His speech could have been deemed a user's guide to the music industry, which touched on various issues as he meandered through his personal experiences, shaping them into bits of advice.

Committed to spreading the gospel according to Jampro, Livingston explained that his association with the institution had been invaluable.

Time and again he returned to the issue that to make it involved much hard work. "The music industry is not a fantasy," he would say toward the end of his delivery. "It's not something you sit down and dream about." Rather than dreams, Livingston advocated using the elbow and mental grease it takes to navigate the industry.

Visit to Jampro

Livingston's success with Shaggy is among the examples cited by Jampro to explain the effectiveness of going to Midem. Even so, Livingston pointed out that his last visit to Jampro was not about seeking business, but rather about keeping his finger on the music's pulse.

Explaining that the undiluted version of Jamaican music has finally made it to the world's front page, Livingston noted that it was important to take the music from the stage of a struggling business. "Everybody weh me know inna da business yah a struggle dem struggle it," he said. "Unless dem a eat a food an me no know," he added with a laugh.

Yet times have changed. "Before we just did a try a ting," he said. "It's important for us to find other ways to sell our records." Livingston's talk touched on several issues that concern the greater development of the Jamaican music industry. Explaining that it was important to understand what works in the industry, he highlighted the value of having a music video in today's musical terrain.

As a part of that, Livingston noted that there needed to be an increase in networking in the local industry. He noted that despite the current war between the two 'Bs' the music industry was ruled by love and that love should be translated into how business was conducted. "We need to use that love that we have for each other and use it for networking," he said.

The increasingly unstoppable nature of piracy also raised its varied heads, as Livingston declared it a given with the territory and noted that if one only concentrated on that one would never enter the business. So while Livingston advocated participation in Midem, he also posted warnings for would-be travelers. "Some a di biggest vampires de a Midem to," he said. "Dem wi suck off yuh tings an go way wid it an you neva hear from them again."

So, not surprisingly, the question of protecting one's music came up and while the Jampro official's noted that it was therefore important to encrypt files, and members of the audience offered other suggestions, Livingston pointed out that in today's world control was only possible to a point.

Stanbury highlighted the value of going to Midem, but he too had cautions to note.

"You can go to Midem and come back really, really disappointed," Stanbury explained. "That will happen if you don't prepare."

He explained that with the parties that take place at Midem it is possible to get distracted once there and that, in his first few years, he had been running about starry-eyed. "After a while I realised it was a lot of money to be spending just to party," he said.

According to Stanbury, at this stage he ensures that he has up to 25 meetings arranged before he goes to Midem and then aims to add an equal number once there. Nonetheless, he highlighted that Midem was not a place for quick and easy success, but was really often a starting point for on going negotiations.

"When you return from Midem it's not over," he said, as there is usually need for much follow-up. It seems that one of the prize possessions at Midem is the directory, which provides a listing of all the people who attended. "Just to get that book with the contacts puts you at an advantage over your competitor," he noted.

Keeping within his own terrain, Stanbury pointed to the value of the legal aspect of music, especially as each work created often has several people claiming an interest in it. Interestingly, later Livingston would reveal that Stanbury had negotiated his first major deal.

As such, together Livingston and Stanbury highlighted the possibilities that come through Midem in particular and the music industry in general. They posted warning signs, but noted that it was open season on opportunity.