We all agree on one thing: The best part about the music industry is, and always has been, the "music". This is true whether you are the consumer or if you are part of the process. However, it is the "industry" side that we all have to interact with in order to access that music or to make music accessible - a process that funnels majority-approved concepts and ideals into the mainstream while muting out and marginalizing others. The result? Groups of artists are forced to release their music through their own means or not at all. These artists may benefit from independent record labels. Therefore, this is why PureFire Records exists. After all, music is our collective voice and we work hard to determine how, when, and where our voices are heard.
After nearly three years in the concept phase, PureFire Records officially formed in early 2003. It was brought together with the combination of creative inspiration and general frustration with an industry that - in my belief - had declined in artistic credibility.
It took a while to find the right people, learn the necessary ropes (most of which we are still learning), and retain the original values that spawned the label. Currently, we function as a collective: Jason Weiss I knew from Shoreline's music program that we both attended in the 90's. Alonzo Ybarra is a producer whose name was written on a demo I had on my desk for a year - a demo of now PureFire artist Teresa.
The aim of an artist is to survive and succeed. My belief is that music has become weak and predictable - and not just at the major label level. PureFire exists to find and construct the most viable avenues to produce and promote music we find valuable. As a result, it has diversified in the genres it represents.
A common question I receive from those who know us through local hip-hop is "If we're running an urban label, why were two of our first releases (Junior Jackson and Translated) so rock/soul oriented?" The first answer is, we believe in these acts. Also, on a whole, we are trying to introduce some needed changes in the music community.
First, the hip-hop umbrella itself has historically had a hard time surviving in Seattle. There are many factors but the problem is cyclical - there is always a wealth of talent, but the overall market is inconsistent and at times confined to the very people that are making the music. Most music aficionados in Seattle still claim it as an indie-rock city and most hip-hop consumers hail from surrounding areas - like Tacoma, Renton, and other suburbs. Outside their own neighborhoods, few successful Seattle MC's have any recognition. Why? It's part of an identity issue that Seattle has with their own hip hop community (which is a whole 'nother story). Furthermore, there is the ever-present debate about what is and is not "hip-hop", which is far too convoluted to address here (see: "a whole other story").
So, the question - How can we collectively revolutionize this industry and focus our support? What's good? What's worth supporting? It is hard to know where the next movement will originate from, and it is certainly not going to be decided by the people planning it.
Let's return to the question about diversifying our urban portfolio to include soul and rock acts. The PureFire agenda is simply to focus on self-definition: Junior Jackson (the first PureFire Release) is a soul/blues act. Teresa has hip-hop appeal and guest MC's but is primarily soul and R&B (a la Sade). Translated is a radio-friendly rock set-up with reggae influence. These acts are our bookends. By establishing broad barriers, we allow everything in between to exist with its own breathing space. Hip-hop is a life form - the roots of which are, in part, soul, rock and reggae. We don't put any energy in trying to appeal to pre-disposed audiences. We are concentrating on what sounds and feels right without just regurgitating the status quo.
The larger struggle for us is that of running an independent label - period. Despite that independent labels have grown in popularity, it is still a risk-filled uphill battle. Any time you are dealing with aesthetics, you are leaving a lot of your success up to the tastes of others - and some people are not going to like it. So why try?
For starters, there are fewer obstacles for independent labels than ever before - which is why so many exist. The industry has become very "do-it-yourself", constantly moving toward new ways of digital recording, digital production, and digital distribution.
Another primary advantage that independent artists have over their major-label counterparts is creative control. The role of the indie-label is to find the right balance for artists so they may succeed, more or less, on their own - becoming informed, organized, and mobile. PureFire records is one of many indie-labels who act as middle man and protection from the larger powers. Our collective job as entrepreneurial revolutionaries is multi-fold: 1) Bring unknown artists to the forefront. 2) Establish and develop identity strategies for these artists so that they can get to the people who need to hear them (still the largest advantage that major labels have). 3) Create product. 4) Promote product. 5) Help the artist receive attention and success at the next level. At some point, we all want to get these artists into areas where they can advance beyond the limited stretch of the underground.
The most important aspect to running a label is creating stability and maintaining a positive image within the community. Along with other labels, clubs, performers, and writers, we both create a society and define ourselves by it. It is personal respect that is lost in shopping demos to faceless record entities and non-musical executives about "our vision".
We may never experience commercial success in this - but then, it's not that important. What we would like to see is more voices, more open avenues, and more quality control. We may not change the world or anyone's lives, but we will continue to try and provide a good soundtrack while supporting music in its raw form.
11:48 PM 12/19/2004
