The Birth, Growth and Legacy of the Black Music Industry Association

Against the vibrant backdrop of 1985, a group of passionate individuals came together, united by a shared vision. This collective, primarily comprised of black musicians, recognised a pressing need for an organisation dedicated to addressing the unique challenges faced by artists in the black music scene. Thus, the Black Music Association (BMA) was born, its founding members including notable figures like Byron Lye-Fook—father of acclaimed singer-songwriter Omar—and producer Scratch Professor, along with Root Jackson, Gasper Lawal, KK Van Lare, Kofi Darko, and Charles Easmon.

The official launch of the BMA was marked by a significant seminar at the Shaw Theatre in Euston on July 13, 1985—the very day of the legendary Live Aid concert. The atmosphere was electric as the organisation took root, operating from the Kongo Records offices owned by Root and Byron on Mill Hill Lane, near Kilburn. When Black Insight, another voluntary organisation, closed its doors, the BMA seized the opportunity to establish itself further, taking over a two-story building at 146 Manor Park Road in Harlesden, solidifying its presence in the community.

As the sole representative of the black music sector, the BMA quickly became a vital resource, receiving funding from the London Arts Board (LAB). They were dedicated to supporting musicians through a variety of initiatives, including advice surgeries, informative seminars, and newsletters that kept members informed of industry developments.

The early 1990s ushered in a new chapter for the organisation. In a move that signified its commitment to inclusivity, the BMA rebranded itself as the Black Music Industry Association (BMIA). This change emphasised that the organisation was open to anyone engaged in the black music sector, regardless of their racial background. The BMIA ramped up its efforts, hosting high-quality seminars that attracted attendees from across Brent and beyond.

In the summer of 1990 ‘There’s Nothing Like This’ by Omar Ly-fook, together with the album, soared into the top 60. This was a significant development; the success meant that Kongo Records was the first black-owned independently distributed label to place an album in the charts. Also making waves was Lovers Rock Singer Don Campbell and Dwayne Burke’s ‘Groove & A Quarter’ on Trevor T’s Jugglin Records.

Other notable events included 'Law and Finance' on October 26, 1991, and 'The Media and Black Music' on March 21, 1992, both of which provided invaluable insights into the industry.

Celebrating the BMIA's achievements during the early 90s reveals a dynamic period of influence and growth. Between 1991 and 1993, the BMIA played a pivotal role in the BBC 2 investigative documentary "Soul Searching," which examined the issue of racism within the music industry. This documentary not only highlighted the struggles faced by black musicians but also established the BMIA as an essential voice for change.

In 1993, significant strides were made as the British Phonographic Industry (BPI) and Phonographic Performance Ltd (PPL) began dialogue with the BMIA. This collaboration led to a crucial development: the allocation of BRIT Awards voting academy slots for BMIA members, ensuring that the black music sector was represented in one of the industry's most prestigious events.

The BMIA's influence continued to grow, becoming a vital resource for organisations looking to connect with the black music scene. When the International Association of African American Music (IAAAM) sought to expand its reach into Britain, the BMIA was the first organisation they approached, recognising its pivotal role in the landscape.

Moreover, discussions with the Arts Council regarding the BMIA's potential status as a revenue client opened doors for sustainable funding, promising assured grant income for years to come. This prospect represented not just a financial lifeline, but a recognition of the organisation’s impact and importance in supporting black artists and the broader music community.

As we reflect on the journey of the BMIA, it stands as a testament to the power of community, advocacy, and the unwavering spirit of those who dared to dream of a more equitable music industry. The legacy of the BMIA continues to inspire and empower musicians today, paving the way for future generations in the vibrant world of black music.

 

A period of unrest and insecurity for the BMIA!

It wasn't always plain sailing for the organisation, as it faced many challenges in its early days. In 1994, its funding body the Arts Council threatened to cease all financial support.

Funding for the BMIA came from the Arts Council’s subsidiary, the London Arts Board. The funds were for a part-time worker between £15 - 20k / annum; this would also pay for rent and bills of the premises we occupied at 146 Manor Park Rd, Harlesden in north-west London. Disagreements about the direction in general and future of the BMIA led to infighting and unrest within the organisation.

A rival company, BMIA Limited registered to the same address, was set up in an attempt to challenge BMIA, requesting it to dissolve and stop trading. The rival ‘BMIA Ltd’ cited that it’s predecessor had not published accounts in the last 18 months and had a conflict of interest with close affiliations with Kongo records, whose founders were Root Jackson, and Byron Lyfook, both on the  board of the BMIA’s Management Committee. Other alleged concerns included no formal constitution and, a lack of organisational structure in terms of it’s daily running.

Despite the extensive coverage of this major dispute in publications such as Music Week and other industry media, it took an independent body, like Phonographic Performance Ltd (PPL), to intervene and seek a resolution.

Unfortunately, this disagreement was never resolved, leaving the BMIA without sponsorship and it’s future in doubt.  It was apparent that the rival company ‘BMIA Ltd’ could only have  been set up with the help of an ‘insider’ who leaked the BMIA’s members list to a third party. In 1996, the BMIA were able to hold a sole worker at the time, fully accountable for this Data Protection breach, successfully winning it’s claim in the County courts.

The work of the BMIA continued with a new lease of life. That new entity was called BM Vox, successfully bidding in the tender process put out by the London Arts Board.  This new dynamic set up, consisted of a vibrant management team. All four co-founders and Directors had played a key role in the former BMIA’s Management Committee and its outstanding achievements.

The work of BM Vox started in 1995 and was dissolved in 1999. During this time, it continued to deliver a broad range of workshops, that helped emerging aspirants in the music industry. Links at the time continued with IAAAM, The Brit Awards and Music of Black Origin (MOBO).

 

Source credit: Olly Fatodu

(Former Chair of the BMIA)