KOMPA! MAGAZINE

[kompamagazine]

We had a chance to conduct an interesting interview with the PRESIDENT OF SAK PASE RECORDS (Wyclef's record label), MR. JOE MIGNON (In the Middle).

READ IT BELOW!
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1) Joe, tell us about yourself, as well as your experience in this field, that makes you qualified to be the top dog of such an important record label?

JOE: I started working in the music industry in my freshman year at Stony Brook College (SUNY). My first experience took place when asked to fill in for a friend who had called in sick. I had to replace him in making sure the famous jazz bassist Stanley Clarke, who was performing at the College, was assisted in all pre-performance matters including the management of his dressing room.

That night, I was given an envelope with strict instructions: “Give this envelope to Mr. Clarke one hour prior to his performance”; I will never forget those words. The show went on smoothly and I later learned the envelope contained the balance of Mr. Clarke’s performance; (5k). I thought to myself: "Wow, that’s a lot of money for 45 minutes!" consequently and later that semester, I decided to put on different types of shows on my school's campus. That’s when one of my roommates said: "You should bring this kid named Red Fox," who had an underground song called “Come Boogie Down. My friend Stressior Altemis knew him well, and we eventually brought him to the college for a show.

Subsequently, I booked everyone from Nice & Smooth, Brand Nubians, Leaders of the New School, EPMD, you name it, and I booked them. As a young college undergrad I had found my passion and was on a roll. One year later I started booking shows all over Long Island from Reggae artists, Rap and even some Rock, like Red Hot Chili Peppers. My biggest events were two back to back sold out shows: KRS-ONE on a Friday night, and the following day the Famous comedian George Carlin.

Throughout the remaining years of my college experience I produced everything from local acts to the biggest top charting artists, and even managed to book Dave Chappelle for the mere sum of $250, yes $250. It seemed I had a natural instinct to know talent that had future potential and I was determined to put that instinct at work. Throughout this long journey in this business, since 1989, I went from interning during the summer for booking agents, to doing club nights in New York City, to sneaking in Madison Square Garden to see Madonna.

However, my real official entry in the business was in 1992 when I started to manage a dancehall artist called Red Fox, grinding everywhere to dancehall music while traveling worldwide. In 1993, I got him signed to Elektra/Warner Bros and was the Executive Producer of his album. We spent 6 months in Jamaica, paying the top producers for this album. In the Interim, I became a mentor to many Reggae artists’ managers and producers who wanted to understand how the major record industry operated.

You have to understand the music came from the street so naturally the mentality comes from the street. I was the only Haitian dude in Kingston Jamaica in the 90’s doing it with the biggest Dancehall artists; having a blast while doing it. Back then my friends in Jamaica thought I was Jamaican; I had to get on a phone and speak Creole to my friends in NY so they would believe I was Haitian, lol. Jamaica became my second home for a minute. I then moved onto co- managing J-Records/BMG recording artist Jimmy Cozier, at that time I began working at Refugee Camp Entertainment, which Wyclef Jean and Jerry Wonda was the Executive Producer of the album. The rest is history.

As far as my qualifications to hold such a position at Sak Pase Records, I believe to simply understand the reason is to know and comprehend my experience and knowledge of the music industry and how it has evolved throughout the years. Growing up in a Haitian household in Brooklyn, NY when Haitians were being teased and sometimes beaten in school because they were Haitians, I’ve always traveled and paid close attention to music in Haiti. Being proud of my heritage, and loving my Haitian culture, I listened to DP Express, System Band, Tropic, Issa El Saieh, Tabou Combo, Coupe Cloue, and all the other famous Haitian musicians.

It’s in my blood; I live and breathe this everyday. Moreover, my experience on the world scene throughout the years has equipped me with the ability to know what works and can work on the broader market. Working w/Wyclef Jean and the team at Refugee Camp in the US (Samuel Jean, Ariel Dominique, Renel Duplessis, Romel Dossous, Dimitry Mignon, Many Stines, Charmant Noncent, Jeff Caufield, Boogah D. Govanah, William McIntosh and Valerie Estimee (Blue Mango) and Moise Moses from HAITI OBSERVATEUR, to name a few) led us to realize that we needed to embrace the concept of creating a label that would develop artists in Haiti and in the Diaspora that represented their homeland on the world scene. However, we all knew that it had to be done right.

For the first years, we had a lot of sleepless strategizing nights at the office, we traveled all over the world (The Caribbean Islands, Europe, Africa) to understand further what was happening globally (trends, demands, alternative markets) but mostly to strengthen worldwide relationships with successful producers, promoters, the global media, and all players In the business. What was understood initially and reinforced by our findings was that the HMI never had a real record company with structure.

The main players in the HMI in the past were distributors and shop owners, traveling back and forth to Haiti for the last 20 years and more. We noticed the void and the potential opportunities and believed with Wyclef's access and clout in the overall market, with his team’s knowledge of mainstream music business, and their expertise and relationships in the worldwide music arena, we could nurture and market Haitian talent with a broader appeal. Our goal was to form a "Real Haitian Record Label", with a qualified staff and quality products.

Lastly, I think that I earned my position thru hard work, vision and determination. Due largely to the unconditional support of Wyclef himself I believed we at Sak Pase would and could fulfill his dream. I too had the firm belief that this could work.



2) What do you hope to do for Haitian music with SAK PASSE RECORDS?

JOE: At Sak Pase Records (lol), we hope to sign, develop and promote the best Haitian Talent that exists whether from Haiti or the Haitian Diaspora. There is a boiling emerging genre in Haiti felt amongst a great portion of the population that is called Hip Hop Creole.

The Haitian youth loves Compas music as we all do, but they are die-hard Hip Hop/ Dancehall fanatics. In terms of the emotional expression and socio-economic message found in Hip Hop Creole, they definitely feel that this is what they relate to. Go anywhere in Haiti, all you will see amongst the youths is the Hip Hop influence, the way they dress, talk, and their swagger; you cannot deny it's all Hip-Hop. I saw this emerging on one of my trips to Haiti 7 years ago, at the time many In the HMI were saying "ki bagay saa ki rele rap music la?" But an organic movement was taking shape at the underground level and now it has evolved full force at the mainstream.

At Sak Pase, we have been monitoring this movement since Its Inception, organizing and structuring to capture it at the right time and in the right manner. A structured, organized way replicating what has been done with Hip-Hop in the US and Jamaican dancehall. Today there is the emergence of this Hip-Hop generation, the Haitian artists are now ready and we at Sak Pase are fully equipped to propel this genre; it is indeed a new day.

3) Do too many of our people put too much pressure on WYCLEF in terms of them wanting him to do "MORE" to bring our music to the forefront? Is that fair or not?

JOE: Yes, there is/has been a lot of pressure from our community put on Wyclef to do more for Haitian music/artists. Let’s start with the understanding that this phenomenon is not unusual. You see, Wyclef worked/works hard (and I mean hard) as an artist to attain the success he has reached throughout his career and still growing everyday.

I think that he and Jerry are one of the most productive workaholics I have encountered in my lifetime; I mean these guys barely sleep. When Wyclef went to the MTV music awards and wrapped that Haitian Flag around his head, this gesture turned the page for all Haitians who were suppressed and oppressed for being members of our community.

However, that still isn’t enough for Haitians; understood, to whom much is given much is required. Imagine the pressure President Obama is feeling now, every black soul is expecting Barack to change their lives. Again, understood, however, you have to realize that Wyclef reached his success with The Fugees, a rap group, not a Haitian Band. Just as Obama is a president who happens to be black, Wyclef is Hip Hop artist who happens to be Haitian, and both proudly uphold their respective heritage.

Haitians were proud to know that one of their own was a top superstar, yet they feel he should have done more for our music. Lets acknowledge that if he was rapping in Creole at the time, I doubt "The Score" would have sold 22 million albums (and counting) worldwide. Having said that, Its Important to note that he has always wanted to be a catalyst to the success of Haitian artist/music; I believe that from the beginning he's wanted to find an avenue to do so.

Despite the pressures from external sources to keep him focused only on his own career and mainstream musical genres/artists (believe me there has been an equal, consistent, and forceful pressure on the opposite direction as well) he's been consistent and relentless in trying to find the proper avenue, timing, and ways to help propel Haitians artists/music to the next level. The emphasis for him in my opinion was that timing and appropriate ground conditions were to be in place In order to effectively succeed in this endeavor.

Is it fair? Frankly and from my own perspective I would say the answer is no. Growing up myself in America, I have an unshakable belief in individual responsibility and hard work. Just as Wyclef worked hard to crush barriers, initiate new styles and introduce new elements In Hip-Hop, impose his eclectic form of music (Creole speaking in his first album with the Tranzlator Crew, by putting Creole songs on most of his solo albums, having a full band as opposed to a DJ ...), Haitian artists should do the same. I believe just as any initiator, Wyclef opened new realms of possibilities, as they crush those barriers these Initiators offer a road map and a recipe for success to others; to me that is tremendous and is enough.

Nothing is given in this world, and no one is entitled to a hand out. When Uncle Sam starts giving handouts let me know. In America you have to work and earn your money. But only in America we are given the opportunity to reach success in our lives, at the very least there is a real and evolving effort for equal opportunity. As stated by our president we are "perfecting our union." Again, this is MY opinion. Wyclef could have stopped there. But I believe that even for him it was not enough, thus he created his foundation Yele Haiti and Sak Pase Records.

Taking on those challenges have not been the result of outside pressures but an intrinsic desire on his part to propel his native land and its culture internationally, and to draw attention and respect towards our rich heritage. Finally, this desire has been a motivating force for his own career. So to reiterate my point, I frankly think it is not fair.



4) So far you have signed JIMMY O, BLACK ALEX, and BARIKAD CREW to the label. What do you see in those 3 that made you guys jump to sign them?

JOE: What we see is talent in these artists/group. We signed them and others like Haitian Fresh out of Florida, because they understand the vision and have a unique talent(s) that we feel should be promoted and marketed in the HMI and the Hip Hop world.

In addition, there is also this attitude of "I am going to make it with or without you" that we can appreciate in those artists. They come with their own leverage because they have already done a lot of the ground work. As your readers may know, the music business today is not so much into developing artists. Those that are signed these days have done their share; they just need the record companies to maximize the outcome.

5) We also notice that you guys signed 3 RAP KREYOL/RAGGA artists. Is it fair to say that COMPAS BANDS and other styles of Haitian music besides RAP KREYOL...NEED NOT APPLY in terms of thinking they will get signed?

JOE: Its not fair In the sense that there are Compas Bands that we collaborate with, Wyclef has always featured Compas artists on his American Albums, such as Sweet Mickey and T-Vice, just to name a few. We recently put out a single for Jimmy O featuring Shoubou from Tabou Combo. Black Alex’s Album has features from Carimi, Djakout, Tvice, etc, Djakout was show cased with Wyclef on MTV as well as his song feat T-vice on BET. We have a close, personal and working relationship with Compas bands defined by mutual appreciation support and respect.

Moreover, insofar as there are bands/artists that produce song with a broader appeal we would definitely be open to all kinds of outstanding talent. The emphasis here is on the potential appeal to greater markets. At Sak Pase Records today, with all due respect (and true appreciation for compas music in the HMI) we haven't seen that yet on the part of Compas bands.

You have to understand that if these bands want to take their music out of their niche market, they have to produce songs that can be promoted at the mainstream level. What I mean by that is not necessarily the American market (Hot 97 or top 40 radio here) but the world is big and there is plenty of quality music with universal appeal, artists like Ayo, Asa, Sarah Tavares, Juan Louis Guerra, Diams, Yousou N’ Dor, Corneille, Boukman at Its zenith, Lokua Kanza to name a few, have all demonstrated that they can move large quantities of units when marketed effectively (regardless of the language barrier, and the sometimes non traditional styles of music they offer).

In my humble opinion, the compas bands have not shown this universal appeal yet. They are playing only for their audience and although I am certain it's worked for them thus far, at Sak Pase, we are looking for more. However as you rightly implied, our main focus is Hip-Hop.

6) Can Haitian music cross over? Yes or No? Why?

JOE: As explained in my prior response, it can if it has a universal quality. It would definitely help if done in English, that obviously is always a plus, but if the music is well produced, and there is a demand for it then the language doesn’t matter anymore. Let’s take the female duo group Les Nubians for example, they had a hit song in French but it played on American radio. La Compagnie Creole and Magic System both sold at least 1 million units.

I mean, as far as the word “Cross Over”, I am not sure what it means, or better yet it has different meanings depending on one's perspective and aspirations. On a label executive's perspective, Crossing over has a quantitative connotation (how many markets an artist can break and how many units can they move). Today with the technological advancements, the Internet is one platform for crossing over. One might not be on MTV but has millions of hits on YouTube In a manner of minutes; that's another parameter to ascertain appeal and an ability to cross over.

Moreover, Tabou Combo crossed over years ago when they did songs in English and Spanish, that’s why they have traveled the globe and are still relevant in Panama for example. Ti- Mano is another case in point, he did an all-English reggae album before he died, and he saw the vision a long time ago; Google it.

Finally groups such as (Grammy nominated) Boukman, and Boukan trotted the globe and were on the verge of making it big on the World music market. In reality, it all depends… but quality music, universal appeal, the ability to have a wide and diverse audience are definitely key components as far as I am concerned.



7) What do you say to the purists who will say that you guys will sacrifice the "real essence" of the music in order to make it cross over and appeal to the world? Do you worry about that or no?

JOE: Well, I am not certain of the meaning of purists, not sure what is being referred to. In any case, It Is my opinion that there are some people who are stuck in time and refuse to evolve with time and some who dare to move with time; followers and trend makers. Its like saying transportation should have stayed with a Horse and Carriage and not automobiles. That is why we don’t tamper with “real essence” of the music when creating the music.

Having said that, these questions, It Is clear, have been posed at each step in human evolution; music not excluded; I understand. At Sak Pase, we call in the experts who are the purists while evolving at full speed. One act does not negate the other. I hope I answered your questions. Shout Out to Dadou Pasquet, that’s a purist.

TRUE OR FALSE.SAK PASSE RECORDS only has eyes to sell their stuff in the WORLD market, and not really the HAITIAN market?

JOE: False, the Haitian Market is not excluded from the World market! It’s all inclusive, you have to start in the Haitian Market; it’s the foundation/ THE BASE.

9) In terms of your roles in the company, what do YOU and JUBE do?

JOE: I am the President of Sak Pase Records, my responsibility is to oversee the entire operation, as president I still work like an intern lol, I do what ever needs to be done to get the job completed. I still go out and get coffee or pick up artists at the airport, hand out flyers, u have to love what you do; I expect the same dedication from all in the staff.

Papa Jube is the Vice-President of Sak Pase Records; he is like my Joe Biden. He brings years of experience in the Music Industry, one as a former artist himself, and as a producer. He understands the entire spectrum of the industry in all genres, that’s why he is the Musical Director at Sobs. We are a team, like Jordan and Pippen, Wyclef and Jerry, Batman and Robin.

We also have Manny Stines, who is our VP of Marketing, many more staff members and 100 interns (let us know if interested, it’s a great experience and an amazing opportunity to build skills and get your foot in the door). Show me a President who still goes out and gets coffee for artists. I can do any role nothing is below me; lol.



10) Does WYCLEF or JERRY approve the artist before you give it the ok?
If CLEF is not feeling an artist, and YOU or JUBE "believe" in signing that particular person, how will that end up?

JOE: Well we have an instinct to know what their taste is like. Jube and I have worked with the guys for a very long time now. Wyclef and Jerry are musicians and World-renowned respected producers themselves; their standards are high. Therefore, we usually guide an artist to have their music up to par before we even take it to Wyclef and Jerry. Then we get their approval to sign that artist. It’s a team decision, but there is a process you have to go through in order to get their attention and approval. It’s like any other record label; a chain of command. The buck stops with the head honcho, yours truly "Wyclef."

12) Do you plan on signing ROCKFAM to the label, or maybe the question should be CAN YOU? As we all know, BARIKAD CREW and ROCKFAM are not exactly riding on the same flow if you know what I mean.

JOE: Personally speaking, I am a fan of Rockfam; they are part of the Rap Creole Movement in Haiti and they have earned their spot. That is an undeniable fact. Listen, we support the entire movement therefore we logically support what they do too. Every group has their own identity and flow, at the end of the day it’s the people /fans that determine and buy music. I rock with them when I’m in Haiti. It’s all Love. As far as whom we sign or not we will definitely keep you posted on Kompa Magazine. Be on the look out.

13) Can you bring PEACE between both groups? WHEN and HOW?

JOE: There is a place called Peace Land, Wyclef made an attempt not too long ago to have the two groups make Peace with each other, but they weren’t ready to do it yet. They still have to work out their differences first. We will always be there when and if they are ready for that, in the mean time I would like to see both groups music reach the highest heights. In addition, constructive competition in our opinion is a great thing for music, as long as it does not get out of the music arena.

14) What's on the SAK PASSE RECORDS agenda for the rest of the year?

JOE: More Fire, More Music, Barikad US/Canada Tour. The release of Black Alex, Haitian Fresh and Jimmy O’s album. And look out for future announcements on Kompa magazine.

15) Any final words?

JOE: Keep supporting the Music; the movement is stronger than ever. We can’t stop and won’t stop. Creole Hip Hop will take over the world. Thanks to Wyclef Jean and Jerry Wonda for giving back to the youths of their country and believing in the vision for Sak Pase Records. Rest in Peace Katafal, Dade, and Bajo. I kept my promise to you guys.

To the original Sak Pase crew (Samuel, Romel, Dimitry, and Ariel) we have kept our promises to you as well; much love and respect. Last but not least, to all fans of Haitian Music it is time to realize that we too can collectively bring our music to the forefront. The Internet is our crossover to the world market. It’s not what our country can do for us, but what we can do for our country. Dual Citizenship is key.

Big Up to Kompa Magazine and their outstanding job in promoting our music. And lastly big shout out to unsung heroes Easy-1, Master G, Don Cato, King Posse, Original Rap Staff, Brothers Posse, and the future stars, such as Christopher Larouche, Jean Marc-Schombert, Magic Click, Pick-up Click, Sky-FM radio, Elizabeth Guerin for your support throughout the years, DJ Freddie Fresh, Tropic FM, Planet Creole Watch out they are coming. DJ FAN FAN Big Big Respect for showing your support for the music from way back when. Jesus, if I have to thank everyone it will take 2 months.

Joseph R. Mignon
President of Sak Pase Records
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phpbb:echo dicks;

[Haitianone]

Joe

Great stuff, when you people will start to release products
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Statehood or Bust

[BABYFACE]

Very well conducted interview Pat.
Thanks to you and Joe.
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HARMONIKER FOR LIFE

[DaRealNessa]

This was a wonderful read. It only took about 10 to 15 minutes and believe me it was worth it.

Joe expressed himself articulately. He comes across well-mannered and intelligent. I admire his tenacity and overall humility. Sak Passe Records made an excellent choice.

I like how he avoided answering the question regarding the possibility of signing Rockfam to the record label, which has already signed Barikad Crew. He did not give a direct answer but he did show that he is supportive of Rockfam regardless of the rival with Barikad Crew.

Another thing, like it or not, Joe, you are more in favor of, or shall I say convinced by the Hip Hop Creole movement bro! This response right here clearly says it all:

Quote:

Moreover, insofar as there are bands/artists that produce song with a broader appeal we would definitely be open to all kinds of outstanding talent. The emphasis here is on the potential appeal to greater markets. At Sak Pase Records today, with all due respect (and true appreciation for compas music in the HMI) we haven't seen that yet on the part of Compas bands. You have to understand that if these bands want to take their music out of their niche market, they have to produce songs that can be promoted at the mainstream level. What I mean by that is not necessarily the American market (Hot 97 or top 40 radio here) but the world is big and there is plenty of quality music with universal appeal, artists like Ayo, Asa, Sarah Tavares, Juan Louis Guerra, Diams, Yousou N’ Dor, Corneille, Boukman at Its zenith, Lokua Kanza to name a few, have all demonstrated that they can move large quantities of units when marketed effectively (regardless of the language barrier, and the sometimes non traditional styles of music they offer). In my humble opinion, the compas bands have not shown this universal appeal yet. They are playing only for their audience and although I am certain it's worked for them thus far, at Sak Pase, we are looking for more. However as you rightly implied, our main focus is Hip-Hop.

There is absolutely nothing wrong with that, Joe. You have made lots of valid points and I agree with you on a lot of them. There is no shame to it. I understand, however, that we have to be politically correct sometimes.

Keep up the good work, Joe! According to your answers, 2009 will be one to look forward to for Sak Passe supporters and observers. We'll be waiting and watching.

Thank you, KM, for the interview. Those were exceptional and significant questions that proved to be quite informative. Good job!

[jeanVALjean]

I loved the detailed and well-thought out responses!

[LouisJeanBeauge]

This is a really interesting read. Thanks Pat for your excellent questions and thanks Joe for your detailed and insightful answers.

This should be required reading for all HMI musicians, promoters, artists and anyone involved in the music business.
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"Mesye bliye chèz la, al nan sena a, oubyen al fè sinema" Beethova Obas.

[PhizUniq]

That's a very interesting interview! I really enjoyed it.

Joe Mignon definitely made a great impression on me by reading his clear, smart and insightful answers. Nice!

Pat, great job with the questions man!

Much respect to Joe Mignon, Wyclef, and Sak Pase Records!!!!!

I'm waiting for the releases...
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Yo di djaz sa frekan... Se pa fòt nou. Nou just RESAN!