THOSE few words are a small part of a song rendered so beautifully by Lisa Minnelli, the daughter of the incomparable Judy Garland. These stars of stage and screen pose an important point for contemplation on the state and relevance of the entertainment industry, more so under the microscope of tourism and related earnings. Many have asserted that tourism is the way forward, but this has to be assessed in the context of the profitability and retained earnings necessary to bring sustainable development.

Our industry has evolved from the exclusive days of Portland, which was then the hideaway of the rich and famous who wanted relief from the glare of public scrutiny. Today, we consider the islandwide interest in tourism, including the land-based and the cruise passengers. We therefore need to examine whether or not entertainment has kept pace, especially as the talk of casino gambling will pose further challenges in an already slow willingness to change.

To be certain, the hotels have been a part of the slow change and most settle for small underpaid bands that will work for extremely low wages despite the quality of musicianship of these tertiary musical graduates. Or, they retain the small mento bands that remind me of the early years of exclusive and reclusive tourism.

This attitude actually defeats the purpose of the Edna Manley College where bright performers are being trained. Modern concert facilities and daytime shows still elude us and the pockets of the cruise visitors who may spend an entertaining two hours at a show. We therefore knowingly fail to maximise our market potential.

In examining our potential, we must look at a few of the factors that surround the entertainment industry’s appeal. Firstly, entertainment is a personal choice, not a mass market forced offering. Some like varied music forms, others like comedy, theatre, musicals, and show extravaganzas. The circus acts, magicians, large concerts, small concerts, reggae, classical, jazz, R&B, and blue grass are all personal tastes.

Secondly, we are no longer the exclusive controllers of ska, reggae, rock steady or even dancehall, as all of these are happening around the world from Japan to Australia, France to Russia, and North and South America. Yes, this is often without any Jamaican input of artistes, or even promoters. So we hold no monopolies.

Thirdly, depending on the type of casinos we develop, the product requirements and opportunities will differ. If we go for the cheap slot machine trade, then perhaps only patty sales will boom. However, if we attract the high-rolling, tuxedo, James Bond types, then our current offerings will not be adequate. The high-worth gamblers need major distractions and prefer the big names over the years like the Rat Pack, Mel Torme, Dionne Warwick, and today, Celine Dion.

Fourthly, the current crop of local artistes does not fit the bill for the huge casino shows with dance, technical production, huge stages, chorus lines and professional dancers. Yes, we do have that talent, but they are still a long way from being total professionals that can endure the rigours of 12 strenuous shows per week.

Fifthly, our current dancehall acts are great for some outdoor festivals but by their very nature these will only attract intermittent interest. This is Sumfest once a year, not every night. Most of these are virtually unknowns on the international circuits outside of the diaspora centres or young sub-culture groupings, and many cannot get travel visas anyway.

Sixthly, in true style the performers who are big names overseas are not too popular in Jamaica. Names like Bob Marley and the Wailers, Jimmy Cliff, Junior Gong and some of the younger Marley clan, as well as Sean Paul seem to be ignored at home in preference to some dirty-lyrics performers who are unable to tour.

Now don’t get me wrong. Talent abounds in Jamaica in song, dance, art, design, and most of the ingredients that go into the foundation needed for stellar productions. We have no performing art centres to hone those vital production skills; there is no Ward Theatre, Carib, Regal, and State to house plays and shows indoors. Playwrights are largely confined to local topical farces, and social interactions, and few, if any, make great money. Let’s face it, the local market is small.

The persons who used to manage successful live music clubs like Sombrero, Copacabana, Glass Bucket, and Bournemouth have either left the business or have passed on. So what is left is outdoor dancehalls playing some music, but having local crowds that revel in lewd and violent lyrics. That is not a recipe for sustainable and profitable entertainment, so we are faced with serious choices that require change. If not, we will exclude ourselves from some really lucrative possibilities.

We need a Broadway musical of our own to draw attention to our talent. We need the NDTC to be truly professional like the Bolshoi Ballet Company. We need a variety of good plays for international audiences, and we need to promote ourselves as sustainable entertainment, not just as a flash in the pan at some international one-off event like the Olympics. We are either in the business for the long haul or we will be out.

You can be sure that the casino licences will allow for entertainers on contract to perform for extended periods. At that time no protests will stop those performances, nor should they.

But there is a real possibility that the rigour and discipline associated with these productions will be good for the industry. There can be zero tolerance for absenteeism, no unruly entourage, no smoking (of anything) on the job, and other codes of conduct that are aligned to international standards. These rules-based engagements can only be good for the industry.

We need to get up and start the preparation that will allow us all to work and develop. But that will not happen by sitting and waiting for the Government to do something, especially in an area in which they have limited experience. This requires creative thinking and that resides within the entertainment industry. The big question that threatens that change is can we work together or continue to fail separately?

On a sad note I express my sincere condolence to the family of Richard Fontaine who passed last week. He was one of the committed persons who started Orange Carnival that has grown into the weeklong activities that culminate with the Road March today. Richard enjoyed life immensely and was also an innovator and consummate gentleman in the insurance industry. May his soul rest in peace.