The term “Haitian Music Industry” (HMI) often stirs debate among enthusiasts and insiders. Critics argue that the lack of structural organization disqualifies it from being recognized as a true industry. However, by definition, an industry is a group of manufacturers or businesses that produce a particular kind of goods or services, which clearly encompasses the HMI’s role in delivering music specifically catered to the Haitian demographic.
The origin of the term “HMI” takes us back to the nascent days of the internet, a period that veteran users might recall with a hint of nostalgia, and newer generations might find intriguing due to its primitive technology. During the early 2000s, the internet was a vastly different landscape. Connectivity was sluggish, and the iconic dial-up tones and the frustration of being unable to use the telephone while surfing the web were commonplace. It was an era where being online meant choosing between the web and an uninterrupted phone line.
During this period, the Haitian entertainment scene on the internet was burgeoning. Many website administrators and early internet users were setting trends, some of which persist to this day. Among these pioneers was Stefan Carl Kenel-Pierre, MD aka Tony Montana, a prolific figure who was both a member and a contributor to the popular website, Kompa Magazine. At the time, Kompa Magazine was not just a publication but also a thriving online forum, a hub for music aficionados.
Tony Montana was instrumental in evolving the nomenclature of the music scene. Previously referred to simply as the “Haitian Music Scene,” Montana introduced a more formal and industry-acknowledging term in one of his articles. This new reference, which he first used in a post on Kompa Magazine, was “Haitian Music Industry” or HMI. The term quickly caught on, encapsulating the professionalism and commercial aspect of the music scene more aptly.
This discussion with Tony Montana, available in the linked audio, offers insights into the early digital days that shaped the communication around Haitian music. It not only highlights the technological challenges of the time but also the community and cultural dynamics that were pivotal in fostering a shared identity for Haitian music on a global platform.
As we reflect on the evolution of the internet from dial-up to high-speed broadband, the journey of the HMI mirrors this technological progression. The early days of fragmented online discussions have transformed into a well-recognized industry, complete with its stars, business dynamics, and digital presence, continuing to thrive and adapt in the age of streaming and social media. The term “HMI” stands as a testament to the enduring spirit and adaptability of Haitian music, from the slow-paced internet days to the fast-paced digital era.
