DubMC

Trends in Live and Recorded music-- A Q&A with National Geographic's Tom Pryor

DubMC periodically poses questions to key players in the global music scene to check the pulse of both the recorded music and live music markets. Up first is Tom Pryor, editor of National Geographic's world music website.

What are some of the patterns and trends that have emerged in the global music recorded music scene in the past year?

1. Obviously there's a bit less recorded music than compared to say, just two years ago - no surprise given the overall state of the retail music biz.

2. I saw a lot more specialty packaging last year. Labels like Crammed were bundling more DVDs with CDs, while labels like Stern's were cranking out beautifully-curated anthology collections like the Tabu Ley Rochereau and Mbilia Bel collections. I assume this was a response to the steep decline in physical retail sales vs. online (MP3 sales). Creating fetish objects is a smart way to grab the attention of completists and collectors, but I wonder how cost-effective it has been overall.

3. Even though I see plenty of labels cutting promo costs with slipcases, etc, very few have taken the plunge into fully-digital promo kits - even though this is standard in other segments of the music market. I'm not complaining - I still like physical CDs and they usually get first play while I'm previewing new music - but it is surprising.

What about trends and patterns in the global music live performance scene in the past year?

1. One thing that surprises me is that large bands are continuing to tour regularly - despite rising gas prices, increased airfares, ongoing visa nightmares, etc. If Darwinian economics truly ruled the industry, I'd expect to see less big bands like 17 Hippies touring and more "laptop" artists and DJs.

2. I live in New York and it seems like we've got more new spaces devoted to world music than we've had in a long time. With the opening of Drom and Rose in the last two years plus the ongoing international programming of places like S.O.B.s, Barbes, Joe's Pub, Zebulon – not to mention all the venues that program occasional world acts (like Highline Ballroom) - it seems that there are a lot more small-to-midsize rooms showcasing this kind of music in New York now.

3. Homegrown American world music "fusion" acts really came into their own last year. Everybody knows the list by heart by now - Slavic Soul Party!, Balkan Beat Box, A Hawk and a Hacksaw, Beirut, Chicha Libre, Cuban Cowboys, etc, etc. I think that having a national touring circuit, however small, certainly helped incubate these acts and break them out of their local scenes. Obviously the internet and social networking sites played a big role in this, but don't discount the importance of live shows. MySpace only lets your fans know when and where you're playing, but you still have to play the gig to really connect (or at least get a fuzzy, poorly shot video to put up on your page the day after the show).

4. Big pop festivals like Bonnaroo and Coachella are increasingly programming non-traditional acts like Manu Chao, MIA and Gogol Bordello. While that doesn't necessarily indicate a trend towards booking traditional or core world music acts - don't expect to see Javan Gasparyan at Rocklahoma anytime soon - it does indicate that people's ears are stretching beyond the usual genre and regional borders.

DubMC is the brainchild of Dmitri Vietze and is sponsored by rock paper scissors, inc., global music publicity firm.

Working in America's Russian Émigré Communities: A Q & A with Auktyon Manager Max Milendorf (Bridging Gaps, Vol. 3)

Max Milendorf is the USA manager for "Russian rock Dadaists" Auktyon, who are currently on tour in the USA. While these underground bohemian rock icons strive to reach non-Russian audiences when they play here--in search of the excitement of playing for newcomers and seeing what emerges--Milendorf has his finger on the pulse of Russian émigré  communities in the USA. Here he is the subject of our latest installment of Bridging Gaps between communities in the field of global music performance.   

1. With what ethnic group or cultural population are you most familiar?

Russian-Americans.

2. What North American cities/regions have the greatest population of this group?

New York, Los Angeles, Chicago, Boston, San Francisco; most major cities have a Russian community.

3. How would you describe the musical interests and musical "market" for live performance within these communities?

Most of the younger generation has assimilated, so their tastes do not differ from an average American. The older generation prefers artists from Russia that they were familiar when they lived there. This mostly includes pop singers. A lot of interest is generated by dramatic theater.

Occasionally stand-up comics of the older generation come through and bring in huge crowds.

4. Are there particular venues that especially cater to this group?

In New York there are venues exclusively for Russian acts and artists, given that they have the entire region (Brighton Beach) "fenced off" for that community. In other cities it's mostly larger concert halls, rather than clubs.

5. What about record stores?

There are exclusive Russian record stores in bigger cities like New York and Boston. These events are not advertised in regular record stores.

6. What are some of the major misconceptions that music professionals might have about this group that can make it a challenge for them to build bonds within this community? Any common faux pas?

The most common misconception is the language barrier. There is no language barrier with the majority of this immigrant population, and even if it exists on some levels, it is imperceptible and certainly not a barrier to promotion. The reverse is also true towards the American audiences.

There is a perverse sense that everything has to be in English for Americans, otherwise they would not be interested. The majority of the world music market is intelligent enough to appreciate the art in its native form.

7. What particular sensitivities should professionals in the field be aware of as it relates to this group?

One thing worth mentioning might be a strong affiliation with Jewish heritage and pro-Jewish American lobby.

8. Can you give some examples of success stories of people from outside of this cultural group collaborating in the music and arts field with people within this community?

It's hard to define what "success" would mean in this context, but such stories do exist. Boris Grebenschikov with Annie Lennox and Dave Stewart back in the late 80's. Brain Eno with "Zvuki Mu."

And who can forget Medeski and Ribot with Auktyon! :)

9. In what areas do you hope the world music community improves in serving and collaborating with this community?

I wish buyers were more open to the idea of having "unknown" acts on their stages. Take a chance!

DubMC.com is the brainchild of Dmitri Vietze and is sponsored by rock paper scissors, inc., global music publicity firm.

Translating the World: Q&A With Robert Singerman about World Music Lyric Translations, Live and Recorded

Always on the lookout for what can help expand the presence of global music in North America, DubMC interviewed Robert Singerman who has a personal mission to break down language barriers between global musicians and their potential audiences who speak different languages. Singerman, who works for  French Music Export Office and the European Music Office US, believes that breaking down language barriers -- whether in audio, video, or live performance -- can give this music an advantage in reaching new audiences. Find out why in this exclusive Q & A:

1. How important is understanding lyrics and language in the appreciation of global music forms in English-speaking territories?

It is obvious that one can well appreciate non-English global music forms. However, my strong belief, supported anecdotally and by one notable market research study conducted in France, by Text-Up, is that many English and even many more non-English speaking people would more greatly appreciate being able to understand the lyrics (and all that implies: stories, history, culture, emotions, poetic beauty, politics, inspiration, spirituality, jokes and ridiculous banality, etc....), even in their own language(s). The fact that lyrics are in the top ten search functions on the internet demonstrates this interpretation. "How important" is a question that only time will tell if we are successful in our mission, but my estimate is that translations by new means could eventually double sales figures (and for some artists multiply by 100-10,000 or more) of non-English speaking music in English speaking territories and English speaking music to non-English speaking people. How important would that be? How important is the understanding of lyrics, "the book", and the story in Opera?

2. Paint a picture for us of what music/language translation would look and feel like to the end user in an ideal world?