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!
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