DubMC

Calling on the Jacque Cousteaus of Rock and Roll: A Q& A with National Geographic New Recording Music Label Manager Mat Whittington

Yesterday, National Geographic announced the launch of their new record label. We caught up with label manager Mat Whittington for  a Q & A about bridging the worlds of DJ/electronica and "world music," the evolving role of recordings in the changing marketplace and National Geographic's vision for its new record label.

1. As manager of Thievery Corporation and now manager of National Geographic’s new recording label, you have had a foot in the DJ/electronica world and another in the realm of “world music.” What are some of the things the “world music” industry can learn from the dance world?

Mat Whittington: It's tough to say really. I think in the electronic music scene there are less creative boundaries for the artists because of the nature of the music. You make a hip-hop track with X, a Brazilian track with Y, a reggae track with Z and they can all co-exist on the same album without much afterthought. It's hard to imagine that kind of musical diversity on say, a Ravi Shankar or Cesaria Evora record. Maybe that's the lesson though, better A&R to make the music more interesting, exciting, and current.

2. There seems to be a perception by some in the music media and in broader society that global music is solely for Birkenstock-wearing, granola-eating fans. What artists have you seen emerge that challenge this notion?

MW: M.I.A., Vampire Weekend, The Very Best, Thievery Corporation, Manu Chao, Yeasayer, Calexico, Balkan Beat Box, Buraka Som Sistema, Extra Golden are just a few of the many. I think that the general public as a whole is probably more open to music from around the world than they ever have been before. They just need to be exposed to it, therein lies the rub.

3. How have those artists been able to sidestep this stigma?

MW: Probably by never defining themselves as narrowly as 'world music' or any other such nomenclature. The music itself is the key. I think the artists listed above, and many others, are certainly influenced by music from around the world but it's not the defining characteristic of the music.

4. How do you think the role of language affects the success of international music in the US?

MW: I think that if an artist can overcome a 'musical barrier' with the listener, than the language barrier is less important. If you can't understand the language then the music, or the overall 'feel' of a song is the only real hook that can grab you. When I worked with Thievery, English was the minority language on most, if not all, of the records and they all sold very well. "Je Pense A Toi" by Amadou & Mariam is one of my favorite songs and I speak restaurant menu French. That song just splits my heart in two every time. I've no idea what it's about and I don’t want to know lest it ruin my own mental/emotional image of the song. Sometimes mystery is better than knowledge.

5. What suggestions do you have about how a musician or band categorizes their music in terms of genre?

MW: Don’t. Just make your music, let Dmitri and I worry about the rest.

6. When you look at the “world music” marketplace, what do you see that you think is not effective?

MW: Wow, so many things, but I think the biggest one is passion alone is not enough. This is a business. I know you love your 20-piece (insert country of choice) Orchestra but they are all going to need flights, hotels, work permits, AND go home with enough to pay the rent. Why are you going to spend your money signing, releasing, and promoting artists that MIGHT play 3 US shows a year. The constant discussion about what 'world music' is. It's totally ridiculous. Should Mariza appeal to the same people Buraka Som Sistema does? Why? Because they're both from Portugal? Because they both sing in Portuguese? The music is miles apart. That's like saying, "if you like Bob Dylan, you'll love Britney Spears" because they both sing in English and are from the US. The first thing I did at Nat Geo was ban the term 'world music.' It's useless.

7. What do you see is the role of recorded music in the emerging music marketplace?

MW: not news that sales are down but the recording and releasing of new music is still THE driver to all the other parts of the business. Touring, merch, ticketing, fan clubs, are all driven by new product from artists. Almost exclusively that is new music. Everything is spun off from that, and it's hard to see that changing even as the amount of money derived from it's sale decreases.

8. Tell us about National Geographic’s plans as a label.

MW: We plan to sign and release modern music from around the globe from a variety of artists, genres, and countries. We're looking for musical explorers, the Jacque Cousteau's of rock and roll. As for the label, think indie label ethos but with a massive worldwide media company. We will also work with our Film, TV, and Kids, Games & Magazine group's to assist them with their music needs, and we obviously work very closely with our Music TV Channel which is rolling out all over the world right now. I know that we have a very unique offering for artists. It's very exciting. From an artist’s view, not only are they able to tap into this wealth of resources but money made by the label goes back into the overall funding for the Society, meaning that via the success of their music, artists contribute, both artistically and financially, to the mission of National Geographic. It's a record label with a conscience.

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

The Evolution of a Record Label: Rounder Records Asks the Questions of the Day

We asked Rounder Records vice president of A&R Scott Billington how the definition of a record label is changing and what models are emerging and here is what he had to say...

Over the past few years, as the retail market for compact discs of non-mainstream music has declined and in some instances all but disappeared, it’s become frustrating not to be able to reach out to many of the musicians with whom we’d most like to work.

For many touring world music bands (as well as musicians in many other genres), the main venues for music/CD sales are either via the web or at gigs. The result is that many CDs are selling only 10-15% of what they would have a few years ago. Tower is gone, and many other retailers are scaling back on CDs. Digital sales have failed far short of making up the difference.

Our business has been to provide services for artists— high-quality production and funding of recordings, graphic design, marketing, radio promotion, advertising, indie or in-house publicity, etc.-- then to recoup our expenses by selling music. It’s tough to see that this is no longer a viable business unless we are working with an artist with a large and firmly established fan base. Then, our marketing and sales capabilities can be very effective.

But where does this leave the developing artist? Most of the major labels are now asking for 360 degree or multiple rights deals, in which the record company takes a portion of tour income, merchandising, song publishing, etc, in addition to CD sales, in exchange for artist development. Still, most of these deals are aimed at having a big success in the pop market.

Is there, then, a place for record companies to continue working with non-mainstream musicians who want the services a record company might offer? Surely some musicians are better off doing the support work themselves, at least if they’re inclined to be involved with the business side of their careers. However, I still like to think there is a way for record companies like Rounder to work with developing and niche artists. I don’t believe, however, that it can be based solely on CD and music sales. Perhaps there is a middle ground between the major label 360 degree deal and the old-fashioned record deal, where the record company invests in the overall career of the artist in exchange for other rights, probably including a percentage of tour income.

I know that many musicians would not see this as a pretty picture, but we all still need some sort of infrastructure to develop new music. Madonna and Nickelback can get big 360 degree deals, but most developing artists can’t. There’s still a need for an organized effort, or maybe a trusted filter, to bring the best music to the fore and to truly get the word out to people. Nobody’s quite figured out the right business plan for the digital era, but we’re trying.

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

Four Ideas for Crossing Cultures in Concert

Two weeks ago, I facilitated a panel on "A Changing America" at the Arts Presenters conference in NYC. I haven't mastered taking notes whieel facilitating, but I did jot down four practical "best practices" from the concert presenters on the panel and in the audience:

1. The Ring Effect. Frequently, traditional ticket subscribers and regular theater-goers will buy up the best front row and center seats. Audience members from some cultural groups are more likely to buy tickets at the door as "walk ups." In some settings, this creates a ring effect, with frequent (and often white) audience members in the middle and front, and audience members from a world music artist's home country in a ring around them. To create a more integrated experience for all, consider holding a certain number of those middle and front row tickets for the last minute walk ups.

2. Multi-lingual Introductions. A simple practice that welcomes a more diverse audience is to present the concert opening and introductions in multiple languages, taking into consideration the language of the artist performing as well as other languages spoken by members of your community.

3. Partners on Stage. If you are working with different community and cultural groups, you can bring them on stage for the introductions and acknowledgments giving a more diverse face to the presenting organization and community.

4. Cultural Dynamics of Security and Ushers. If you expect an audience to respond differently than a typical performance (such as dancing in aisles, spraying performers with money, etc.), meet with security and ushers in advance to let them know what to expect, and make a plan for how to respond. That way conflicts that could take on a culturally insensitive feeling can be avoided altogether.

Letter from U.S. Artists, Arts Presenters, Arts Educators and Cultural Scholars in support of Cultural Relations with Cuba

The Cuba Research and Analysis Group has initiated a letter to President-Elect Barack Obama calling for concrete changes in U.S. policy towards Cuba that will allow for the uninhibited flow of art, culture, information, ideas and debates, as well as travel by artists, cultural workers and professionals, and arts and cultural aficionados between the U.S. and Cuba. The organization is asking artists, arts presenters, arts educators, cultural entrepreneurs and scholars, and cultural heritage and policy professionals from diverse political persuasions to sign the letter. You may do so here.

Dmitri's Facebook Status Notes from the APAP E-Marketing World Music Session on 01/09/2009

The Arts Presenters conference wrapped up earlier this week. Some of my favorite sessions are always the ones organized by the North American World Music Coalition (thank you, Alison Loerke!), who this year teamed up with the Summer Outdoor Festivals and Presenters. As I sat in a session titled "Fresh Perspectives: Capturing Audiences Through E-Marketing," I constantly updated my Facebook status so that others not in attendance could "listen" to the conversation and ideas. Moderator: Anastasia Tsioulcas – American editor of Gramophone Magazine and a freelance writer/editor, New York City; Panelists: Mehmet Dede, Bookings & Marketing at Drom, New York City; Chad Herzog, Director of the Performing Arts at Juniata College, State College, Pennsylvania.

Here is a transcript of my notes on Facebook:

9:16am:   APAP session on Emarketing, panelists are bragging about their URLs :)

9:17am:   APAP Emarketing session handout at http://www.tinyurl.com/apap1909.

9:19am:   Chad Herzog panelist from Juanita College tests out his Emarketing on a focus group first.

9:22am:   Including his grandmother.

9:23am:   Panelist Mehmet Dede says his venue still uses direct mail.

9:24am:   panelist Mehmet wants to add music jukebox to his venue's website.

9:25am:   Panelist Chad considers their electronic space their third venue (in addition to 2 physical venues).

9:28am:   Panelist Chad says their Facebook content is more organic than their website, which I thinks means more dynamic, more freq updated.

9:29am:   His FB page has more interaction w audience, corrolary events, RSVPs, etc. A cmnty org put together separate event relevant to a performance, on their own.

9:32am:   panelist Mehmet is praising flavorpill, daily candy, YouTube; and facilitator Anastasia is surprised how few presenters are posting artists' performances.

9:33am:   Audience question: are u getting rights to post video; Anastasia says artists are providing content.

9:36am:   Mehmet says emarketing is not just about getting people to show, but about retaining audience with post performance footage, etc.

9:37am:   JDub label's Aaron Bisman says his youngest mrkting staff says Facebook event updates from musicians/labels pisses people off, FB is a personal space.

9:38am:   Anastasia says 5 pm is magic time when workers start deciding what to do that night.

9:45am:   Audience asked what to do abt negatv online feedback; Chad: I love it, usly community responds and I don't have to do anything.

9:49am:   Community uploaded tattoos of dance performers and had photo contest online.

9:53am:   Audience asked about cost of SMS text blasting; Chad says there is short code u can buy.

9:54am:   Cost is around $1000; google ‘SMS short code;’ u have to set up a server or contract someone to do it.

10:00am:   I asked for data about how much time it takes to recruit 100 FB friends for a venue, and which online tools including automation are really working for...

10:01am:   Mehmet says u need 3 weeks lead time for online promo.

10:03am:   Audience asked how to ensure links in eblasts are not dead.

10:06am:   Mehmet says Buzzd.com is another option.

10:09am:   Audience mmbr says it all dpnds on what yer audience wants in terms of not angering them; accoladearts.net is going to put up a white paper on setting up SMS text blasting.

10:11am:   Audience mmbr says another service for artists is called Mozes and another called kadoink; geographic SMS outreach systems.

10:12am:   Audience member says ‘when are we going to stop printing brochures?’

10:15am:   FingerLakes stopped printing brochures and only got 14 phone calls of protest; so they have a mailing list of 14 and they send them printed version of their website.

10:20am:   Mehmet is plugging widgets; company called Wix.com, tools to update MySpace and FB, more personal look; Giant Step used it, adding motion to emailer flyer...

10:21am:   Anastasia is plugging Search Engine Optimization (SEO).

10:25am:   Chad plugs Flip Mino video cam which he gives to house staff to spontaneously intrvw audience mmbrs.

globalFEST--12 Artists on Three Stages from NYC, Live Webcast on WNYC.org Tonight from 6 pm to Midnight Eastern

WNYC Radio brings the sounds and spirit of the festival to an audience beyond the music hall. Tonight WNYC presents globalFEST as a LIVE webcast at www.wnyc.org, with a behind-the-scenes preview beginning at 6 pm. Beginning Friday, January 16th, full recordings all of the artists’ performances will be available on-demand at www.wnyc.org.  In addition, during the week of January 19th, select performances will be highlighted on WNYC’s Evening Music and New Sounds with John Schaefer, which air nightly on WNYC 93.9 FM.

Concert Notes, Melvin Gibbs' Elevated Entities is the African Diaspora Inside Out

Enter drums among the people. Is that Yoruba ritual or Santeria? The man with dreads dancing a blessing. Is that Amayo, from Antibalas? It is, spill the water. Black man throatsing-beatboxing an Obamabration, who dat? Kid Lucky! Vernon Reid--The Vernon Reid--bluesifies it, brings it home, Black Rock Coalition. Gentle touch. African roots exposed. J.T. Lewis on drums. And John Medeski--The John Medeski--possessed, a counter-weight. And in the center, Melvin Gibbs, holding down the low end. But that's a computer there too, barely noticed. Gentle touch again. Oh yeah, he is nodding some direction. Don't call dat world music. Definitely Black music on Black terms. A soulful shift. Puzzle master of African diaspora, centered in America.

[Editor's note: We don't usually do concert reviews on DubMC, but it was not your same old showcase at APAP last night at the Hiro Ballroom. While conversations in workshops took a left turn as the issue of race was exposed but left without a response, the musical antidote was right beneath our collective nose.]

UPDATED Unofficial Guide to World Music, Arts Presenters 2009

The final updated version is available here as an Excel spreadsheet. Thank you to all who made submissions. Double check all times and details.