[FA Worldmusic] knowledge transfer and marketing across generations

[Ali Sachedina]

Dear All:

I realize that the initial text of this discussion was rap/surf rock  
- ie: what are otherwise "Western" repertoires, but the discussion  
holds true for artists from other traditions as well.   In the case  
of some of the modern South Asian artists whom I have had the  
pleasure of working with, it often comes down to an issue of  
"educating" the listener/presenter/distributor - whether via  
publicity materials, liner notes, interviews, etc.   It's about  
giving the music "context".

Often enough, we find kids being able to appreciate the music of  
their parents generation through a medium that is otherwise Western.   
We receive testimonials on a very regular basis attesting that "my  
father and I finally sat down and listened to your album..this is the  
first album that we both equally appreciate..me for the drum n bass/ 
rock element, him for the classical indian element."

I received many of my early introductions to classic stevie wonder,  
dave brubeck, curtis mayfield, otis redding listening to early hip hop.

as for the "world music ghetto" debate that I was so passionate about  
in my early days in the music business:   having been working in the  
pop, rock, electronica, and hip hop genres as the legal/biz affairs  
partner at a record label (UFO Music) and as a music attorney, and  
having seen first hand what the the retail and live music scene has  
to offer in those genres...I am not too certain that the world music  
ghetto is all that bad a place anymore....

btw: I thought I would share an interesting bit in a blog I frequent  
regularly (Sepia Mutiny) citing a Pitchfork interview with Sri Lankan/ 
English emcee "MIA" where she describes her working relationship with  
her producer Diplo and how it's played up in the press:

M.I.A.: If you read the credits, he sent me a loop for Bucky Done  
Gun, and I made a song in London, and it became Bucky Done Gun.  
But that was the only song he was actually involved in on Arular. So  
the whole time Ive had immigration problems and not been able to get  
in the country, what I am or what I do has got a life of its own, and  
is becoming less and less to do with me. And I just find it a bit  
upsetting and kind of insulting that I cant have any ideas on my own  
because Im a female or that people from undeveloped countries cant  
have ideas of their own unless its backed up by someone whos blond- 
haired and blue-eyed. After the first time its cool, the second time  
its cool, but after like the third, fourth, fifth time, maybe its  
an issue that we need to talk about, maybe thats something  
important, you know.

here's the link:

http://www.sepiamutiny.com/sepia/archives/004627.html

enjoy.

ali
_______________________
Ali Sachedina
Invasion Group, Ltd
133 West 25th Street
5th Floor East
New York, NY 10001
(212) 414-0505 x 107 (w)
(212) 414-0525 (fax)
Email: ali at invasiongroup.com



On Aug 10, 2007, at 4:26 PM, Dmitri Vietze wrote:

> I think the recent discussion about (mis)interpretations of the  
> origins of one
> song -- one perspective surf rock and another early rap -- brings  
> up the issue
> of cross-generational reference points. I am curious what practices  
> people on
> this list (presenters, labels, retailers, media, and others) have  
> implemented
> to:
>
> 1. step out of their own generational reference points to  
> communicate with
> other generations of fans, consumers, and readers/listeners
>
> 2. address the issue of aesthetics across generations in marketing  
> materials
>
> I think a lot of the debate about the "world music ghetto" has to  
> do with how
> music is presented. What are the visual and semantic cues that  
> accompany
> certain forms of "world music?"
>
> Much respect,
>
> Dmitri Vietze
> rock paper scissors, inc.
> (NEW ADDRESS as of May 18, 2007!!!)
> 511 W. 4th St., Suite 2
> Bloomington, IN 47404-5171
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> music at rockpaperscissors.biz
> www.rockpaperscissors.biz
>
> {{music of global significance}}
>
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