[FA Worldmusic] a post from anonymous on entrypoints, tokenism, and art

[Steve Hochman]

The successes, however they happen, are good news. Period. Whether
from PBS, whether from Paul Simon's large spotlight, whatever. And in
theory, there is enough carry-over from any such thing to sustain and
build some more interest. The problem is when the mentality for
promoting projects takes a "the next Buena Vista Social Club"
approach, since for the most part those kind of large successes are
not repeatable, but are the result of many factors converging,
including sometimes just simple right-thing/right-time fortune -- a
harmonic convergence or perfect wave kind of phenomenon.

In other words, there is no formula that can be recreated. Each
project demands its own approach, or so it seems to this armchair
quarterback.

-----------------------------------
Check out my column:
http://www.spinner.com/category/around-the-world/
-----------------------------------

On Aug 16, 2007, at 9:01 AM, Todd Walker wrote:

> pardon.
>
> you know how clearly I present myself....right?
>
> that's what I am asking.  I think there are different formulas for
> everyone,
> would love to know how it has worked for others.  It always starts
> with the
> solid team - agent, manager, publicist, label all working together
> cohesively.
>
> RyG was all about radio to start then TV then festivals, small
> clubs to
> large and so on.  What was REALLY unique about their whole rise to
> fame was
> this placement they got on you tube.  One of their songs sat on
> their home
> page for about 2 days and they got hundreds of thousands of hits.  The
> surprising thing for this band was why did radio pick up on it so
> hard?
>
> What was the story on Gotan?  Vieux seems to be rocking right now.
> Where
> did Baobab go?  Bembeya Jazz?
>
> Lots of great music to chose from for all you presenters, the better
> question is how to keep the career moving forward.
>
>
>
> Todd Walker
> International Music Network
> 278 Main Street - Gloucester, MA 01930
> 978.283.2883 // 978.283.2330 fax
> www.imnworld.com <http://www.imnworld.com>
>
> Check out www.imnworld.com <http://www.imnworld.com/>  for info on
> all our
> artists, tour updates, news, tech riders, image downloads and more.
>
> ********************************************
>
> This message and any attachments are intended only for the use of the
> addressee and may contain information that is privileged and
> confidential.
> If the reader of the message is not the intended recipient or an
> authorized
> representative of the intended recipient, you are hereby notified
> that any
> dissemination of this communication is strictly prohibited. If you
> have
> received this communication in error, notify the sender immediately by
> return email and delete the message and any attachments from your
> system.
>
>
>
>
> -----Original Message-----
> From: fa-worldmusic-bounces+todd=imnworld.com at folk.org
> [mailto:fa-worldmusic-bounces+todd=imnworld.com at folk.org]On Behalf Of
> Dmitri Vietze
> Sent: Thursday, August 16, 2007 11:28 AM
> To: fa-worldmusic at folk.org
> Subject: Re: [FA Worldmusic] a post from anonymous on entrypoints,
> tokenism,and art
>
>
> Uhhh, Todd... you forgot to tell us the formula? So BVSC is due to
> PBS, and
> Ceu and Angelique thanks to Starbucks. What about R&G?
>
> ----- Original Message -----
> From: "Todd Walker" <todd at imnworld.com>
> To: "Dmitri Vietze" <music at rockpaperscissors.biz>; <fa-
> worldmusic at folk.org>
> Sent: Thursday, August 16, 2007 9:00 AM
> Subject: RE: [FA Worldmusic] a post from anonymous on entrypoints,
> tokenism,and art
>
>
>>
>> Ah yes - just the sort of this we shoudl be getting into.
>>
>> First off, I like the term "world music" and much as I like the terms
>> "Rock", "folk" "electronic" "metal" and the rest of it.  I will
>> refrain
>> from
>> citing the infinite specific examples, but really who cares?
>>
>> Also, do remember how uneducated we are as Americans - "world music"
>> offers
>> a bit of clarity for most.
>>
>> I want to start hearing some thoughts like homeboy (or girl) below.
>>
>> How do we cross WORLD MUSIC into the main stream?  I have had a few
>> successes but really isolated and many can't seem to put a finger
>> on it.
>> Rodrigo y Gabriela is the best example, whom many of you may know the
>> recently ran for the CAA border to become movie stars.
>> Regardless, you
>> have
>> a Mexican guitar duo who basically folded directly into a
>> mainstream plan.
>>
>> Why?
>>
>> Why did AAA radio get so crazy on it, why did comm. radio go nuts,
>> TV came
>> along and all of a sudden you have a MEXICAN guitar duo who will
>> probably
>> sell over 250K records on their first release.  INSANE!  I personally
>> think
>> they are an incredible show, but more importantly this experience
>> reinforced
>> my faith that music from across the world can cross over into the
>> mainstream
>> and contend with commercial rock bands.
>>
>> CeU and Angelique are crushing it right now thanks to Starbucks.
>>
>> Buena Vista thanks to PBS.
>>
>> There are many more examples, but this is an essential focus for
>> us.  Of
>> course I want all you ethnomusicology nerds (myself included without
>> degree)
>> to know about these artists, but above and beyond I want to bring my
>> artists
>> from the corners of the earth into the living rooms of people
>> outside of
>> the
>> major markets.  Not only is there brilliant music being made, but
>> culturally
>> this education is imperative.
>>
>> What are your successes?
>>
>> The ideas that flow, the closer we get to a system when tours/records
>> don't
>> happen once.  We can start building a foundation and structure to
>> make
>> some
>> noise in this country.
>>
>> violins (fade in)...cello....and now the woodwinds
>>
>> with respect.
>>
>> Todd Walker
>> International Music Network
>> 278 Main Street - Gloucester, MA 01930
>> 978.283.2883 // 978.283.2330 fax
>> www.imnworld.com <http://www.imnworld.com>
>>
>> Check out www.imnworld.com <http://www.imnworld.com/>  for info on
>> all our
>> artists, tour updates, news, tech riders, image downloads and more.
>>
>> ********************************************
>>
>> This message and any attachments are intended only for the use of the
>> addressee and may contain information that is privileged and
>> confidential.
>> If the reader of the message is not the intended recipient or an
>> authorized
>> representative of the intended recipient, you are hereby notified
>> that any
>> dissemination of this communication is strictly prohibited. If you
>> have
>> received this communication in error, notify the sender
>> immediately by
>> return email and delete the message and any attachments from your
>> system.
>>
>>
>>
>>
>> -----Original Message-----
>> From: fa-worldmusic-bounces+todd=imnworld.com at folk.org
>> [mailto:fa-worldmusic-bounces+todd=imnworld.com at folk.org]On Behalf Of
>> Dmitri Vietze
>> Sent: Wednesday, August 15, 2007 10:01 PM
>> To: fa-worldmusic at folk.org
>> Subject: [FA Worldmusic] a post from anonymous on entrypoints,
>> tokenism,and art
>>
>>
>> ----- Original Message -----
>>
>> So much to say and so little timeb&
>>
>> Dmitri has encouraged me to post my comments to this list.  My
>> response to
>> him
>> was that the usual suspects intimidate me.  My own paranoia, but
>> simply
>> put,
>> my label would be layperson by comparison to you all who seem much
>> more
>> knowledgeable in this arena. So, Ibm comfy w/remaining under the
>> radar.
>> Ibm guessing though, if you donbt stand up, you donbt stand a
>> chance.
>> b Genesis
>>
>> Many years ago, while having a discussion with a colleague about
>> the title
>> of
>> an under attended art exhibition, she pointed out that the chosen
>> name was
>> an
>> obvious title for those intimate with the history of art; however,
>> the
>> obscure
>> title for the general populous might not motivate them to visit w/
>> out some
>> sort of hook, or rather, context.
>>
>> Butb&did you know the bicycle was invented then?  Wow, that gave this
>> period
>> some everyday relevance.  And, perhaps this new reference point
>> would even
>> arouse enough curiosity to inspire a visit.  A little
>> oversimplified, but
>> just
>> trying to make a point.
>>
>> While attending a programming meeting prior to the opening of an
>> exhibition
>> of
>> the work of Barnett Newman, a now deceased artist that formerly
>> created
>> larger
>> than life, more or less, mono-chromatic canvasses w/a stripe or so
>> down
>> the
>> middle, or positioned on some other location on the painting.  You
>> know,
>> one
>> of those artists that elicit reactions such as, bMy Kindergartner
>> could
>> do
>> that!b orb& bI just donbt get it!b Curators and educators were
>> debating about what type of tours and gallery talks to present.  Some
>> historian suggested, bWouldnbt it be fun to just send people
>> into the
>> exhibition and then gather together after seeing the show for a
>> discussion?b
>> Maybe fun for them, even if modern art wasnbt their area of
>> expertise,
>> because they had the knowledge base to bhave funb w/reactions,
>> understanding the history of art in general.  When one is
>> intimidated,
>> such
>> as
>> myself, Ibm embarrassed to explore my reactions b/c what if theybre
>> wrong.
>> Poor assumption on my part, Ibm aware, but as a stereotype,
>> thatbs just
>> the nature of the beast, Ibm afraid.  Coincidentally, during that
>> show, I
>> took a musician into see it.  The curator happened to be standing
>> in the
>> middle of one of the main display galleries, where every work of
>> art was
>> enormous, brightly colored, and the gestalt was magnificent and
>> powerful.
>> The
>> focus for me, as well as the musician, was on the room, the
>> installation,
>> not
>> just the individual works of art. Following our emotional
>> introduction,
>> the
>> curator joined us and waxed eloquently about all of it.  It was an
>> eye
>> opening
>> and exciting experience for all that gravitated towards her.
>>
>> So, labels, hmmmm.  When convenient, they are great.  When
>> problematic, we
>> tend to reject them and bwish they would go away.b
>>
>> I for one enjoy a love hate relationship with them.  When hired to
>> program,
>> I
>> didnbt have a clue as to what I was doing.  Oy, yet another
>> uninformed
>> producer! But, I had strong feelings about other conundrums, and they
>> evolved,
>> just as I did, in this baptism by fire sort of situation.  The
>> first issue
>> was
>> what do I do on a bBlack Historyb night.  That made me cringe.
>> There
>> were
>> a series of problems with this label.  First, I hate token, thematic
>> evenings
>> such as that, or Womenbs History night in March, or, you get the
>> picture.
>> They donbt bother me as much if throughout the remainder of the
>> year, a
>> broad spectrum of events is presented without an air of tokenism.
>> Also, I
>> was
>> told that during my predecessorsb bBlack History Nightsb that
>> Caucasians
>> didnbt attend and neither did African Americans b/c the overall
>> museum
>> attendance reported a 1% diversity statistic. That made me angry
>> enough to
>> attempt to change that.  Long story short again, Black History
>> night, my
>> first
>> one, drew the usual 1,000 visitors, rather than the previous
>> scaled down
>> 300.
>> An African American friend and colleague offered, bDonbt be
>> smug, let me
>> see you do it again, and not just once a year.b
>>
>> This led to questioning other types of programming.  The origins
>> of the
>> above
>> mentioned, weekly series were to take a thematic approach. The
>> themes were
>> to
>> highlight the museumbs exhibitions and permanent collection.  We
>> all know
>> there are an infinite number of themes in art; therefore, the
>> programming
>> had
>> no boundaries.  Wouldnbt it be fun to opt for some general theme,
>> Hearts
>> and
>> Flowers, if you will?  What ethnic group fits there?  Can Abba
>> satisfy
>> that
>> theme? Can the Carolina Chocolate Drops? You betcha.  But, that
>> doesnbt
>> mean
>> you canbt turn around and have an American Roots night, or celebrate
>> Malian
>> culture on another.
>>
>> I lost myself here with my own free associations, but perhaps, in
>> conclusion,
>> labels arenbt so much the issue, but what, when and how one uses
>> them.
>>
>> Enjoy the music and the art...
>> _______________________________________________
>> FA-Worldmusic mailing list
>> FA-Worldmusic at folk.org
>> http://www.folkserv.net/mailman/listinfo/fa-worldmusic
> _______________________________________________
> FA-Worldmusic mailing list
> FA-Worldmusic at folk.org
> http://www.folkserv.net/mailman/listinfo/fa-worldmusic
> _______________________________________________
> FA-Worldmusic mailing list
> FA-Worldmusic at folk.org
> http://www.folkserv.net/mailman/listinfo/fa-worldmusic