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

Thu Aug 16 15:01:53 ADT 2007

an outsized success like BVSC is unlikely to be repeated - not really my  
point - but its certainly been attempted by the label to use the BVSC Presents  
name to sell more and other Cuban records - which is my point.  and  sell them 
with much success.   i cant vouch for World Circuit and  Nonesuch's thinking 
but i'd hazard that they see plenty of value in the formula-  they wouldn't 
have done it otherwise. I'd also hazard that they wouldnt presume  to do the same 
numbers as BVSC but that even a fraction of BVSC numbers  would suffice.  
Further, I'd guess that many if not most consumers  bought these other records 
because of the BVSC connection. and a whole chain of  formulas played their part 
in this ancillary success - retail recognizing the  viability of the BVSC 
brand, the label duplicating marketing, promotion  & advertising strategies etc

I'm not  so much concerned about the labeling as the belief that
something actually  can repeat the success of a Buena Vista or
whatever. Buena Vista was a  unique project, successful for reasons
distinct to itself (including  timing) and trying to duplicate that
seems to me doomed to failure. You  can't simply put together a bunch
of artists from wherever, label them the  "Buena Vista Social Club of
Mongolia" or whatever and expect it to have the  same level of
success. Just ask all those folks who were marketed as "the  next
Dylan"... for every Bruce Springsteen there are hundreds of  Elliot
Murphys.

On Aug 16, 2007, at 10:31 AM, Imbizo at aol.com  wrote:

> "The problem is when the mentality for promoting projects  takes a
> "the next Buena Vista Social Club"
> approach..."   er, I dont see where the problem is in this - I'm in
> the business of  selling artists and their music - if labeling
> something 'the next X'  works, i'll do it until it doesn't work.
> Some will outgrow that label  and forge their own identities, some
> wont.  Market  mechanics.   I find this refusal to engage in and /
> or  disdain for established marketing techniques in 'world music'
>  perplexing - its as if 'we' are too good for this kind of  thinking.
>
> There are plenty of formulas going around...a record  company
> marketing plan, World Circuit trademarking the BVSC name,  Six
> Degrees' packaging, Concord and Starbucks, Starbucks  racking,
> virtually every press and promo campaign I engage requires  NPR
> attention for some if not all of its success, and certainly  touring
> is the sine qua non of success.  More than ever, in  fact.  The
> touring circuit, is after all, a formula  too.
>
> We need more formulas, not less.
>
> Mel  Puljic
>
> 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
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> > FA-Worldmusic at folk.org
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