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world music publicist / music industry consultant
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There is no charge to add your showcase listing to the Unofficial Guide. Thank you.
HI Josh, This is a mobile website so it should work on any platform. Try Safari, Chrome, or Firefox. Though this is old news since APAP was in January.
At rock paper scissors (http://www.rockpaperscissors.biz) , we use seven Indiana University interns every semester. We are based in a small town of 80,000 have half the residents are students. They are dying for legitimate work-related experience but in a town like this it is very tough for them to find anything (especially in the music industry). We ask them to commit 10 hours per week for a full semester. Those that can commit to two semesters get higher priority and higher level assignments the second semester. Though some of the tasks are tedious, we try to ensure that they are learning about systems, computers, PR, journalism, music, website structure, database use, PhotoShop, research, office skills, problem solving, and more much of the time. If they stuff envelopes, they get paid. Otherwise, they are getting experience not money. If laws make it tougher for us to do it, we will have to change how we do things, and I think the interns will lose out more than we will. I think the value exchange is fair. My question is: why did this guy stay in this internship if he was getting exploited? Vote with your feet. Get out there and find an experience that you value. Tell jerks to shove it. No laws needed for that. Just some self respect.
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Please register on Facebook here: https://www.facebook.com/events/466341870076015/
Toggle Commented Dec 10, 2012 on APAP World Music Pre-Conference at DubMC
We find that in blogging you have to misspell things. Just kidding! Thank you for letting us know about the typos; I just fixed them. And thank you for the additional ideas. Hitting multiple sources and multiple media formats is a good idea (of course!). Reaching out to press in specific cultural and linguistic communities is good to. We are not as involved with marketing like postcards/flyers, but that is certainly a piece of the puzzle for having a nice turn out to generate word of mouth that may end up in the ears of journalists and show a packed happy audience when journalists attend your events. I guess we should have made it 11 items! :) Thanks for joining the conversation! - Dmitri
Thanks, Cal! It's great to get a journalist's perspective on all this. It's a fascinating transitional time, and it's good to hear what people need and why.
Hi Steve, If "sell out" means sell your soul for a dime (or a million), then I agree, Bob Marley did not sell out. We were really just playing with the idea that the relationship between art and audience is a dynamic and organic one. And when you are trying to expose a music form across cultural lines, you can engage in a sort of cultural translation. Aaron Bisman who runs JDub (http://www.jdubrecords.org) -- a compelling non-profit style label working to grow audiences for a variety of Jewish music forms, including many cultural hybrid approaches -- posted our Bob Marley article on Facebook and said he would have retitled it: "Collaboration breeds success OR You may be a genius but you don't know it all." I agree his title is more accurate, but we "sold out" ourselves in how we presented the article for a greater attention factor. A less colonialist view would be to say that Marley collaborated with someone who could help him with the "cultural translation" needed to expose his art to a larger and more international audience. All we really wanted to do with the article was push artists and producers to consider that there is an art of cultural translation that can simultaneously strengthen one's art as well as engage in the dynamism between art maker and audience enchantment. BTW I view "world music" not as a genre, but as a philosophy. It becomes less problematic. Yes, all music is world music (thank you, Marco Werman of PRI's The World). If you view all music through a global and cross-cultural lens, then you are using a world music lens. I also acknowledge that the term is used as short hand to say: music (usually) from somewhere else that retains some cultural connection to its root. But it becomes an endless cycle of semantics to engage in that conversation. So I sidestep it with this view of world music as a philosophy. The point is that there are artists and music biz professionals who like to explore the musical sounds of the local and/or the sounds of the world (traditional, modern, hybrid, whatever) and who want to see the audience for these sounds to grow through greater exposure, opportunity, and discovery. Anyway, thank you for the historical perspective--including raising sensitivity to how American racism has influenced the conversation! Dmitri Vietze, DubMC and rock paper scissors, inc. http://www.rockpaperscissors.biz
And thank you, Cal!
Steve, thank you for jumping into the conversation. What would reversing the argument proposed here look like? I'm not following. And how are these arguments loaded? The loaded part was using the term "sell out." And the point was really to turn it on its head. How would you reformulate the argument? Each artist needs to walk the balance of what aspects of their art they are willing to adapt to reach or grow an audience. But there is a tendency for artists today to feel like they do not have a big enough audience. The question is: what are you willing to do to grow the audience? Is it possible to evolve your artistic vision specifically to grow the audience WITHOUT compromising your artistic or other values? --Dmitri Vietze, DubMC and rock paper scissors, inc. http://www.rockpaperscissors.biz