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LOgO on Xingfu Road: R.I.P.

by Jeremy Breningstall Sunday 23 January 2011
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Though I live a 20-minute walk away, I was never a great patron of LOgO. But when I heard they were reopening for a last hurrah Thursday, I had to swing by for a drink. In a neighborhood full of malls and Starbucks branches (I think there are eight of them within walking distance of my house), LOgO offered something unique and unpretentious for the wee hours- and a good jamming station for local and indie bands. The Xujiahui neighborhood (also losing Mao Livehouse) is particularly desperate for culture. LOgO’s cultural niche will now be relocated to partner station Lune, according to Laybozi.

 

By Jeremy Breningstall

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A Conversation With The "Godfather" Of Taiwan And China's Music Industry

by MusicDish China Monday 17 January 2011
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As China's stature on the world stage grows, so is the attention being paid to its music industry, and for good reason: With 620 million mobile users and 420 million Internet users, it already has the potential to be the world's largest music market.  A consumer population that massive will also have growing influence overall on what the world listens to. What is much less understood is that when one looks at China's music industry, they are really looking at a mirror image of Taiwan's, which has played a pivotal role in the development of modern China during the last 60 years.

Consider these numbers:
* Over 80% of the music created or produced in the Greater China market comes from Taiwan.
* Taiwan's music repertoire is responsible for 70% of music sales in Mainland China, while international artists account for 12% and Jpop/Kpop sales account for 4% of sales in the China market.
* In the 2009 live performance market in China, 55 concerts featuring Taiwan artists generated US$210 Million in ticket sales.

In order to better understand this often underlooked music market, I had the opportunity to interview Mr. Tsu-Tsu Wu, who is part of the Taiwanese delegation attending this year's MIDEM conference. In addition to being President of UFO Records, Mr. Wu is the Founder of The Association of Recording Copyright Owners (ARCO) and The Music Copyright Society of Chinese Taipei (MÜST). In recognition of these outstanding achievements Mr. Wu was presented the "Special Contribution Award" at the 16th Golden Melody Awards (equivalent to the Grammy Awards).

Mr. Wu was also the co-founder of the Rock Record together with Sam Duan. Later he formed UFO Records and produced, released and managed many top-chart selling pop artists. In 1993 he sold UFO Records to Warner. He was president of Warner Music in the Greater China Region for 5 years. During his time at Warner, Mr. Wu released the first Chinese international pop album, Dadawa "Sister Drum", to the world market. He also arranged Dadawa's performance at MIDEM during the mid-1990's. Sister Drum sold over a million copies worldwide. This album remains today as the only Chinese album to have sold over a million albums worldwide.

I'm pleased to share Mr. Wu's insights on Taiwan's pop music industry, it's influence on the mainland, the role of new medias in developing talent and MIDEM 2011. But I'd first like to thank John Solakian and Yvonca Ning for allowing me to share the interview in both English and Chinese.

吳楚楚訪問摘要

You've been a key figure in Taiwan's music industry over the last 20 years. How has it influenced mainland China over that time? Is it likely to wane in the future as China's culture sector develops?

以吳楚楚先生在過去二十年台灣音樂產業深度經驗,您認為台灣過去以來如何影響中國音樂產業發展?台灣這樣影響的狀況會隨著中國文化方面發展逐漸降低否?

台灣跟大陸因為使用共同的語言,所以早在兩岸開放探親前,台灣流行歌曲已經透過其他途徑傳入中國大陸,例如鄧麗君或是早期校園民歌,以至後來的蘇芮、小虎隊也相繼運用商業操作模式進入大陸市場。

Because Taiwan and China share the same language, Taiwan's pop music was able to enter China even before the relaxation of travel restrictions. The likes of Teresa Teng and the early campus folk songs, and later Julie Su and Small Tiger Ruan, all used various commercial channels to enter the China market.

早期的市場沒有年輕人聽的音樂,不管台灣或是大陸的年輕族群會自行尋找想聽的音樂,所以在資訊缺乏的情況下,還是能造就鄧麗君如此流行轟動的紀錄,可見台灣流行音樂影響力深遠。

Even though the market initially lacked the types of music young people sought out, Taiwan's and China's youth found ways to get desirable music. Even back then - and without exactly knowing how to go about it - the fact that Teresa Teng could have such hits in China showed how Taiwan's pop music could have a profound influence in China.

近十幾年來,大陸開放後,台灣的流行歌手進入大陸演出,台灣流行音樂流傳更為廣泛,對大陸而言,音樂的技巧並不難,主要的差異來自於文字 和知識文化的門檻,因為台灣注重基本教育和知識的水平, 所以台灣可以培養出優秀的創作人,寫出詞藻優美的歌詞, 反觀大陸因為戰爭、文革,創作不及台灣有深度,這也是大陸流行音樂目前無法超越台灣的原因。

With the relaxation of travel restrictions to China over the last 10 years, and with Taiwan's pop artist now performing in China, Taiwan's pop music has become even more popular. In China's market, music skill is not necessarily the key, rather it is the difference in cultural level that has really had a major impact. Taiwan has focused heavily on education and has produced many people good songwriters. By contrast, China went through wars and the Cultural Revolution; therefore, the level of songwriting is not as deep as in Taiwan.

最原始的流行音樂基本架構其實很簡單,一個人哼哼唱唱就能產生,但現在因為媒體力量的介入,傳播力度跟音樂結合才造就新的流行音樂,好音 樂仍需經過包裝和適度的修飾才能成為流行。反觀大陸則是跳躍式,許多普羅大眾琅琅上口的歌曲,如:「兩隻蝴蝶」、「老鼠愛大米」都是發跡於網路後成為經 典,這部份在台灣是比較少見的現象。

The original pop music structures were very simple; one could humm and produce a song. However, with the involvement of today's powerful media, promotional efforts and music have merged to create new pop music. Still, good music needs packaging and a certain degree of polish in order to become popular. By contract, Mainland China has jumped ahead with highly popular songs like "Two Butterflies" and "The Mouse Loves the Rice" that become instant classics after their internet releases. This type of situation is rare in Taiwan.

大陸消費市場有雄厚潛力,這樣的市場廣度勢必會造就一些新的事物,對於音樂的包裝及商業操作技巧,大陸仿照台灣的模式已經發展成熟,但在 創作部份仍需長時間累積才可能培養人才。 雖然台灣的音樂產業人員紛紛赴大陸發展,會加速大陸市場商業運作機制的成熟,結合本身市場所製造的媒體效果也會更加強大,但創造與發明仍是台灣的優勢,台 灣具有自由的創作環境,有無限的可能性,即使做音樂並不一定賺錢,台灣仍有蓬勃的人力投入音樂產業。

The large consumer market potential in mainland China will surly create new opportunities for further market development. Yet, as the packaging of music and business operations skills - patterned Taiwan's models - become matured, Mainland China's creative talent will still take a long time to develop. While many Taiwan music professionals have gone to Mainland China and helped the mainland market accelerate its commercial business maturity, their impact will be more powerful when combined with the powerful media effects the market creates. Creation and invention continue to be Taiwan's strengths. Taiwan has a free creative environment with limitless possibilities. And even though making music may not be profitable, there are still healthy amounts of manpower entering the music industry.

南韓的文化創意產業因為政府支持、企業贊助,在短期內發展十分顯著,我認為台灣政府應該致力於塑造公平競爭的環境,讓有才能、有創意的人有發揮的空間。大陸雖然文化面仍在追進之間,但有強勢的統治單位,自由度較低,而相對的政府公權力強大,能讓政策有效率的推展。

Through government support and business sponsorship, South Korea's cultural and creative industry developed significantly in a short period of time. I believe Taiwan government should work to shape a fair competitive environment where talented and creative people have space to work/create. Mainland China may be slightly behind, but it has political will; with a lesser degree of freedom, government authority is relatively strong and can effectively push policies through.

Is it likely to wane in the future as China's culture sector develops?

台灣這樣影響的狀況會隨著中國文化方面發展逐漸降低否?

大陸以台灣的流行音樂為主標,也借重台灣人才做音樂,從兩岸近期頻繁的互動看來,台灣以創意、文化內涵佔有優勢,但以大方向來看大陸仍具未來發展的最大優勢。

Mainland China's pop music standards are based on Taiwan's. It also draws on Taiwan's talent to produce music. From the recent cross-straits interactions that frequently appear, it is evident that Taiwan's creative and cultural content retains its lead, but in terms of its general direction, China will remain with the greatest advantages for future development.

From the internet to mobile phones and 'Idol' competitions, the Taiwan music industry has seen many changes over those same years. Foremost have been the changes in how consumers interact with music. Do you feel that these changes have had an overall positive or negative impact to breaking talented pop artist?

從網路到電視造星競賽,台灣見證了這樣的變化發展方向。而最重要的就是消費者改變了跟音樂之間的互動關係。您覺得整體而言,這些改變對於一個有潛力的新秀是正面還是負面的衝擊跟影響?

音樂真正成為一個產業並沒有非常長的歷史,從愛迪生發明留聲機開始,唱片工業的發展不過百年,技術不斷推陳出新。從黑膠唱片發展至今,本質 仍然是歌詞、音樂、歌手,重大的改變在於新媒體傳播的產生,以前唱片公司整體的功能,現在個人就可以做到,工具的改變對唱片市場是很大的衝擊。

An organized functional music industry was not formed very long ago. With the invention of the first phonograph by Thomas Alva Edison, it is at most 100 years old. From the vinyl record to today, music to people, the essentials remain the same: the lyric, the rhyme and the artist. If observed carefully, it is just new means of promotion and marketing that have brought revolution to the industry. Unlike the past, artists do not need record labels to release music - they can now do it from their basements.

以往做好音樂就有一定的把握賺錢,現在卻不成立。相較於戒嚴時期因為媒體由政府控管,唱片在市場上反而有更多露出,以填滿娛樂缺乏的現 象。現今發行專輯在宣傳上需要投入更多的資源、花更多的錢才能達到預期的效果,而且難以回收。但人還是需要音樂,雖然媒介的改變影響了創作人以及從業人員 的經營模式,但商業的產值也在其他領域體現,不限於發行實體的獲利。這一個行業普遍而言,是百分之五的人賺了百分之九十五的錢,走在前端的人強勢佔有市 場,強化了娛樂產業的本質。

In the past, as long as you had good music, you were guaranteed to make money. But, this is no longer the case. During Taiwan's period of martial law, all media was monitored and controlled by the authorities. With such limitations, the marketing of music quickly achieved the best results in the shortest amount of time. Nowadays, music marketing has become far more costly and time-consuming, even while trying to achieve the same - or far less, promotional outcomes. But people still need music, and the media changes the impact to the music creator and the music business model. But the industry's value has also appeared in other areas; it is not just physical products generating revenue. Currently, 5% of the population makes 95% of the profit. So whoever leads the market occupies the greatest market share and enhances the entertainment business.

綜觀在星光大道等選秀節目的素人以及在部落格發表創作的個人,走紅方式有別於以往,選秀節目出身的藝人,其優勢在於跟媒體結合,已率先佔 有通路。 有的音樂人不喜歡站在幕前,因為追求的理念與目的不同,歌藝不好的人若懂得商業運作也有機會走紅。喜歡音樂的人自然而然會跟音樂走在一起,產生許多想法並 激盪出火花。但也不是每個例子都成能立,一切仍取決於藝人本身的特質和努力,所謂的一夕爆紅並非完全僥倖。

If we look at those artists from the pop idol shows and the individuals from blogs, the ways they have become famous are different from those in the past. The pop idol artists have the advantage of connecting with the media and have priority in terms of distribution. Some music talent does not like being on stage as the pursuits of their ideals and goals is different, while others - not as talented - may know how to use the commercial operation to make themselves famous. But, those who truly love music and who naturally go after it - will create new ideas and 'send off sparks'. Of course, not everyone can succeed; it is still depend on the artist's own character and hard work. It is almost impossible to be famous overnight.

As a president of Warner Music in the Greater China Region, you released Dadawa's "Sister Drum", the only Chinese album to have sold over a million copies worldwide. What were the ingredients to Dadawa's worldwide sucess in the mid-1990's? Will it be replicated in the coming decade?

阿姐鼓是在您擔任大中華地區總經理的時候推出的專輯,也是唯一華語演唱專輯在全球首度超過百萬張銷售成績的專輯。您覺得是怎樣的綜合因素造成這樣的成功案件?在未來十年間,這是可以被複製的成功案例嗎?

當時主要是自己喜歡這個音樂,加上跟華納合作互動密切,我們在香港當著所有華納高層的面讓他們聽這個音樂,利用華納的力量相輔相成,因為這樣的緣份,才讓全世界聽到她的聲音,這張專輯後來入圍BBC世界音樂大獎,是天時地利人和的結果。

At the time, it was mainly because I personally liked the album, plus I was working with Warner closely. I had the opportunity to present this album in Hong Kong to Warner's top executives and take advantage of Warner's complementary strengths. As a result of these favorable events, the world had chance to listen to her music and the album was later a finalist at the BBC World Music Awards in the Best Album category.

之前蘇芮、小虎隊要進大陸時,當時有個在大陸引起旋風的歌手崔健,他的批判意識和搖滾精神對剛開放的大陸造成衝擊,成為當時最具代表性的 人物,引起世界注目。相較之下,即使在台灣紅極一時的歌手,在海外不一定有人完全買帳,但未來大陸成名的歌手,其他國家卻很難忽略,這或許是大陸的優勢, 所以台灣的歌手除了要努力在台灣成為第一,也要想辦法在整個華人世界成為第一。

Previously I mentioned Julie Su and Small Tiger Ruan - during that same period there was a revolutionary artist in China, Cui Jian, whose critical consciousness and rock spirit created a great impact in China, making him the most representative figure and drawing worldwide attention. In comparison, while the top artists in Taiwan may not receive full attention from the international market, in the future if they become famous in China, they will have the world's attention. Perhaps this is the advantage China really has. So, not only must Taiwan's artists work hard to become number one in Taiwan - they must also work to become number one in the greater Chinese world.

You also arranged for Dadawa's performance at MIDEM in the 90's. What role will MIDEM play in 2011 for Taiwanese music companies and artists?

吳先生是第一個將阿姐鼓推展到世界舞台,也在九零年代安排朱哲琴於MIDEM演出,這次2011年台灣音樂/藝人將在MIDEM扮演什麼樣的角色呢?

金曲獎藝人前往MIDEM展演是值得鼓勵的,台灣需要把好的東西帶出去,是否經得起考驗要到國際上去檢視,真正有潛能的藝人,勢必能有所發揮,同時也要多方發展,MIDEM只是其中之一,應該無所不用其極地推廣。

The winners from the Golden Melody Awards should have the opportunity to perform at MIDEM - this should be encouraged. Taiwan needs to showcase its good work and determine which artists should test the international market. The artists with real potential should get exposure in as many different venues as possible - MIDEM is one example - and be promoted everywhere.

對於本次前往MIDEM論壇的目的,主要也是想多方涉獵新知,很多事情沒有經驗未嘗不是好事,勇敢嘗試可能會遇見不一樣的契機,不該劃地自限。對於能有機會能前往MIDEM感到很榮幸,代表台灣參加論壇壓力雖大,但也希望可以讓台灣被更多人看見。

My purpose in attending MIDEM is not only to speak at this Forum, but is mainly to research more new knowledge. There are a lot of unexplored areas; it would be interesting to check them out and see what opportunities develop. I do feel great an honor to attend MIDEM and speak for Taiwan at the Forum, through this my hope is that more people will recognize Taiwan.

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