Archive for June, 2010

A Talk With Jason Mraz At Music Matters Asia

Sunday, June 13th, 2010

By Eric de Fontenay
http://china.musicdish.com

When Music Matters founder Jasper Donut broke the news to me that two-time Grammy winning artist Jason Mraz would be doing the conference finale, I have to admit that I wasn’t all that familiar with him. Oh, I had heard his song “I’m Yours” a couple of times and seen his name pop-up on Mi2N as a Billboard-charting artist. But he, as so many major label artists, simply hadn’t blipped on my radar screen. When I was informed that we’d be one of three international media outlets to have a private interview with the songwriter, I knew I had some research to do. The more I read about him, the more I looked forward to our meeting and hopefully understanding something of the secret that’s made him an overnight star in Asia.

While billed as “an international superstar,” his demeanor is if anything, a picture of humility. Warm and approachable, he’s the type of guy you’d imagine sitting with around the campfire, discussing why music matters. And on the subject…

“I think music is the closest we’re ever going to get to agreeing on what God is. In most cases, it’s invisible, we only listen to it, and it has this power to move us, transform us, heal us, inspires us to contribute. Music, this invisible force, gives us an opportunity to raise awareness, raise money. I think even if you’re deaf, you can feel the music vibrating through your soul. I think that it has a really powerful purpose.

“Our word, what we articulate, puts our thoughts into action, actually is a manifestation of that higher energy that fills us. So to put that word into song takes the message even further. I think when you speak it, it has a tendency to eventually just stop, but when you sing it, it’s like you set it into motion forever and it just orbits the earth or it goes out into space.”

Jason’s third album “We Sing. We Dance. We Steal Things” has proven to be a hit in Asia, receiving multiple platinum certifications in Korea (6x) and Indonesia (4x) as well as platinum certification in Hong Kong, Malaysia, Singapore, Taiwan and Thailand. If that were not enough, the single “I’m Yours” has sold close to 5 million ringback tone downloads in South East Asia alone. So to what does he attribute this success?

“You know, I really wish I knew because it’s not like I set out ahead of time with all of these elements in mind. I think if anything, the song “I’m Yours,” did all the work, carried the weight. Because basically anywhere I showed up, people were already responding. I certainly didn’t go there ahead of time and do the groundwork, no.

“Granted, we do have extraordinary companies. Warner Music had an extraordinary team spread out all across Asia that got the song out there to people. But also, the song was shared by fans and music lovers. Even before we got on board with our record companies, the song existed in the form of a demo which was available on the internet.

“So this story is really the success of a song and how it was the right message at the right time. It was a song that anybody could grab. It sounds like a nursery rhyme - a very simple melody and the message is all the sunshiny elements for peace and love. I think when you look at the history of music, there’s always that song reoccurring - songs of peace and love and togetherness. So, really this is the story of a song, and I’m grateful that I get to be a part of that.”

Part of that success though has to be traced to collaborations he’s done with various Asian artists in the past. “When I did an extensive Asian tour last year, in every city I had a collaboration waiting for me because we had a duet on the album. It gave me the opportunity to work with female artists in many, many different countries which was exciting. I was also here to work with Japanese artists and a Chinese artist Khalil Fong when I was here last time.”

Another element of his success is his use of social media sites like MySpace and Twitter to communicate with fans. This was actually a topic during the interview regarding a Twitter post he had shared with his fans about how the new album would be different from his previous works.

“Well, it’s funny because when I make a record, I feel like I make the same record every time. But what’s different is the time in which the album occurs, and it’s certainly from my life. So what I said about this album being different than others is that so far, I haven’t felt like I’ve had to sit down to write it - it’s just being written. When I wake up in the morning, more verses get added to it, and that’s kind of a bizarre experience for me. It’s like something else is writing it and something else is giving me these messages, and I love that.

“So that was really my intention with that Twitter post - that this album was going to be different. Sonically, I hope it’s different in that I’ve yet to really make an album that explores the full capacity of my vocals.”

Jason will in fact be finishing work on the new album this June and July… but more about that in Part 2 of this interview later in the month.

Music Matters Scoop: China’s Plan To Fight Piracy

Wednesday, June 2nd, 2010


from right to left: Christopher Martius, Bill Zang,
Yushu Le Guyader and Thomas Reemer

By Eric de Fontenay
http://china.musicdish.com

I don’t usually go to conferences expecting to get scoops. Oh sure, you have lots of announcements - so and so have partnered, such and such launches new service, blah, blah, blah… Didn’t he announce that at another conference last month? Even during last year’s Music Matters, the launch of Google Music China had been covered well beforehand, though it was neat to actually get a demo. So I had to literally stop and rub my ears when I could have sworn that I’d caught a scoop at this year’s Music Matters.

The setting was a presentation by 88tc88, which had introduced at SXSW its Web-based translation service for Western bands wanting to enter the Chinese market - more about that here. Joining Chairman Thomas Reemer, CEO Christopher Martius and Partner Yushu Le Guyader (who provided translation) on the stage was Bill Zang, Vice President at Shanghai Synergy Culture & Entertainment Group. Owned by one of the largest media conglomerates in China, SSCEG is at the core of the Chinese government’s efforts to develop comprehensive multimedia entertainment services for its domestic market while fighting piracy and addressing royalty collection.

Let me stop here to remind readers of a little fact. Until relatively recently, copyright in China was illegal. All intellectual property belonged to the people, ie. government. If you wrote a book for example, the government would ‘own’ it and reap any ‘profits,’ while providing the author with a salary, housing, medical and education. So when some rant on about piracy or the lack of enforcement, this should be put in context. The Copyright Law of the People’s Republic of China was adopted in 1990 - we in the US on the other hand have had a Copyright Act on the books since 1790 and we still can’t seem to get it right!

On the other hand, the government does often seem capricious in its enforcement of copyright. They like to point to last year’s shutdown of 200 pirate movie sites, including the largest video BitTorrent site. It just so happens though that the crackdown coincided oh so nicely with the launch of CCTV’s major online video initiative. Nor is it clears whether the shutdown didn’t have more to do with fighting pornography - a much bigger taboo for the government - rather than piracy. Having said that though, the fact is that for both economic and diplomatic/political reasons, the Chinese government will increasingly get serious, get tough and tackle the IP issue in the broad sense, not just piracy.

For one thing, China is no longer the low-quality, copycat manufacturer people still seem to imagine. As its economic power has grown, so has domestic innovation. It is following the path of Japan and South Korea, except at warp speed. You’ve certainly heard that they now have the fastest train, 2nd most powerful computer,… you get the picture. Nor is all this growth in IP restricted to patents & gadgets. Anyone who has hung out at Beijing’s indie clubs like D-22 and Yugong Yishan, or strolled through its 798 Art District quickly realizes that China has a big cultural muscle it is anxious to flex. So it will become an economic imperative to protect its intellectual property which the government will increasingly view as a strategic asset.

Secondly, the Chinese government wants to attract more Western culture and the know-how that comes with it. To do this, they are building three national music industry parks, located in Shanghai, Beijing, and Guangdong that are slated to be operational in 2011. These high-tech parks will serve as performance stages as well as provide facilities for Western and Chinese musicians and professionals to collaborate. But of course, in order to attract Western musicians and firms, they need to tackle piracy.

This is all good, but it is at this point where I start get sceptical. It’s fine to talk about tackling piracy and shutting down sites, but without a strategic plan to develop a legal market for IP content, it’s pretty much talk. So it was with a little surprise (shared by my friends at 88tc88 who assured me it wasn’t in the script) that I heard Mr. Zang get very specific and present the outlines of a plan: The Chinese government will use watermarking technology to embed a unique code into every creative works released - music, film, graphic,… - allowing the government to easily identify, fine and shut down websites peddling pirated material as well as track all plays for royalty collection and disbursement.

“That’s it?! Aren’t we doing that already?” you say. Sure, watermarking technology has been around for well over a decade and while not a panacea, has become an important tool in IP management and protection. But it is the fact that the government is publicly outlining a strategy and process to tackling the problem which is a watershed… and the scoop. Even more encouraging was the emphasis on using the technology not just to fight piracy, but also properly compensate rightsholders for the use of their music. Just consider that China has the potential to be the largest music market in the world, easily surpassing the US and Japan.

And unlike in the West, when the Chinese government sets its mind to something, it usually gets done.


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