Showing posts with label maneletidbit. Show all posts
Showing posts with label maneletidbit. Show all posts

2010-05-06

Manele Tidbit #2: Loudness Wars

This is a series of uncorroborated rumours and ideas thrown at me from various people I've talked to about manele. Until I finish my research none of it is to be regarded as empirically sound, well-collected evidence, and I'm not providing any source for any of it. Yet! Please correct me if I'm wrong about anything.

No, not those loudness wars.

During the communist era the Roma were an almost completely silenced group in Romania. Not fitting into the idea of national unity, they were silenced, their culture considered crudely derivative of the Ottoman one and unsuitable in the new Romania. They were forbidden from playing their music, excluded from official records, barred from holding many jobs, and generally treated as second-hand citizens. After 1989 there should have been a change to all that but as we all know "free" capitalism and a racist social order doesn't work that way, and they were still consistently pushed to the lowest rungs of the social ladder, discriminated against at all levels, including officially.

But free speech did bring one big change: the Roma could now be heard.

Manele was the catalyst. Out of cars blared the music loudly. Off balconies. Huge speaker systems were set up. Suddenly the previously forbidden tones were everywhere, an immanent political statement reading: here we are.

For an elite that was continually used to nationalism it was extremely offensive. Not to mention the extreme racist right, and to music snobs and emos. Together participants from these groups formed an unholy alliance of "anti-manelisti" on the web, quite well organised, which ran events and planned activities to silence the Roma again. Their most famous action - which should earn them both grudging admiration and scorn from an IT-concious crowd - was a malware virus specifically designed to delete manele MP3s, but in this context, another of their more creative ideas is perhaps more interesting: they planned a counter-attack in loudness. Not long ago, the call went out to put up speakers that blared Mozart (!). Can you imagine a more fantastic image of a culture war, crude gypsy music and eurocentric elite music battling over the soundscape of the city?

Of course, the whole silly dichotomy is queered up by the roma, who are always the most cunning ones after centuries of marginalisation. Because the thing is, Mozart is also manele. Anything can be manele. And here is the video to prove it, if you ignore the gaming noises in the first 30 seconds: a great manele cover of Mozart's 40th Symphony.

Manele Tidbit #1: The Manele Economy

This is a series of uncorroborated rumours and ideas thrown at me from various people I've talked to about manele. Until I finish my research none of it is to be regarded as empirically sound, well-collected evidence, and I'm not providing any source for any of it. Yet! Please correct me if I'm wrong about anything.

Everyone and their dog wants music industry reform these days. Looser copyright, alternative business models, customer interaction, donation systems. well manele has all these things, and has for a long time. The future may be on the internet, but it's also among the discriminated roma in Romania...

The sales of CDs are an incredibly small source of revenue here. Official 150-track MP3 CDs, selling for around 15 lei (€3), barely recoup manufacture and distribution costs, and have thus totally undercut the market for any piracy. There appears to be no copyright enforcement at all - people happily copy each others songs, in cover versions or even note-by-note, and of course manele is built to an incredibly large extent on "plagiarised"/transcultured musical elements from surrounding countries and across the world. Copying and being copied happens all the time.

And yet the performers and production companies are doing extremely well. How? By live appearances catered to functional needs, by customised music à la dubplates, by direct donation from listeners. All appearing in this video, sorry about the sound:



Here we see Florin Salam ("Florin Sausage", I love these artist names!), performing at a wedding. Wedding receptions (and christenings) flaunt their wealth by booking the biggest stars, of which Florin definitely is one, and of course buzz gets generated from wedding to wedding and the value of the performer is incredibly high, upwards of €10 000 a night for a man of Salam's calibre.

This revenue stream is the complimented by the curious practice - as seen in the video - of throwing lei bills at the performer and his band. In exchange, the singer incorporates the name of the donor into his performance, freestyle. Thus the singer gets money and the donor gets to support and interact with the star, plus get prestige in the eyes of the fellow party guests.

Does any of this sound crass to you? Well, think about it - how is it any different from various proposals of how to generate a living for musicians in the digital age?