OffBeat is a magazine that focuses on local music and culture. Most of us who work here are so immersed in everything New Orleans that we tend to forget that there a lot of people out there who just don’t give a damn about “real” music.
Not only has the educational level of the population been dumbed down, cultural awareness and appreciation for our unique music heritage is also on the wane.
OffBeaters (no laughs, please) tend to get stuck in our little musical groove/rut and we think the world revolves around music (our world does).
There are a lot of folks who glorify local musical culture, and thank God for them: the French Quarter Festival people, the Jazz & Heritage Foundation, WWOZ, the Backstreet Cultural Museum, the Mardi Gras Indian tribes, the Krewe du Vieux—and all the Mardi Gras krewes, for that matter—and countless others.
It’s become trendy to use “culture” in marketing of this city and state. For example, Lieutenant Governor Mitch Landrieu and the Louisiana Department of Culture, Recreation and Tourism recently held a “Cultural Economy Initiative Conference” in New Orleans that attracted about 1,000 people: artists, musicians, non-profits, politicians, businesses, and experts in the field of cultural marketing and development.
A lot of good ideas may have come from this conference—we’ll see over the next few years if those ideas are implemented. But most of all, it demonstrated that the people in Baton Rouge are starting to think of our creative culture in a businesslike way, and not just a way to put a pretty plastic coating on their marketing efforts. The concept was one that tried to examine the needs of the artistic and cultural communities, and how to help them make a living.
Something that never ceases to amaze is the lack of communication between artists (in my world, musicians) and the business community. For example, a recent email passed around the New Orleans music community from Teresa Torkanowsky blasted local club owners: “How can we ignore the poverty level income of over 85% of our city’s musical icons, while allowing music clubs and bars in the city to offer them the demeaning remuneration of the [payment from the] door as compensation (usually minimal) and in some instances, only the tip-jar passed among the audience? These establishments exploit our city’s musical giants and cultural heritage, as they continue to rake in the proceeds of bar and food sales. This equation is off balance.
“Some contend that if the musicians in New Orleans continue to perform under these conditions and do not resort to boycotting these establishments, then the blame lies within. Let’s face it, do they have any other alternative to put food on the table, when those who should care, do not wish to see?
“Where are those in charge? There are elements of the Nagin Administration that are supposed to represent and protect the cultural legacy of New Orleans. How can they continue to ignore this city’s embarrassment, neglecting to bring this travesty to the foreground, while continuing to blindly promote and embellish the image of jazz musicians for the purpose of attracting tourists.
“Someone has to step up to the plate and be heard. Until we do, our motto will continue to be, ‘We can breed ’em but we can’t feed ’em.’”
The fact that most musicians live in poverty isn’t just confined to New Orleans. Yes, there are unscrupulous club owners who rip-off musicians. But then there are some musicians who don’t show up on time, show up drunk or who don’t care enough to promote their shows. Most of the club owners we deal with have a hard time making ends meet too. The blame lies on both sides. Musicians need to think like business entrepreneurs. No one is going to take care of you but yourself. Any musician can learn the basics of business at the New Orleans Musicians’ Co-op, which has been so successful that it’s expanding to Shreveport, Baton Rouge and Alexandria.
Putting the onus of responsibility on city politicians is a self-defeating attitude. You can’t depend on government to “take care of you.”
Over the years, I’ve noted that the music industry is way too fragmented here to adequately have representation to the government and mainstream business community. Understand how each other’s business works, operate within those frameworks, and progress will ensue.
BEST OF THE BEAT
Enough of my “taking care of business” rant: by the time this issue of OffBeat hits the street, we’ll have finalized the details for our annual Best Of The Beat Music Awards. Winners of the Best Of The Beat Awards are determined by you. We sent out about 4,000 nominating ballots in late November. Results have been tabulated and you can cast your ballot for the bands and CDs that you think were the best of 2004 at www.wwltv.com. Voting ends on January 14.
The Best of The Beat Music Awards will be held at Generations Hall, 310 Andrew Higgins Drive on January 21, 2005. The line-up is great this year, as usual (see page 8), and is dedicated to the great, talented, perfectly irascible Clarence “Gatemouth” Brown, our Lifetime Achievement Award Winner in Music.
We know you’re going to enjoy the great spectrum of entertainment that New Orleans musicians showcase at this event. If you are a local musician or are a member of the music community, this eventbelongs to you; invitations will arrive shortly. If you’re not a musician, but love music, this is a way to show your support for local musicians by coming to the event. The event has been called “a mini Jazz Fest!” Tickets are only $15 in advance ($20 at the door) and are available by calling (504) 944-4300 or purchasing online at offbeat.com.
We’ll also honor music business winners at the Music Business Awards on January 19 at Harrah’s Earl Turner Theatre. Mr. Larry McKinley is our Lifetime Achievement Honoree.
