"Lasciar perdere e aprire una pizzeria". Beppe Greppi, patron di Felmay, dice la sua sul produrre e distribuire musica folk in Italia. pioneer in music folk in Italy, after a diatonic accordion player passed since the historic La Rusa Ciapa, Beppe Greppi Robi Droli founded in the eighties. Since '91 the label became Felmay. In his catalog of the best things ever recorded and produced in our country. After the interview published on "Genetically Modified Folk" in 2003, it was important to update its view on the phenomenon of folk recordings in Italy.
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What Felmay year was for 2010?
"difficult year with a substantial decline in CD sales. The data from the industry organizations are clear: in Italy in 2009 there was a drop in sales of physical media of more than 50%, with a paltry increase of legal downloading of around 10%, have lost jobs in related music ... more than 20,000 people a FIAT! And we, unfortunately, we are not outside of this epochal crisis ...".
What business prospects for 2011?
"Already this first period of the year, outlines a further drop in sales. But without them, it is increasingly difficult not only survive, but also invest in new projects. "
What are the main problems of the sector?
" boring: the illegal downloading, copying, and disclose it, the economic crisis gripping the West and the consequent reduction of expenditure on goods "pleasure" (music, books), the lack of rules and laws. It 'clear that those who illegally download or burn does not realize that is literally "firing" of workers, killing their place di lavoro. Considerando tutta la filiera si somma un danno economico ed occupazionale enorme. L’IVA sui CD al 20% è una mazzata, è la stessa aliquota per le pellicce di visone, i SUV e gli orologi d’oro Cartier. La tanto sbandierata rivoluzione tecnologica (il downloading ) praticamente non ha margini di guadagno".
Cosa significa allora produrre e vendere questo ‘genere’ di musica in Italia?
"Bisogna premettere che questo ‘genere’ è sempre stato un genere di nicchia, quindi di scarsa circolazione e di per sé non remunerativo. Detto questo e vista la situazione di crisi, oggi produrre significa dover adattare gli investimenti e le risorse al ribasso, inevitabilmente. Ma prima di tutto è necessario individuare produzioni originali di qualità, sia nel campo più “tradizionale” sia nel campo della “novità” rivolta possibilmente ad un pubblico più ampio. Vendere è una parola grossa. Negozi tradizionali e catene sono assolutamente disinteressati, o perlomeno si fa’ una fatica pazzesca per poche copie. Altre strade sono i pochissimi negozi specializzati sopravvissuti e la vendita per corrispondenza. Il downloading legale in Italia è ancora poco usato, siamo il paese europeo con meno computer e con meno abitudine alle tecnologie. In Overall we are penalized much more than in other Western countries, where traditional music, even in crisis, have completely different movement. If we do not do export, which is a good measure of our turnover, and if we rely only on Italy, we would have already closed. Produce and sell this "gender" in Italy means to resist. "
then see how the record production in the future?
" Tough question, especially for an ultra-fifty like me. I think there will be a gradual shift towards forms of production hardly imaginable today. I think that for a while 'the CD will endure, until my age (or so) to buy it, then probably disappear. But it is the enjoyment of music that is irrevocably changed: either disposable, or liner. You will need to consider this scenario and adapt. I'm not a great frequenter of the Web musical, but one can not but notice the excessive proliferation of bands / artists who regard the network as the only way of spreading their music. Nothing wrong, even from a certain point of view, living self-management and living space for everyone, but it did not show anyone and you can get lost in a vast sea of musical ideas are often of poor quality. In the future I fear that the most adversely affected by this crisis era will be young artists who do not find anyone who wants to invest more resources in their proposals. The impression is that we are moving towards "free music", but then who will bear the costs of production? ".
from the viewpoint of folk in Italy, beyond the definitions, where are we?
"Frankly I do not see great new horizon. Is there any spark of interest related to the "mode" of the moment: today is the pinch, tomorrow I would not be so sure, and the klezmer pulled per un paio d’anni ed oggi è morto... Attendiamo un trailer pubblicitario con adeguata colonna sonora irlandese per resuscitare il cadavere della musica celtica...".
E, nello specifico, cosa pensi della ‘scena italiana’?
"Manca il ricambio generazionale e qualche idea nuova. Resistono i “vecchi leoni” ed è sempre un piacere ascoltare la professionalità, la padronanza del linguaggio musicale e la perizia vocale/strumentale: tuttavia mi sembra che la formula fin qui usata rischi di ripetersi un po’ stancamente. Qualche giovane artista/gruppo sta cercando di innovare matter and / or test new commingling: may like more or less, but I feel very, very important. There is now a considerable number of young artists who have a truly amazing technique, I hope to put the fruit in the best way, not only to astonish. "
He always make sense to you 'working' on traditional material?
"For me, I love this music, of course, yes. There are still plenty of room for improvement and adventure: one is the so-called traditional music has never been true to itself, has changed and has mescidata nel tempo; quella che più comunemente è chiamata così lo è “per definizione” ed è in realtà la testimonianza di un periodo storico/culturale ben preciso, direi quasi museale. Con passione e fantasia, tenendo ben aperte le orecchie sui suoni che circolano, si può ancora fare moltissimo. In più, ci sono strumenti musicali e repertori un po’ trascurati, che meriterebbero studio e applicazione. Interessante anche la via che sempre più spesso si sta seguendo tra canzone d’autore e suoni etnici".
Ma in fin dei conti la musica folk in Italia è poi davvero ‘popolare’?
"Considering the time, I would say not. I think we are touching a record low. On the other hand the media are like a wall of concrete that rejects any proposal in this regard. If these sounds and this culture Music have no way to move, it is clear that no one can thrill. Perhaps it would need some media event that calls the attention of the public. And then what has been lost irretrievably in general is the cultural curiosity, the desire to discover the passionate desire for something. Berlusconi is not dangerous to the bunga bunga is dangerous because he fell asleep the culture at large, including quella “popolare”. Pompei crolla, i tagli alla cultura sono stati una carneficina, il depauperamento culturale è fortissimo, le TV trasmettono solo porcheria. Mai più visto un programma musicale in TV degno di questo nome da decenni. Tocca ripensare ad Arbore, "Folk Italia" e qualche altra meraviglia del secolo scorso. Prego astenersi da X-Factor, grazie".
A tuo parere qual è stato l’evento più significativo degli ultimi tempi nel settore in cui operi?
"Vivo in campagna, lontano dal fracasso delle grandi città, dove forse qualcosa succede, quindi non sono un most frequent events. If we want to refer to musical events-media-globalization, well, maybe Afrocubism or Imagined Village on the music or movie Neapolitan Turturro. From rustic, like most of the Carnival Cegni or an afternoon of Trallalero to me: music Km to zero, we will come back, all, like vegetables and fruit, or else die poisoned ...".
If I were the Minister of Culture in the government of the country which interventions in favor of music promote in the 'prophetic' first hundred days?
"In primis una Legge sulla Musica che aspettiamo da anni e che ancora non si è riusciti a promulgare, né da parte del Governo precedente, né da quello attuale. E’ uno scandalo, siamo l’unico paese in Europa a non averla. Sono necessarie regole precise, qui invece si brancola nel buio ed ognuno fa’ quello che vuole. La proposta legislativa ad opera di Veltroni (mai realizzata) era partita male perché aveva chiamato a consulenza tutti i soliti noti (major discografiche, cantanti famosi ecc.) senza rendersi conto che la materia andava rifondata dal basso, ovvero creare le condizioni perché la musica fosse “agibile” e praticabile da tutti senza oneri gravosissimi e senza favori to those already too rich.
The proposal of the Government on the one hand, seemed to favor the already too rich (but come on!), the other to give the crumbs to the folk groups. Notwithstanding that the Public Lyrical absorb 90% of state funds, always. I would say was: elephants in 'Aida' at the Arena di Verona and more money to the territory, territory folk, rock, blues, jazz, classical.
There was and there is no trace of important steps such as dell'ENPALS reform, reform of the SIAE (re-commissioner for the hundredth time these days), the lower VAT discs etc.. On these points, I guarantee you, we're seeing things that you humans can not even imagine! Granted I hate the welfare state unnecessary and unwarranted extravagance, I consider a vital form of support to the industry representing our music to 'in foreign trade fairs, conventions and exhibitions industry: every time I go to an international exhibition and see a stand, for example, Finland's well-prepared, full of musicians with violin and kantele, all paid by the state, well, I is the nervous. And I know for sure that Finns take home some results. We Italians but we milked like cows with exorbitant fees in the stand organized by the same institutions that should promote: SIAE and associations in the head. And I do not understand why the State grants tax relief to the steel industry or the car and no music. Yet we were the land of beautiful singing, or not? Highly recommended the introduction of a serious practice of popular music (but not only, of course) in schools. As is the case worldwide. There may be some nice surprises. "
What music (authors) plays in this period?
" In recent bunch, in no particular order: Ali Farka Toure & Toumani Diabaté, Mercedes Peon, Sacco Society of Ceriana Jerry Garcia Acoustic Band. Tomorrow we'll see ...".
What advice dispassionately to an aspiring producer (and seller) record 'independent'? "Let go and open a pizzeria.
(March 2, 2011)
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