[Dixielandjazz] Where are the young people?

Fri Oct 28 20:00:46 PDT 2011

I did run across them at a street festival and they were collecting sales 
tax and renting a spot but when I was there they were just playing their CD 
over a speaker system and not playing.  They may have at some point but I 
was playing on the other end of the park.  Each of the three times I saw 
them they had some kids hawking CD's in the crowds.  With the exception of 
the park they definitely were a hit and run operation.  They would play for 
about 45 minutes.  Long enough to gather a crowd, sell CD's and get out 
before being thrown out.
Larry
StL
----- Original Message ----- 
From: "Dixiejazzdata" <dixiejazzdata at aol.com>
To: "Larry Walton" <larrys.bands at charter.net>
Cc: "Dixieland Jazz Mailing List" <dixielandjazz at ml.islandnet.com>
Sent: Friday, October 28, 2011 6:42 PM
Subject: Re: [Dixielandjazz] Where are the young people?


>
>
> Hi Larry:    Interesting thing about these bands,  they never asked to be 
> paid, and played 200 days a year average,
> at flea markets, community street festivals, and any gathering that had a 
> large audience to play to at street level, they also liked to play at 
> tourist attraction areas like Fishermen's Wharf's where they often took in 
> over $3000.00 in a day not bad for a five piece acoustic band.
>
> They took tips, when offered, but did not solicit them, and sold cassettes 
> and hand made flutes and eventually expanded
> their wares to include Peruvian clothing, as an offshoot business for 
> their wives, at that point they actually started buying
> vendor booth space at the street festivals and paid sales tax on their 
> operations as well.  They also filed and paid their
> USA income taxes every year as well.  They had confidence in their talent 
> and ability to attract an audience and hold them
> long enough to get them to spend money.   And like a former poster said 
> they did indeed expand it all around Europe, showing
> that it is definitely possible to export culture and support it with out 
> government grants and such if the musicians are really good
> and willing to work hard to make it happen.
>
> Of course we don't see much of that in OKOM these days anyway.   Many of 
> The legends of OKOM however, probably did it more like the Peruvian's
> and often for a lot less money too.
>
> Bart,
>
>
>
>
> During a tour of South America we stayed at a resort in Ecuador.  The 
> hired
> help. waiters etc., put on a show that night that just blew me away.  They
> played all the traditional instruments such as pan pipes, ocarinas and
> various string instruments.  Their performance was highly professional.
>
> I wonder how many of us would agree to bus tables for the opportunity to
> play?
>
> You could look at that two ways. A clever resort owner exploiting 
> musicians
> to do double duty or that they are providing employment for talented 
> people.
> Who knows?
>
> This was also at almost 10,000 ft. and one thing I noticed were huge
> diaphragm movements of the flute players.  I probably couldn't have even
> blown a flute at that altitude.
>
> I thought the Indians that were touring here were very good too.  I bought 
> a
> couple of their CD's, so Thanks Tom.
>
> There was an interesting thing that happened at a couple of our concerts.
> Little girls mobbed the women in the band for autographs and just to see
> them.  I guess they had never seen a woman in uniform.  The little girls
> came from girl's schools.
>
> The sad thing was the street girls who sell candy, cigarettes and gum or
> some kind of fruit at the concerts.  There is an incredible gap between 
> rich
> and poor there.
> Larry
> St.L
> ----- Original Message ----- 
> From: "Dixiejazzdata" <dixiejazzdata at aol.com>
> To: "Larry Walton" <larrys.bands at charter.net>
> Cc: "Dixieland Jazz Mailing List" <dixielandjazz at ml.islandnet.com>
> Sent: Thursday, October 27, 2011 11:06 PM
> Subject: Re: [Dixielandjazz] Where are the young people?
>
>
>> Being a good personal friend of Tom Wiggins, I can  say that yes he was
>> influential in launching a very successful Peruvian band on a career
>> building
>> campaign across the USA  and the band leader of that Peruvian Band
>> "Inkari" launched a franchise operation based upon the success of their
>> marketing plan from Tom Wiggins.    which netted them in excess of
>> $200,000.00 a year in income playing only in the daytime,  Just think 
>> what
>> might have happened to OKOM if more of us had even inquired about that
>> plan, paid attention to that plan and done the same with OKOM.    God
>> Forbid OKOM might be popular all over the world as well.  :))   No young
>> people do not want to hear this old timey music.  The Peruvians didn't
>> think the Americans wanted to hear them either at that time.   But they
>> were soon embraced by young and old alike.   How many OKOM bands on this
>> list are making $200,000.00 a year or more just playing music with a five
>> piece band ?    "There will always be a good market for Good Music"
>> ...Tom Wiggins  but somebody has to get off their butt and take it to
>> them.
>>
>> Indeed send the boys around to see if Tom Wiggins might take on OKOM too
>> :))
>>
>> Cheers,
>>
>> Bart,
>>
>>
>>
>> Pat Ladd wrote on 24/10/2011 11:04:38:
>>
>>> inundated by Indian flute groups from Peru and
>>> Ecuador.  >.
>>>
>>> I dont think there can be anyone left in Peru. Those groups are all over
>>
>>> Europe and England. (I know that most Americans think that is the same
>>> thing. It is not!)
>>>
>>
>> I seem to remember Tom Wiggins saying he was responsible for the "Pan
>> Pipe" franchise. Maybe someone should send the boys round :^)
>>
>> Andy Ling
>>
>>
>>
>> -- 
>>
>>
>>
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>
>
>
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