the organizers of the annual summer open-airs lost his last hope about the possibility of holding their events this season. Team “Wild Mint” out of desperation took a documentary that viewers have called perhaps the most coherent, relevant and clearly articulated statement about the fate and situation of the music industry in a situation of pandemic.
it Turned out, when the bite of a rabid rooster, as they say, even for the production of films do not have to look for bright locations, apply special effects and hire expensive technical equipment. Internet technologies, which have become the main communication tool – to help you: important to establish a stable video connection, to collect a company of caring experts and understand the idea. The main part of the filming of the picture with the symbolic name “Music vs Covid-19 World Tour” was held recently on may 20 so that the full-length video presented to the public in the network piping – hot. To create Andrey Klyukin – producer of “Wild Mint”, indefinitely postponed, spoke to the brothers in misfortune, the organizers of other summer festivals, and from different parts of the world. This and the legendary Glastonbury from the UK, OpenAir St.Gallen of Switzerland, Colours of Ostrava (Czech Republic), from Russia – Sergey Melnikov (Director of Park Live, peradventure to 2021), Ilya Bortnyuk (tie largest St. Petersburg festival “Stereoleto” which he hopes to hold in September), Sergey Ilushin (the”Dobrofest”), Mikhail Shurygin (“Rock above Volga”). By the way, with the “Rock over the Volga” turned out to be doubly hurt. Last I checked, he was far in 2013, when the Russians near Samara entertained Rammstein. And suddenly the organizers happily announced on his resume, came as a “black Swan”.
the Film is especially made in two languages: interviews are in Russian with English subtitles and Vice versa. Representatives of the music business don’t lament not emotsioniruyut, but clear and to the point to speak about the current situation, leading to clarity, specific data, numbers, statistics, and build on this basis forecasts. Of course – not the most comforting. It is clear that, as to all the artists and promoters do not support each other online activities, to monetize them (at least in our country) very difficult. People didn’t used to buying the audio tracks on the Internet: most listen and download it for free without batting an eye. And it’s not that students are bad, it just so happened that we have not yet developed a culture to pay for music, perceiving it as a product, as a result of human labor. In contrast to Europe. Relatives of Andrei Grigoryev-Appolonova from “Simons”, the band #APPolonovGang not so long ago, told in an interview to “MK”, e.g.iMER, that somehow earned a day free festival in Germany 4 000 euros, having played just one song. The fact that the event had several thousand people, the song of the many that called, visited, and people immediately bought it online. The track costs 1 Euro, bought 4,000 people. We have to imagine is difficult. Musicians earn exclusively at concerts, so if in the near future to hold mass entertainment events and will not allow, the consequences can be dire.
Many comforted themselves at the beginning of the input restrictions that the summer will end and will return to normal, but, for example, Sergey Melnikov immediately realized that Park Live-given that the festival comes a lot of foreign artists, to fail. Other not too long deluded ourselves that even if we restrict ourselves to the lineup of the Russian performers, the technical preparations for the events of such scale should start much in advance (this is the construction of high-tech scenes, and logistics, and contract with the artists). Some specifics are possible only with a clear understanding of when they lifted the restrictions on these events. However, the domestic music industry continues to believe that the coronavirus that causes it to change, but still will not kill.
Are shown in the film compare to how the state supports the cultural sector. In Germany, for example, people of creative professions were paid 5 000 Euro or more, and for the rehabilitation of the concert industry will be allocated a few billion. Plus, 80% of the wages of those who due to the suspension of activities in this area were temporarily without work, are also covered by the government. We have, as you know, was a rather lengthy and somewhat vague promise of economic development to provide financial support to affected areas, including leisure and cultural sphere. But neither its volume, nor on what principle it will be unknown. Hope for the best is not necessary.
