By José Gandue @Gandour
After nineteen years of operation, the Union of Independent Musicians It remains a reliable institution within the development of the Argentine cultural industry and its surrounding environment. UMI is an organization of self-managed artists from diverse genres, spread throughout the country. Created in one of the most difficult years in the recent history of the Southern Cone, From its beginnings, UMI has the legal status of a non-profit Civil Association. In these times of pandemic, their work has been vital in ensuring the well-being of musicians, and due to their recent agreements with the digital platform Spotify, we have sought the opportunity to interview them. Juan Ignacio Vázquez, its director, to learn more about the current state of the institution and its short and medium-term plans.
What is Umi up to these days, 19 years after its creation?
UMI continues its work defending the rights of independent musicians. We continue disseminating information about rights in music, generating agreements for members (for CD and vinyl replication, printing, digital distribution, among others) and working to improve the reality of making music in Argentina. We participate in the Councils of the National Institute of Music (INAMU) of the Directory of BAMUSICA (Institute for the Promotion of Musical Activity in the City of Buenos Aires). We are also requesting the full implementation of the Article 65 of the Audiovisual Communication Services Act which sets minimum quotas for national and independent music, among other issues
How have they managed to handle times of crisis?
In Argentina, we've been going through a very, very large economic and social crisis. The last few years have been particularly tough. Independent musicians are not immune to this situation. Fewer tickets are being sold for shows, records are being sold, etc. As always, we believe that the solution is collective and that organizations have a lot to offer in these kinds of times. Right now, the support of funding agencies like INAMU is crucial for our work.
How is that help provided?
Before the pandemic, we were working to strengthen the consumption of national and independent music through Article 65, by promoting it. We were also using tools like BAMUSICA to foster positive practices in live music (remember that in Argentina, especially in Buenos Aires, it was common until recently to pay to play). During the pandemic, many organizations are providing support, collecting food and distributing food packages to musicians in the most vulnerable situations. Meanwhile, at UMI, we are working to unite the entire industry (engineers, venues, etc.) to develop protocols so that the industry can gradually resume. Finally, we have reached an agreement with Spotify that will provide significant support to independent musicians.
How does this particular issue develop with Spotify?
Spotify has been developing a global program (https://covid19musicrelief.byspotify.com/es-glwhere we partner with an organization in each country to work on a project. In Argentina, they chose UMI. This led to the creation of the "Fund for Independent Musicians." Spotify will match all donations received into this fund as part of the agreement. Our project will have two phases. The first will consist of direct financial assistance to independent musicians who have lost their jobs due to the quarantine and are experiencing little to no income. We believe it is essential to address the humanitarian aspect, trying to cover the basic needs of hundreds of independent musicians across the country. The second phase is that, when government authorities allow it, we will organize shows by bands and solo artists, in their usual format but without an audience, from concert halls where we normally perform. These shows will be streamed live. The fees for the bands and solo artists will be paid with the funds raised through donations.
After 19 years, despite all the external and internal challenges, you have become a reliable institution. What is the secret to this success?
I think it has to do with the heart; it might sound corny or naive, but that's what I believe. There's no hidden agenda at UMI, no ulterior motives, no ulterior motives. Everyone involved with UMI came to contribute their grain of sand, big or small, to improve our work. We do it out of love for music and for self-managed projects. I understand that because it's a "business" of the heart, that's what makes us trustworthy, because none of us are in UMI for any reason other than to change the negative aspects of our reality.
Have you already discussed the changes that are coming to the music industry because of everything that has happened?
We're thinking about that "day after," about rebuilding the space. That's why, when the project with Spotify came up, we prioritized helping musicians who are struggling to make ends meet, but the next step was live shows, because we need to be able to gradually return, taking precautions, to creating recordings, classes, shows… which is what we do. We have to think about how to do it and understand that many things may never be the same. But we have a duty to consider the possibilities for the future.
Personally, have you imagined radical changes?
I think that while the virtual world may grow, it won't eliminate face-to-face interaction and meetings. It's something fundamental that we human beings have.
Music needs communion, the feeling of being there; that performance isn't the same through screens. But we probably won't have as many shows as we used to, or there might be a stronger mix of people. There are possibly people afraid to go out or go into places with other people.
Can digital technology meet the needs of independent musicians?
The independent music scene is very broad and not very homogeneous. Some musicians have many plays, while others have very few, which naturally leads to different realities regarding digital platforms. Generally speaking, no, what's generated by live shows isn't generated digitally. At least, not yet.
