波斯音乐--意识流

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Books&Arts
文学与艺术
Persian music--Stream of consciousness
波斯音乐——意识流
Niche streaming help services Iranian musicians find their audience.
小众流媒体帮助伊朗音乐家找到他们的听众。

The work of Mim Rasouli, a musician based near Tehran, is rich in Persian and Western influences. In “Fastalgia”, one of his best-known tunes, Mr Rasouli mashes up songs by Seyyed Javad Zabihi, a muezzin from the time of the shah; Mohammad Reza Shajarian, one of Iran’s greatest cultural treasures; Archive, an alt-rock band based in London; and Arms and Sleepers, a trip-hop group from Boston. The result is a dreamy, nostalgic track meant to evoke a time when the Ramadan fast began with Zabihi’s call to prayer and the iftar, or fast-breaking evening meal, was accompanied by Shajarian’s thundering voice.
米姆·拉苏利是一位住在德黑兰附近的音乐家，他的作品深受波斯和西方的影响。在他最著名的歌曲之一“Fastalgia”中，拉苏利先生将几位艺术家的歌曲混搭在一起，其中有伊朗国王时期的宣教员赛义德·贾瓦德·扎比希、伊朗最伟大的文化瑰宝之一穆罕默德·雷扎·沙加里安、一个伦敦的另类摇滚乐队Archive，还有来自波士顿的旅行舞蹈团“武器与沉睡者”。最终融合成一首梦幻又怀旧的歌曲，让人想起斋月里斋戒开始时，扎比希的呼唤祈祷，和伴随着沙加里安雷鸣般嗓音的斋戒晚餐。
Zabihi was murdered two years after the revolution of 1979; before he died last year Shajarian boycotted state radio to show support for pro-democracy protesters. Listeners can still stream their music on Spotify and similar services. But “Fastalgia” itself is not available. Nor is anything else by Mr Rasouli, or indeed any Iranian musicians living and working in Iran.
扎比希在1979年革命两年后被谋杀。去年，就在扎比希去世之前，沙加里安曾抵制国家电台，来表示对民主抗议者的支持。听众仍然可以在Spotify和类似的平台上听他们的音乐。但是“Fastalgia”这首歌是听不了的，拉苏利的其他作品也都听不了，甚至其他在伊朗生活和工作的伊朗音乐家的歌曲也没有。
The reason is simple. Sanctions prevent Western companies from engaging in commercial relationships with Iranian entities or individuals. Mr Rasouli says he would love to be on Spotify (itself not formally available in Iran), but instead puts his music online for nothing. His songs can be found on his personal website, YouTube, SoundCloud, Telegram and Navahang, a Persian-music streaming service. “I didn’t choose them,” Mr Rasouli says of this last outlet. Rather, after Navahang began posting his music of its own accord, he sent it more. He receives no payment in exchange.
原因很简单。这是为了阻止西方公司与伊朗单位或个人建立商业关系。拉苏利表示，他很乐意把自己的音乐放到Spotify上(Spotify在伊朗还没有正式上线)，但最终还是将自己的音乐免费放到了网上。他的歌曲可以在他个人的油管、声云、Telegram网站和波斯音乐流媒体Navahang上找到。拉苏利在谈到Navahang这一平台时说“我没有选择它们”。相反，在Navahang开始发布自己的音乐后，拉苏利上传了更多，而他没有得到任何报酬。
Based in Finland, Navahang was set up in 2015 by Siavash Danesh, a refugee, with an app built in India. With roughly 2m users, it is a small outfit that focuses on the Iranian underground scene and female artists. The service is free; registration is not required. It carries advertising, but its size, and the fact that many listeners are in unprofitable Iran, mean revenues are modest.
Navahang由难民西亚瓦什·达内什于2015年创建，总部位于芬兰，应用程序开发在印度进行。这是一家专注于伊朗地下艺术和女性艺术家的小型机构，它拥有大约200万用户。平台服务是免费的，并且不需要注册。平台会承接广告，但是由于它规模不大，以及许多听众来自几乎没有盈利的伊朗地区，所以广告收入很有限。

To survive, Navahang flips the traditional business model of streaming. “Unlike other services like Spotify where you are getting subscriptions and paying artists,” says Mr Danesh, “we get money from the artists themselves.” Since Iran is not a signatory to assorted copyright treaties, platforms like Navahang can use some Iranian work without paying. Many musicians, including Mr Rasouli, are delighted with the exposure. Those in the diaspora who want Navahang to promote them, for example on the homepage, pay for the privilege. Navahang also produces music for some Persian artists based outside Iran. Mr Danesh reckons 90% of its income comes from these two sources.

为了生存，Navahang颠覆了流媒体的传统商业模式。达内什表示:“与Spotify等其他平台不一样的是，我们的收入来自于艺术家本身，而不是来自用户的订阅与付费。”由于伊朗不是各种版权条约的签署国，所以像Navahang这样的平台可以在不付费的情况下使用一些伊朗的作品。包括拉苏利在内的许多音乐家都对这种发布形式感到高兴。那些想让Navahang宣传音乐的海外人士，比如将他们的歌曲放在主页上，是需要为这种服务付费的。Navahang也为伊朗以外地区的波斯艺术家制作音乐。达内什先生估算90%的收入来自以上这两种渠道。
Navahang is a relatively new entrant on the Persian-music streaming scene. The biggest and best-known service is Radio Javan, set up in Washington, DC in 2004. Its app has been downloaded more than 5m times on Google’s Play Store, many more than Navahang’s. Running a service aimed at Iranians is expensive, confirms Hamed Hashemi, Radio Javan’s founder. Not only are most users in Iran, but the lack of copyright protection cuts both ways. His company has a production arm, too, but it is hard to pursue claims when its music is bootlegged in Iran. Radio Javan alighted on the same strategy as Navahang. “We are a promotional company,” says Mr Hashemi. “We promote music.”
Navahang是波斯音乐流媒体领域相对较新的参与者。该领域规模最大、最知名的服务商是2004年在华盛顿特区成立的爪哇电台。它的应用程序在谷歌应用商店已经被下载超过500万次，远远超过Navahang的下载量。爪哇电台的创始人哈米德?哈希米肯定地表示，在伊朗的的运营成本很高。不仅因为在伊朗它们损失了大多数用户，而且版权保护的缺乏也是一大原因。他的公司也有一个音乐制作部门，但是当制作出的音乐在伊朗遇到盗版问题时却很难追究责任。爪哇电台采用与Navahang电台相同的策略，“我们是一家宣传性公司。”哈希米先生说，“我们推广音乐。”
Think of it as targeted advertising. Persian musicians want to reach Persian-speaking listeners to secure record deals and gig bookings, in Tehran or elsewhere. The likelihood of being discovered or making much money on a mainstream service—Spotify carries over 1m artists and pays a fraction of a cent per stream—is low. For musicians in Iran, it is impossible. Paying for promotion on Navahang or Radio Javan is a way to reach the right audience.
我们可以把它看作是定向广告。波斯音乐家想要接触波斯语听众，来获得唱片合同和演出预订，无论这些听众是在德黑兰还是在其他地方。在主流平台上被发掘、赚大钱的可能性很低——spotify拥有超过100万名艺人，而每次播放所支付的费用极低。对于伊朗的音乐家来说，这是行不通的。于是在Navahang或爪哇电台上付费进行推广成为获得目标受众的一大方式。
But the benefits go wider. Iranian artists have long engaged with overseas music, as Mr Rasouli’s shows. Free Persian streaming services let the curious in the rest of the world discover culture originating in Iran. “As an artist, I like my work being seen and heard,” says Mr Rasouli. The rewards, he adds, are spiritual rather than material.
由此带来了好处远不止这些。正如拉苏利所展现的那样，伊朗艺术家长期以来一直与海外音乐打交道。免费的波斯流媒体服务让世界其他地方的感兴趣的人发现起源于伊朗的文化。拉苏利表示:“作为一名艺术家，我喜欢我的作品被看到和听到。”他还补充说到，这种回报不是物质上的，而是精神上的。

来源：经济学人

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