幫幫 fyeahcindie 做翻譯。
My translation of the article for fyeahcindie.
Promoter of independent music groups, 80 million in yearly earnings
Fighting for the legalization of Live House venues, opening up non-mainstream business opportunities
Enthusiastic operations
A healthy society should allow diverse voices. But in the area of music, why is anything outside mainstream called “underground”? With a degree in social welfare, 傅鉛文 (Orbis), enthusiastically invested and established order to it. Through campus concerts, using “independent bands” to replace “underground bands,” a movement to legalize Live House venues, he has reached his current state of achievement. When record companies turned down 滅火器樂團 (Fire Ex.), the creaters of 島嶼天光 (Island Sunrise), he saw a dark horse, and with friendship and mutual support, signed a management and record distribution deal. All the energy he used to carry out a social revolution, will leave a mark in the hearts of all music fans.
One way of changing society’s culture is from social movements. After working for 3 years, 傅鉛文 (Orbis) considered changing course in 2004. As a student, he often organized activities, and was always close with people involved in bands, so he entered the area of Live House venues, and became the manager of THE WALL MUSIC 這牆音樂 (which was operated by a few friends). That was 2005, a time when all non-mainstream music was called “underground.”
—–Performance invitations to increase customers
After entering the business, he realized the company never collected fees. Even though there was a few hundred thousand in the account, the company owed 3 to 4 million. This was when he realized that those in music did not understand management and finances. So, he thought of ways to hold together the company’s operations, increase profits, and develop more customers.
Since it was a performance venue, the audio system would be the most important investment. In addition, they needed to invite artists with different performance styles, as well as box-office topping performers, such as 蘇打綠 (sodagreen) and 張懸 (Deserts Xuan). This would increase the diversity of performers, the breadth of customers, and the number of visitors. Since then, there have been waves of bands agreeing to perform, gradually lifting the fear of running out of money.
Actively holding campus concerts
In 2006, they began a social revolution, actively holding campus concerts, with the name of “indepdendent bands,” achieving part of the movement to legalize Live House venues. This was followed by many collaborations between government cultural spaces and other Live House venues. Since those fees were relatively low, non-governmental rental venues like THE WALL MUSIC came under scrutiny by bands and music fans.
Such irony! They tried pushing “independent music” as an industry, with the dream that one day, their fellow creative friends would be able to seek a living through “independent culture.” Instead, those in the industry that did not understand the culture, used their government connections, took the opportunity, and created an even higher threshold for competition. They had to change their pace.
Bravely surviving difficulties after stockholders dissolve partnership
They set up the music management company 有料音樂 (uloud music), testing an overseas way of determining percentages and cooperation, focusing the core of the business on managing bands and performance tours. The following few years, the team produced the music festivals 野台開唱 (Formoz Festival) and 大港開唱 (Megaport Festival), destinations for rock fans, and established a craze for bands that engulfed Taiwan. This lead to the opening of uniquely styled performance venues in 台北 (Taipei), 高雄 (Kaohsiung), and 宜蘭 (Yilan), with an annual revenue of 80 million. 滅火器 (Fire Ex.), under their management, saw their popularity rise after 2013.
After THE WALL MUSIC established their method of operation, and opened a craze for live music never before seen in the industry, they faced a dissolving partnership among stockholders. To be able to hold on to near hundreds of staff, and a cultural brand coveted in the dreams of numerous musicians, he has taken out loans and borrowed money to cover expenses. He has payed profound costs, all to ensure the next evolution of THE WALL MUSIC.
The band’s take with 大正 (Sam) of 滅火器 (Fire Ex.)
Meeting a good judge of talent, 滅火器 (Fire Ex.) appointed management
In the early days, popular opinion was that we were an unknown underground band. After we recorded our first album in 2006, we sent out demos to large recording companies. No one paid attention. We originally thought about producing and distributing the album ourselves. Orbis did not think we should be so casual, bravely stepped forward and said, “I will help you!” Truthfully, at that time, to break through in the non-mainstream market, one’s heart needed to be very strong. So, with the emotion of entering a revolution, we signed a management deal with THE WALL MUSIC 這牆音樂.
Actions of a dreamer
傅鉛文 (Orbis), born 1979, 36 years old, graduated from 中正大學 (National Chung Cheng University) 社會福利學系 (Department of Social Welfare)
THE WALL MUSIC 這牆音樂 fact file: established in 2003, began as an impulse of a few musicians; 傅鉛文 (Orbis) joined in 2005, expanded the market, then opened performance venues in 台北 (Taipei), 高雄 (Kaohsiung), and 宜蘭 (Yilan); in 2013 Orbis invested and became a partner in the company
Official website: http://thewall.tw/
Annual revenue summary: 80 million (10-15% gross profit)
Profit origins: operation of Live House venues, band management, concert organization, overseas licensing, rental space, company music activities through business collaboration, food and beverage, etc.