Este é mais um post dos tantos que pululam pelas internetes afora para divulgar o lançamento do romance do meu amado Alex. Sobre o livro em si, eu deixo que digam, que pensem e que falem Ju Dacoregio e mary w. Sobre o Alex, que nunca será em si, eu passo a palavra à Fal. E agora que parecia não haver mais nada a ser dito, tá aqui este blog para provar que a minha capacidade de produzir tonterías (amo essa palavra, ela faz tanta falta em português) é infinita. Depois da óba e do hómi, restou a mim falar do business (pronuncia-se buzines).
O que me emociona na experiência empreendedora exaustivamente desenvolvida pelo Alex ao longo do último mês é pensar que um homem só (pegou, pegou?), com algum trabalho e muita cara-de-pau, tem toda a condição de correr atrás dos seus sonhos. Isso só não significa uma crença ingênua no American dream porque este pressupõe que qualquer idiota é capaz de conquistar para si uma casa com cerquinha branca. Mas eu, que sou uma pessoa experimentada pela vida, sei que os idiotas só se fodem, e só os fodas – os dispostos a trabalhar muito e encerar a cara mais ainda – conseguem aquilo que querem. E, se é para falar em gente foda, passemos logo à categoria imediatamente acima à dos fodas, isto é, aos gênios: lembremos o caso de Maria Schneider.
Maria Schneider é a grande compositora de jazz de nosso tempo e estava praticamente falida quando embarcou na proposta ArtistShare (fonte):
At that time, the whole file-sharing thing was giving everybody major emotional trauma: How are we going to make money on records when everybody’s just file sharing? I was in Germany, and Brian calls me on my cell phone and says, “Maria, what’s the one thing that nobody can file share?” And I said, “I don’t know.” And he said, “The creative process. I’m going to start a web-based business where we share the creative process and people can be part of making the record. They can pre-order and participate in different ways.” At first, the whole thing seemed so abstruse to me. I just couldn’t quite wrap my brain around it. And then, when it finally became evident to me that I needed to try something, he and I sat down and started going through the numbers. O.K., if I sell a record on ArtistShare for $18 a CD, ArtistShare is taking 15 percent. I’m not paying a store. I’m not paying a distributor. So I’m making, like, a $15 profit on a CD. If I sell 20,000 CDs, which is what I was selling through a record company, at $15, that’s $300,000. Holy kazoos!
So then Brian—he was so brilliant—he’s like, “Who are the people that listen to your music?” I said probably a lot of composers. “O.K., we’ll do a composer participant where for $95 they get access to the scores and you do all sorts of interviews about how you compose the music.” All of a sudden, [we thought about] everything that was saleable about the record, including real estate on the record booklet: gold participant—you get your name there. For some people $10,000 is not a lot of money because they’re in the business world, but they’re dying to be part of the arts. Somebody like that might give that kind of money. Lo and behold, it turned out that there are people out there in the world that give that kind of money. A man became executive producer of my last record for $18,000 basically to help me out, but also to come to the recording session and feel like he was part of making something he believed in happen. And so I’m managing to pay for these outrageously expensive records.
Mas vamos esquecer por um instante que se trata de uma gênia, pois este realmente não é o ponto. O que se tem em termos de buzines é uma artista vendendo seu produto diretamente ao consumidor (ou quase, pois o ArtistShare leva 15%), oferecendo também por um dinheirinho a mais o acesso ao processo criativo e o loteamento do encarte do CD. O Alex diferiu apenas no seguinte: o acesso ao processo criativo – à fábrica de salsichas – ele cedeu a todos gratuitamente. De resto, a estratégia foi a mesma.
Me interessa pensar essas coisas porque a arte que consumo é predominantemente elitista e minoritária, e é do meu interesse que meus artistas preferidos não apenas sobrevivam como estejam permanentemente motivados a produzir. Alguns dos músicos que mais ouço estão num nível de buzines comparável ao do Alex: vendem suas obras autorais ali no nível do milhar e vivem de trampos diversos – tocando com o Sandy e Júnior, fazendo publicidade, arranjo pra orquestra, enfim, se viram – assim como o Alex se vira com o doutorado, o blog e o que mais aparecer. A vantagem buzinística do músico sobre o escritor é que mesmo um músico medíocre (ou um músico fantástico e desconhecido) sempre poderá ganhar um dinheirinho com performances, sejam elas apresentações ao vivo ou gravações em estúdio – enquanto que apenas um prêmio Nobel (e olhe lá) pode viver das FLIPs da vida. Por outro lado, se com dois mil mangos o Alex publica sua obra em papel, com dois mil mangos de real a Maria Schneider não paga nem a impressão das partituras usadas na gravação de seu disco.
Quando eu ganhar na Mega-Sena, doarei dezoito mil dólares para cada um dos meus músicos e escritores favoritos desenvolverem seus projetos. Até lá, continuarei escrevendo estes posts vagabundos para divulgar o trabalho de quem amo e admiro.
on Jul 31st, 2009 at 10:59 am
Não estarei em SP no sábado, você sabe…Mas diga a ele que o filho do ídolo mandou um grande abraço! Quero ler esse livro!
on Sep 5th, 2009 at 8:13 am
Olá, não consigo adquirir a obra de Alex Castro (Mulher de um homem só), o que faço??????????
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Fazer esta pergunta no blog do autor seria um bom começo! ;)
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