Remixtures

Numa entrevista exclusiva (formato Windows Media ou RealAudio) com uma duração aproximada de 23 minutos, Peter Gabriel conversa com Richard Taylor da BBC sobre o fim da DRM e as possibilidades que a desmaterialização da música poderão abrir para os músicos das novas gerações (via Phlow). O artista aproveita ainda para falar um pouco sobre o We7, o seu novo serviço online de música grátis com publicidade que eu já abordei aqui. Alguns excertos que eu consegui captar:

And I think the other think you’ve to look at is that if music is all out there and available for free, are there any other ways besides recorded music which can still derive a income? I would argue that the two areas are: 1) an ad-embedded approach where you try to get the advertising to an informational level so that it’s digestible, it’s not so painful but it’s actually useful stuff that you’re hearing about and it doesn’t go long for too long and that’s were the We7 model comes in and that’s why I was attracted to it; 2) an infiltering approach, that is, getting data from the selection of stuff; if all stuff is available how do you get to the stuff that is useful to you.

Why do you think now is the right moment for We7?

Well, it was actually a couple of years ago that I started thinking about it. I think it is the acceptance that a lot of people under the age of 30 do not buy music anymore. And I think that the record executives are noticing that kids are doing the same that every other kid is doing, They and the artists have to say: OK, how do we deal with this? And established artists like myself are going to find all sorts of ways, so you shouldn’t worry about us. But you should worry about young artists coming through. And a lot of those artists have had 50/60 per cent of their income for record sales. But that’s gone and it’s a huge thing. If we can find a way with advertising, which is really like getting in bed with the devil in lots of ways, but if we can find a way to make it useful, entertaining and informational, perhaps we can get a model that secures an income flow that can be shared with musicians or the rights holders.

NOTA: A imagem que acompanha este post é assinada por Bryan Ledgard e está disponível aqui segundo uma licença CC-BY-NC-ND 2.0.

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