Neither so neat nor so gross

neto bruto

Los descuentos (aportes a seguridad social, retenciones en la fuente y demás) son como un insulto muy sofisticado del que todo independiente quiere huir… aunque no debería.

Label: Right of EntertainmentEl tema de los descuentos no debería generar tantos problemas. Todos los días alguien al recibir su pago conjura el “pero yo negocié neto”, “usted tiene que asumir mis descuentos y mis impuestos”.

… pero ¿por qué?

¿Por qué tengo que asumir los impuestos de otro?

El tema se habría resuelto con subir un poco el precio.

Con saber desde el principio cuánto es el descuento que van a hacer.

Las calculadores ya están inventadas. Están inventadas hace rato. Excel hace lo suyo… y no es tan complicado.

Parece un regaño, pasivo-agresivo, un poco. Pero síganme.

En el fondo la discusión de “neto” o “bruto” es querer trasladarle a otro a que tenga el control de cierta información. Cuándo deberíamos ser nosotros los que estamos en control de esa información.

Deberíamos saber qué se está restando.
Cuánto se esta restando
y por qué se está restando;
incluso, entender cada uno de esos conceptos.

El punto, en gran medida, es que si nos aplican, y los restan, es porque nos tocan asumirlos.

Deberíamos controlarlos.

La buena noticia es que al menos nuestra posición la conocemos, y en casi todas las veces se aplican las mismas condiciones.

Cuando trasladamos la decisión a otro, lo hacemos pensando que ese otro “sabrá mejor”, or “ahí verá cómo lo resuelve”, “ese es su problema”.

La condición que nosotros tenemos puede que no se repita con tanta frecuencia como creemos.

Podemos ser actores cobrándole a un teatro, y sería normal. Podríamos ser actores cobrándole a una empresa de construcción por un acto en su fiesta de fin de año… y sería una anomalía.

y se aplica de distintas maneras.

Para el que está haciendo la producción ejecutiva el neto lo mata al planear, pueden existir tantas posiciones como sujetos; y no, no se arregla con XCHARXpues súbale el 10% a todoXCHARX.

La posición propia se resuelve con preguntarle a un amigo contador… (todo el mundo tiene un amigo contador).

Si no, a un vecino, a un primo, en últimas

La resta de conceptos no debería quitarnos el sueño. Debería permitirnos tener el control para planear, para saber de antemano, para entender qué cobramos y hasta donde va.



"Art renews and cures by nature" [Interview with Pedrina, from the Pedrina and Rio duo]

Interview Pedrina and Rio
We interviewed Pedrina, from the Pedrina and Rio duo. To tell us a little about the essence of pink music.
Pedrina and Rio is a pink music duo. Pop pink. In the best of the senses. Their songs are impregnated with cursilería, good emotions, desperate cries, hopes of love sensory explorations.
This Colombian duo took the alternative local scene by storm. He broke any expectation with "Love"And became known nationally and internationally.
Pedrina is methodical, organized, powerful on stage. Rio is a stealthy teacher, with precise interpretations.
They are currently preparing what will be their next album, which will go on sale in 2018. The production of some cuts of the new album will be in charge of Richard Blair (Sidestepper).
We are confident that this Colombian group has many kilometers to go; as musicians, as duo, as managers of mellifluous and enchanting songs.

In a sentence, how would you describe the music you do?

Alternative Latin or better pop: pink music.

How do you make pink music?

It is done when you do not feel sorry for showing your emotions and you think the world needs more emotional frankness.

What is the most important thing in a song?

That it is real, that is to say: that represents what you think and feel, that through the song people can know your personality and identify with you and the music.

What do you think is your greatest hit?

Find a team that understands and respects us musically, professionally and personally. When people come just for their personal interests things stop flowing and everything turns gray. When we all work for a result, surpassing our egos and seeking a common end ... things start to happen that surprise you very positively.

There is a lot of Mexican sounds in what they do, entangled between songs, where does that influence come from?

The Rio family consumed a great deal of Mexican music; so his childhood is full of those memories. When I was a child, I saw Thalía and Chavo so much that I even spoke with the accent; although tex-mex, Selena (and Los Dinos) was my biggest musical inspiration as a girl.
In Colombia we have a tremendous Mexican influence and we share so many customs that we seem from the same country, except for the spicy, the mole and the tortillas.

Which project are you most excited about today?

Pedrinaand Rio is my project of life and I occupy in soul and thought the 24 hours of the day. I love not only the music but everything that happens behind it. I am very excited to work together visual artists, fashion designers, photographers, producers, even lawyers and accountants, and all the people who support us every day with their talent and knowledge.

Inspiration, luck or talent?

I hope that all three will always be united at the same time; but the truth is that it does not always happen. If I had to choose one I think it would beinspiration.

Why creating more?

A doctor knows that his job is to heal, a salesman sells, a driver to drive; but questioning the function of art is the most complicated. How is the music or entertainment in service of the people? What makes what we do not be frivolous or the pursuit of a personal vanity? The answer I found in a coexistence that we did 2 years ago in Mexico City, a girl came up to us very moved and told us that she suffered from depression, that she had heard our music and since her therapist had noticed an improvement; that same day a boy gave me a pin that had been from his deceased brother and said "Eli's Song"Reminded him by making his mourning bearable.
As we have had other experiences that make us understand that the function of art, having intrinsic the action of creating: renew and cure by nature, contrary characteristics of destruction or chaos.

A song for a rainy afternoon

Keeps On Rainin"By Billie Holiday

A song to celebrate a victory

It was nice meeting you"By Rocío Durcal

A song to find the patience when it is necessary:

Do not be hard on yourself"By Jess Glynne

An error that only beginners commit:

Sign contracts without hiring a lawyer.

An error that even the professionals make

Disregard the administrative, legal and financial matters of your company.

What good is a lawyer in the arts?

To avoid tears, remorse and empty pockets. No matter how many times you read a contract and how thick the magnifying glass you use, an attorney is the person who has the knowledge of the rule so you can protect yourself and watch over your interests, as well as putting you to advantage in an eventual negotiation.

Why do not you need a lawyer in the arts?

To remain an unsuspecting and unsuspecting artist, susceptible to be a victim of ignorance, naivety and often bad faith. Even to compose is necessary because it will teach you about copyright.

A phrase in a series that is gold powder

Skyler White: Walt, please, let's both of us stop trying to justify this whole thing and admit you're in danger!
Walter White: I'm not in danger, Skyler. I am the danger. A guy opens his door and gets shot and you think that of me? No. I am the one who knocks!
          Breaking Bad (S04E06).

A pink pop rockstar?

Juan Gabriel.

No video EPKs. Thank you.

Without EPK Video

Electronic Video Kits (EPKs) have become a common way of accompanying musical and stage proposals. When they focus on telling the story of their creators and interviewing them are not worth it.

brushstroke-red-web-industries-creativeThe EKPs They do not serve. Those who are video, at least. There is a version of EPK that is in pdf, with good photos, short descriptions and everything hyperlinked. Those are always welcome. But the video, there is a manager who told me that the EPKs that only people who make videos like.

The problem is that we forget that the EPK video is a promotional tool and has its place within the package to offer the services of an artist.

They are not addressed to the public. They are aimed at buyers / programmers of events.

The public can know the artist through what is published in social networks. That is more eloquent than a cardboard interview.

The buyers / programmers of events, who are interested in knowing how to contract cultural products, to make them circulate, are interested in the producto; and the finished product.In a business conference - or any place where proposals are received or evaluated - we look for:

  • What are you able to do?
  • What is the aesthetic that manages your project?
  • How do you sound live?
  • How do you sound in the studio?
  • How do you look on the stage?
  • How is the production live?

The cruel thing is that all that can be evaluated in less than 5 minutes.

He is rarely interested in the motivations of the one who is doing it, his story, his biography. Even if what interests you is his history and his biography, you already know him before you are watching that video EPK. Or if that is the case - because that background is supremely relevant- Is not a documentary better?

The subject of what you have done, or where you have participated, what your biography, can be easily done in a text where these details are told; a bio well done.

Making a video to promote yourself, in which you introduce yourself is unnecessary; because usually - on a business wheel - you are sitting on the other side of the table. That's why it's more important that you empathize, and give your hand, make a good joke and the other side understand that you are negotiating with someone who is interesting and knows your product.

If you are not close and you are sending the story by mail, the evaluation will be only of the product that is presented.

The EPKs present a cliché story, "Since childhood this has been my passion", "We all have a training in different disciplines and now we come together to make art of truth", "We do this because we are passionate", "Everyone is independent but we love each other as friends"… nothing new. We have all heard of it. We all hope

If all that is true is reflected in the proposal. To say it does not come true.

It is worth reviewing this item.
Look for value as a piece of communication if it makes sense in the project. If it's to tell everyone's story ... it's better to invest that money in a good video clip or a good live session.

The interviewer feels that he strips the artist when he draws these confessions. Clichés.

The stage artist is stripped naked on stage; not in press interviews (and less on YouTube).



From Orson Welles to Yuya

orson welles

If something more tangled the YouTubers is the treatment of the audiovisual work. The audiovisual work as conceived in the norms is a work that necessarily is carried out by several people.

Label: CopyrightAll these rules, in their beginning were covering the space of which an audiovisual, cinematographic work was a cumbersome work to do.
Orson Welles I would agree.

In the definitions it includes that it is also created to be able to project it; in our case, in YouTube, the platform that means (streaming on-demand).

So far, all normal.

The rules come to describe that the authors of the cinematographic work are multiple, so the director, the author of the script, the one of the music and the drawers (if it were of animation) are authors; but (and here he is but big) the patrimonial rights are of the producer.
There Yuya I would not agree.

The mess is that if one deals with the audiovisual work, necessarily as a collective work is obviating the fact that at this moment everyone has a smartphone in the pocket, that a video can be made by a single person - who is both director, producer, protagonist, editor, screenwriter and all the roles imaginable - fulfills all the roles of production and creation associated with the work.

What is deviant is the collective work label.

Clear. These rules were written to make movies, and to avoid the most problems of interpretation when many intervene. But it was not conceivable that one (1) would fulfill all the roles.
I bet that was not in the plans.

For the inkwell: under the multi-tasking scheme of today's audio-visual projects, it would be worthwhile to leave the roles clear and balance the percentages of exploitation. The normative standard model will continue to apply; but there is room for new, more equitable and contemporary remuneration schemes; there is room for production from the creative to the production from the production. Everybody will see.


Colombian and community standards

Definition of an audiovisual work: "creations expressed through a series of associated images, with or without incorporated sound, which are intended essentially to be displayed through projection devices or by any other means of public communication of image and sound" (Law 23 of 1982, Art 8, Decision 351 of the Commission of the Agreement of Cartagena, Art 3, Pérez de Castro, 2001, P. 24)

(...) "susceptible of becoming visible and, if accompanied by sounds, susceptible of becoming audible" (460 Decree 1995, Art 23, lit. f).



What did we learn from Star Wars?

Star Wars

The most impressive thing about George Lucas is that he made a fortune from only one clause of his contract as director of Star Wars.

Brush of Entertainment

El Skywalker Ranch He did not buy himself. Better, that money did not come overnight after the premiere of Star Wars. The greatness of George Lucas, in fact rests on having negotiated a correct clause within his management contract of the Star Wars saga.

The myth is this: Long ago in a very far galaxy George Lucas agreed to cut his remuneration by half as director of Star Wars so as to be the owner of the rights ofmerchandisingand derivatives of the film.

[Read article: What is a contract reviewed?]

In hindsight, that negotiation allowed him to receive millions of dollars in all the figures, video games, clothes, novels, comics, licenses and other derivatives.

In strict order Star Wars in a movie. By its acceptance and traction is also a universe that can be exploited in many ways.

The works are small individual pieces of what the authors do; the author is the owner of this small work and also has the exclusive power to adapt it. To change her language. Turn it into something else if you want.

[Read article: Negotiating 4 tips: time, territory, use and window.]

Star Wars is the example of a great product with multiple additional uses and endless possibilities of adaptation. It is surprising that they have not produced a large format musical on Broadway (yet).

Continue reading What did we learn from Star Wars?