O apocalipse cultural que não aconteceu

The Creative Apocalypse That Wasn’t, por Steven Johnson (New York Times), via Tyler Cowen:

On July 11, 2000, in one of the more unlikely moments in the history of the Senate Judiciary Committee, Senator Orrin Hatch handed the microphone to Metallica’s drummer, Lars Ulrich, to hear his thoughts on art in the age of digital reproduction. Ulrich’s primary concern was a new online service called Napster, which had debuted a little more than a year before. (...)

But in retrospect, we can also see Ulrich’s appearance as an intellectual milestone of sorts, in that he articulated a critique of the Internet-­era creative economy that became increasingly commonplace over time. ‘‘We typically employ a record producer, recording engineers, programmers, assistants and, occasionally, other musicians,’’ Ulrich told the Senate committee. ‘‘We rent time for months at recording studios, which are owned by small-­business men who have risked their own capital to buy, maintain and constantly upgrade very expensive equipment and facilities. Our record releases are supported by hundreds of record companies’ employees and provide programming for numerous radio and television stations. ... It’s clear, then, that if music is free for downloading, the music industry is not viable. All the jobs I just talked about will be lost, and the diverse voices of the artists will disappear.’’ (...)

The intersection between commerce, technology and culture has long been a place of anxiety and foreboding. Marxist critics in the 1940s denounced the assembly-line approach to filmmaking that Hollywood had pioneered; (...) in the ’90s, critics accused bookstore chains and Walmart of undermining the subtle curations of independent bookshops and record stores.

But starting with Ulrich’s testimony, a new complaint has taken center stage, one that flips those older objections on their heads. The problem with the culture industry is no longer its rapacious pursuit of consumer dollars. The problem with the culture industry is that it’s not profitable enough.(...) In the 15 years since, many artists and commentators have come to believe that Ulrich’s promised apocalypse is now upon us — that the digital economy, in which information not only wants to be free but for all practical purposes is free, ultimately means that ‘‘the diverse voices of the artists will disappear,’’ because musicians and writers and filmmakers can no longer make a living. (...)

The trouble with this argument is that it has been based largely on anecdote, on depressing stories about moderately successful bands that are still sharing an apartment or filmmakers who can’t get their pictures made because they refuse to pander to a teenage sensibility. (...)

What do these data sets have to tell us about musicians in particular? According to the O.E.S., in 1999 there were nearly 53,000 Americans who considered their primary occupation to be that of a musician, a music director or a composer; in 2014, more than 60,000 people were employed writing, singing or playing music. That’s a rise of 15 percent, compared with overall job-­market growth during that period of about 6 percent. The number of self-­employed musicians grew at an even faster rate: There were 45 percent more independent musicians in 2014 than in 2001. (Self-­employed writers, by contrast, grew by 20 percent over that period.)

Of course, Baudelaire would have filed his tax forms as self-­employed, too; that doesn’t mean he wasn’t also destitute. Could the surge in musicians be accompanied by a parallel expansion in the number of broke musicians? The income data suggests that this just isn’t true. According to the O.E.S., songwriters and music directors saw their average income rise by nearly 60 percent since 1999. The census version of the story, which includes self-­employed musicians, is less stellar: In 2012, musical groups and artists reported only 25 percent more in revenue than they did in 2002, which is basically treading water when you factor in inflation. And yet collectively, the figures seem to suggest that music, the creative field that has been most threatened by technological change, has become more
profitable in the post-­Napster era — not for the music industry, of course, but for musicians themselves. Somehow the turbulence of the last 15 years seems to have created an economy in which more people than ever are writing and performing songs for a living.