精品閱讀：四天怎樣狂賺20萬美元_跨考網(wǎng)

　　精品閱讀：四天怎樣狂賺20萬美元

　　Comedian Louis CK said on Tuesday that he had taken in $500,000 in less than three days from selling his latest standup special directly to the public at $5 a pop. This should make media companies nervous because this is the future — and increasingly, the present — of media distribution. Remember all that stuff people were saying 15 years ago about the Internet's capacity for disintermediation? It's all coming true now.

　　本周二，喜劇演員路易斯·C·K表示，他將自己最新的單人表演特別節(jié)目視頻以每部5美元的價格，直接賣給公眾。不到3天，銷售收入就高達50萬美元。媒體公司著實應該為這一現(xiàn)象感到寢食難安，因為這不僅是媒體發(fā)行的未來發(fā)展趨勢，也正日益成為現(xiàn)實。各位是否還記得，15年前，人們曾大談特談互聯(lián)網(wǎng)將成為重要的賺錢工具?現(xiàn)在，轉眼之間一切已經(jīng)成真。

　　Here's the thing about media companies: they have trouble with edge. That's why local newspapers often churn out inoffensive mush. It's why "local" commercial radio sounds precisely the same in Birmingham, Ala. as it does in Berkeley, Calif. And it's why a brilliant comedian like Louis CK couldn't make it on network television despite two attempts: network executives filed his edges completely away, even though people like him precisely for his edges.

　　媒體公司的現(xiàn)狀是：他們毫無個性可言。正因如此，地方報紙才會乘虛而入，大量刊登無傷大雅的煽情作品;出于同樣的原因，阿拉巴馬州伯明翰市的“地方”商業(yè)廣播與加里福尼亞州伯克利市的商業(yè)廣播聽起來同樣如出一轍;而且，路易斯·C·K這樣杰出的喜劇演員根本無法在網(wǎng)絡電視上出人頭地。事實上，公眾對他鐘愛有加就是因為他的表演特點，但在網(wǎng)絡高管們的管理之下，其特點已蕩然無存。

　　Even auteur-friendly outlets like Time Warner's (TWX) HBO act as filters between artist and audience. In that case, much of the downside comes on the business end. Louis CK told Terry Gross on Fresh Air this week that with traditional comedy specials, he gets his fee, but never a cut of the aftermarket, where the real money is made. After the special airs, he said, "then they put it on video, you know, on iTunes (AAPL), Netflix (NFLX) and DVD, and then they go try to make a profit with it. You're supposed to participate in that profit, but I've never seen a check from a comedy special. They're just — it's never — it never ends up being that."

　　即使時代華納集團(Time Warner)旗下的家庭影院頻道(HBO)等傾向于個性導演的市場，實際上也充當著藝術家和觀眾之間的過濾器。因此，從生意的角度說，它導致了許多弊端。路易斯·C·K本周對《新鮮空氣節(jié)目》【Fresh Air，美國全國公共廣播電臺(NPR)時長一小時的談話節(jié)目——譯注】主持人特里??格羅斯表示，在傳統(tǒng)的喜劇特別節(jié)目管理模式下，他只能拿到出場費，但分不到一分錢的銷售利潤，而后者才是大頭。他說，特別節(jié)目播出后：“他們(媒體公司)會通過視頻、iTunes、Netflix、以及DVD等渠道進行再傳播，從中贏利。我本應分得一部分利潤，但我從未收到過喜劇特別節(jié)目劇組寄來的任何支票。向來如此，那樣的事從來沒發(fā)生過?！?/p>