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Posts: 15725
Joined: Dec. 14 2004
From: Washington DC
RE: Manolo Sanlucar's new DVDs - who... (in reply to joevidetto)
Well nobody had the $3000 to purchase the set and then he offered a pandemic discount of 30%… I guess nobody wanted it so now his purchase links don’t even work.
Posts: 3487
Joined: Jan. 20 2004
From: Austin, Texas USA
RE: Manolo Sanlucar's new DVDs - who... (in reply to Ricardo)
Kind of sad, in my opinion.
I have seen Manolo quoted in more than one place, most recently reading Ángel Álvarez Caballlero's "El Toque Flamenco," saying he wanted to establish a conservatory quality course for flamenco, one that could be taught in accredited institutions.
In Álvarez he tells of being on the jury of a competition. He says many of the young players are great guitarists, but lack a foundation in flamenco. One contestant was supposed to play a soleá but, "It was not a soleá at all."
Manolo is no opponent of innovations in harmony and rhythm. In fact he advocates them. He just objects to naming something for a specific palo when it bears little or no relation to the traditional form.
I believe the very expensive set of 13 DVDs and two books is Manolo's realization of his long term objective, meant for universities or other institutions which can afford it.
But apparently nobody wants it...or those who might want it can't afford it.
RE: Manolo Sanlucar's new DVDs - who... (in reply to joevidetto)
The Youtube promotional video is 480p which to me is painfully grainy to watch.
An instructional video on Tauromagia for maybe 60 euros would have been a better publishing bet.
I suppose from his POV there are people quite happy to splash a LOT of cash on expensive guitars, so confusing why they won't pay half that on this work? Dunno. Suspect he missed the boat - this might have sold well in DVD-using / pre-crash / Paco-alive 2005.
Posts: 3487
Joined: Jan. 20 2004
From: Austin, Texas USA
RE: Manolo Sanlucar's new DVDs - who... (in reply to mrstwinkle)
The price was high. I don't remember what I paid for the 26 CD set of all of Julian Bream's RCA recordings, but I'm sure it was nowhere near $3000.
Of course for the Bream set the cost of recording and mastering had presumably already been recouped by the initial issues. Aside from the cost of physical production and distribution I assume the boxed set was pure profit.
I don't know how Manolo's effort was financed. Since it was so long in production I suspect that the capital trickled in very slowly.
They say you don't miss the water until the well runs dry. But I doubt that I would spring for the set if it suddenly reappeared at more than $200 per disk.
In the high end camera market new models are announced months in advance of their actual availabiity, and pre-orders are accepted. Presumably this is to gather data to plan production rates. Perhaps Manolo & Co. were employing the same strategy, but found demand was not enough to warrant even cranking out a full first run.
On Manolo’s Facebook, someone pointed out that asking for a resume for purchasing his work at discount was discriminatory. He replied with this(!):
quote:
Luis Fonseca Fernandez Amigo Luis, like any dedication or trade, the level you have is related to the degree of technique, musical knowledge, style you want to possess, etc. For these reasons, if I have to connect with someone who requests My help, the first thing I have to know is at what level it is situated in relation to Flamenco. In other words, what you are telling me is that what is given to a first-year disciple in school, the knowledge that is imparted to children in the first and second years of school is discriminatory in relation to the knowledge that they reach those who have 15 years of career. That is to say that for you the levels is a matter of sympathy or antipathy between student and teacher, rashness or generosity and not a transmission of knowledge that progresses according to the difficulties that the contents present. In other words, those who ask for my help when, from their guitar beginnings, I must teach them first to know the genre of taranta and rondeña soloist and later to learn to play por tanguillos and sevillana. Well, you look without realizing it, and with your type of intervention, you have made yourself widely known. Therefore, I thank you for approving my effort and the admiration that you show me as well, I feel obliged to confess that with the sample that you give me of your understanding you define yourself perfectly. Therefore, I believe that you should look for another source since according to your understanding you should not consider me fit to correspond to your height. I will surely open many other teachers who harmonize with more success to your artistic level and since I do not think we have reasons to be related musically, you and I understand that it would be better for you not to contact me.
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