Writing music has never been so dangerous. If you want to see the fight of your life, just walk into a crowd of elite composers hanging out around Paris’ Fontaine Stravinsky and hum some Mozart (that is, as soon as you are allowed to go outside and people are allowed to congregate). No, it wasn’t always this way (NOT); composers used to be musicians (sic!). They didn’t think of musical notations as “proprietary.” Instead, they applied the gamut of colleagues’ music with as much gusto as Venetian painters applied Byzantine ultramarine blue. Today, Caio Amon cherishes his artistic naïveté: the magic of discovery is not exclusive to the unknown. What’s wrong with reusing Mozart’s music? The world is full of great ideas© and Napoleon lost at Waterloo. Perhaps it is more meaningful to make a subtle point in lingua franca than to leave others in the debate speechless? Caio, a 37-year old Brazilian composer and multi-media artist, tells the epic of an odyssey in search of authentic artistic identity.