koyuca
25-05-05, 06:19 PM
u2 rechazó una oferta de 23 millones de dólares por los derechos de la música de la canción where the streets have no name simplemente porque la canción se convertiría en la música de fondo de un comercial, por tanto, perdería sus cualidades
bono lo explica de éste modo:
BONO: If I love the song, I love the song. We looked at the iPod commercial as a rock video. We chose the director. We thought, how are we going to get our single off in the days when rock music is niche? When it's unlikely to get a three-minute punk-rock song on top of the radio? So we piggybacked this phenomenon to get ourselves to a new, younger audience, and we succeeded. And it's exciting. I'm proud of the commercial, I'm proud of the association. We have turned down enormous sums of money to put our songs in a commercial, where we felt, to your point, where it might change the way people appreciated the song. We were offered $23 million for just the music to "Where the Streets Have No Name." We thought we could do a lot of good with that money. Give it away. But if a show is a little off, and there's a hole, that's the one song we can guarantee that God will walk through the room as soon as we play it. So the idea that when we played it, people would go, "That's the 'such-and-such' commercial," we couldn't live with it. Had it been a cool thing, or didn't have a bad association, or it was a different song, we might've done it. But we have to start thinking about new ways of getting our songs across, of communicating in this new world, with so many channels, with rock music becoming a niche. I hear so many songwriters describe their songs as their children, that they have to look after them. [Nonsense!] They're your parents, they tell you what to do. They tell you how to dress, how to behave when you're playing them. They tell you what the video looks like. If you listen to them, they manage you. And if you get it right, they pay for your retirement [laughs]. Because songs demand to be heard. "Vertigo," which you didn't like, is deceptively simple. That riff, you can think, "Aw yeah, another rock song." It doesn't become great the first time you hear it. It becomes great the thousandth time you hear it. And that's true of a lot of rock riffs. So we have to get the density of exposure for that to be a hit. enlace: http://metromix.chicagotribune.com/chi-0505220011may22,1,3847550.story
refiriéndose a los mercadólogos que les propusieron el trato, bono los describe de éste modo:
KOT: Why is the idea of associating a song with a product a good idea?
BONO: I accept that that is alarming. I really do. Our being on TV, I don't have a problem with that -- we should be on TV. But OK, associating our music with a product. You've got to deal with the devil. Let's have a look. The devil here is a bunch of creative minds, more creative than a lot of people in rock bands. The lead singer is Steve Jobs. These men have helped design the most beautiful object art in music culture since the electric guitar. That's the iPod. The job of art is to chase ugliness away.(...).
sin duda para reconciliarse con el poder de los ideales sobre el poder del dinero
:D
:D:D
bono lo explica de éste modo:
BONO: If I love the song, I love the song. We looked at the iPod commercial as a rock video. We chose the director. We thought, how are we going to get our single off in the days when rock music is niche? When it's unlikely to get a three-minute punk-rock song on top of the radio? So we piggybacked this phenomenon to get ourselves to a new, younger audience, and we succeeded. And it's exciting. I'm proud of the commercial, I'm proud of the association. We have turned down enormous sums of money to put our songs in a commercial, where we felt, to your point, where it might change the way people appreciated the song. We were offered $23 million for just the music to "Where the Streets Have No Name." We thought we could do a lot of good with that money. Give it away. But if a show is a little off, and there's a hole, that's the one song we can guarantee that God will walk through the room as soon as we play it. So the idea that when we played it, people would go, "That's the 'such-and-such' commercial," we couldn't live with it. Had it been a cool thing, or didn't have a bad association, or it was a different song, we might've done it. But we have to start thinking about new ways of getting our songs across, of communicating in this new world, with so many channels, with rock music becoming a niche. I hear so many songwriters describe their songs as their children, that they have to look after them. [Nonsense!] They're your parents, they tell you what to do. They tell you how to dress, how to behave when you're playing them. They tell you what the video looks like. If you listen to them, they manage you. And if you get it right, they pay for your retirement [laughs]. Because songs demand to be heard. "Vertigo," which you didn't like, is deceptively simple. That riff, you can think, "Aw yeah, another rock song." It doesn't become great the first time you hear it. It becomes great the thousandth time you hear it. And that's true of a lot of rock riffs. So we have to get the density of exposure for that to be a hit. enlace: http://metromix.chicagotribune.com/chi-0505220011may22,1,3847550.story
refiriéndose a los mercadólogos que les propusieron el trato, bono los describe de éste modo:
KOT: Why is the idea of associating a song with a product a good idea?
BONO: I accept that that is alarming. I really do. Our being on TV, I don't have a problem with that -- we should be on TV. But OK, associating our music with a product. You've got to deal with the devil. Let's have a look. The devil here is a bunch of creative minds, more creative than a lot of people in rock bands. The lead singer is Steve Jobs. These men have helped design the most beautiful object art in music culture since the electric guitar. That's the iPod. The job of art is to chase ugliness away.(...).
sin duda para reconciliarse con el poder de los ideales sobre el poder del dinero
:D
:D:D