Radiohead in Barcelona !
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Yo ya tengo la mía para Barcelona. 70 euracos (y pico en gastos de envío y demás). Es un pastarralaco, y además no confío demasiado en los grupos que van a (re)llenar el cartel de este concierto-festival. Si luego me arrepiento ya la vendré (ahora espero que en TTT las vendan por un precio similar..jeje). pero prefiero entrada en mano, que luego arrepentirme si me entra el gusanillo en Junio. Berlín será más barato…pero joder, te tele transportas o que? ¿Tienes parientes o amigos que te acojan? ¿Días libres que coger cuando te da la gana?
En ese caso también me iba yo para Alemania. De momento tendremos que conformarrnos con volver al Fórum dos semanas despúes del evento del año.
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@Disperso:rl4dnvov:
yo me iré a Berlin a verlos, 50€ y así revisito esa ciudad de la que quedé prendado un dia.
¿Cuando tocan en Berlin? ¿Quedan entradas? cualquier cosa por evitar el festival ese sinamonero... como sea tan cutre como el Summercase... -
Entradas recién compradas para mi chica y un servidor.
68.40 € cada una.
Nos vemos el día 12 de Junio en Barcelona.
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no me parece…
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@Sr.:
Entradas recién compradas para mi chica y un servidor.
68.40 € cada una.
Nos vemos el día 12 de Junio en Barcelona.
¿Donde las has comprado? en tick tack no están aún…
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@Kiototar:187y4x2t:
@Sr.:
Entradas recién compradas para mi chica y un servidor.
68.40 € cada una.
Nos vemos el día 12 de Junio en Barcelona.
¿Donde las has comprado? en tick tack no están aún…
Ahora si:
> Tick Tack Ticket < -
regalan una papela de jaco con el abono?
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Existe algún requisito legal para meter el término "festival" al montar un evento? Es que ya me veo que el resto de grupos van a ser dos (alguno nacional de Sinnamon como los pesados de Mendetz y luego un Editors o del estilo), el Amable pinchando "Somebody Told Me" entre los descansos y Radiohead hora y cuarto que a las 12 toca cerrar. Manda huevos.
No soy fan de Radiohead, pero me los meten en el Sant Jordi a 30€ o así y voy. Pero esto es un escándalo. En vez de montar gira de pavellones, compran derechos para actuación exclusiva, le meten el cartelito de festival para poder clavar lo máximo posible y se van al Fórum que no tiene límite de capacidad* para aclaparar hasta el último centavo.
- Cosa muy relativa, porque a partir de cierto número no hay escenario que lo pueda asumir.
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dudo que radiohead toque menos de 2 horas, pero lo cortés no quita el tocomocho.
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He oído rumores de que una universidad americana va ha incluir a Sinnamon en sus
nuevos planes de estudio, como ya hicieron anteriormente con otras empresas que
destacaron generando dinero de manera imaginativa. Así los futuros empresarios
aprenderán a exprimir los bolsillos ajenos como Dios manda. -
Reveladora entrevista al jamón Yorke donde me da toda la razón a lo que dije hace tiempo. El motivo de "regalar" el disco ha sido el controlar la filtración.
David Byrne and Thom Yorke on the Real Value of Music
It seemed like a crazy idea. When Radiohead said it would release its new album, In Rainbows, as a pay-what-you-will digital download, you'd have thought the band had gone communist. After all, Thom Yorke and company are one of the world's most successful groups — a critical darling as well as a fan favorite for nearly 15 years. They hadn't put out a new album in more than four years, and the market was hungry for their next disc. So why would Radiohead conduct such a radical experiment?
It turns out the gambit was a savvy business move. In the first month, about a million fans downloaded In Rainbows. Roughly 40 percent of them paid for it, according to comScore, at an average of $6 each, netting the band nearly $3 million. Plus, since it owns the master recording (a first for the band), Radiohead was also able to license the album for a record label to distribute the old-fashioned way — on CD. In the US, it goes on sale January 1 through TBD Records/ATO Records Group.
While pay-what-you-will worked for Radiohead, though, it's hard to imagine the model paying off for Miley Cyrus — aka chart-topping teenybopper Hannah Montana. Cyrus' label, Walt Disney Records, will stick to selling CDs in Wal-Mart, thank you very much. But the truth is that Radiohead didn't intend In Rainbows to start a revolution. The experiment simply proves there is plenty of room for innovation in the music business — this is just one of many new paths. Wired asked David Byrne — a legendary innovator himself and the man who wrote the Talking Heads song "Radio Head" from which the group takes its name — to talk with Yorke about the In Rainbows distribution strategy and what others can learn from the experience.
Byrne: OK.
Yorke: [To assistant.] Shut the bloody door.
Byrne: Well, nice record, very nice record.
Yorke: Thank you. Wicked.
Byrne: [Laughs.]
Yorke: That's it, isn't it?
Byrne: That's it, we're done. [Laughs.] OK. I'll start by asking some of the business stuff. What you did with this record wasn't traditional, not even in the sense of sending advance copies out to the press and such.
Yorke: The way we termed it was "our leak date." Every record for the last four — including my solo record — has been leaked. So the idea was like, we'll leak it, then.
Byrne: Previously there'd be a release date, and advance copies would get sent to reviewers months ahead of that.
Yorke: Yeah, and then you'd ring up and say, "Did you like it? What did you think?" And it's three months in advance. And then it'd be, "Would you go do this for this magazine," and maybe this journalist has heard it. All these silly games.
Byrne: That's mainly about the charts, right? About gearing marketing and prerelease to the moment a record comes out so that — boom! — it goes into the charts.
Yorke: That's what major labels do, yeah. But it does us no good, because we don't cross over [to other fan bases]. The main thing was, there's all this bollocks [with the media]. We were trying to avoid that whole game of who gets in first with the reviews. These days there's so much paper to fill, or digital paper to fill, that whoever writes the first few things gets cut and pasted. Whoever gets their opinion in first has all that power. Especially for a band like ours, it's totally the luck of the draw whether that person is into us or not. It just seems wildly unfair, I think.
Byrne: So this bypasses all those reviewers and goes straight to the fans.
Yorke: In a way, yeah. And it was a thrill. We mastered it, and two days later it was on the site being, you know, preordered. That was just a really exciting few weeks to have that direct connection.
Byrne: And letting people choose their own price?
Yorke: That was [manager Chris Hufford's] idea. We all thought he was barmy. As we were putting up the site, we were still saying, "Are you sure about this?" But it was really good. It released us from something. It wasn't nihilistic, implying that the music's not worth anything at all. It was the total opposite. And people took it as it was meant. Maybe that's just people having a little faith in what we're doing.
Byrne: And that works for you guys. You have an audience ready. Like me — if I hear there's something new of yours out there, I'll just go and buy it without poking around about what the reviews say.
Yorke: Well, yeah. The only reason we could even get away with this, the only reason anyone even gives a shit, is the fact that we've gone through the whole mill of the business in the first place. It's not supposed to be a model for anything else. It was simply a response to a situation. We're out of contract. We have our own studio. We have this new server. What the hell else would we do? This was the obvious thing. But it only works for us because of where we are.
Byrne: What about bands that are just getting started?
Yorke: Well, first and foremost, you don't sign a huge record contract that strips you of all your digital rights, so that when you do sell something on iTunes you get absolutely zero. That would be the first priority. If you're an emerging artist, it must be frightening at the moment. Then again, I don't see a downside at all to big record companies not having access to new artists, because they have no idea what to do with them now anyway.
Byrne: It should be a load off their minds.
Yorke: Exactly.
Byrne: I've been asking myself: Why put together these things — CDs, albums? The answer I came up with is, well, sometimes it's artistically viable. It's not just a random collection of songs. Sometimes the songs have a common thread, even if it's not obvious or even conscious on the artists' part. Maybe it's just because everybody's thinking musically in the same way for those couple of months.
Yorke: Or years.
Byrne: However long it takes. And other times, there's an obvious…
Yorke: ... Purpose.
Byrne: Right. Probably the reason it's a little hard to break away from the album format completely is, if you're getting a band together in the studio, it makes financial sense to do more than one song at a time. And it makes more sense, if you're going to all the effort of performing and doing whatever else, if there's a kind of bundle.
Yorke: Yeah, but the other thing is what that bundle can make. The songs can amplify each other if you put them in the right order.
Byrne: Do you know, more or less, where your income comes from? For me, it's probably very little from actual music or record sales. I make a little bit on touring and probably the most from licensing stuff. Not for commercials — I license to films and television shows and that sort of thing.
Yorke: Right. We make some doing that.
Byrne: And for some people, the overhead for touring is really low, so they make a lot on that and don't worry about anything else.
Yorke: We always go into a tour saying, "This time, we're not going to spend the money. This time we're going to do it stripped down." And then it's, "Oh, but we do need this keyboard. And these lights." But at the moment we make money principally from touring. Which is hard for me to reconcile because I don't like all the energy consumption, the travel. It's an ecological disaster, traveling, touring.
Byrne: Well, there are the biodiesel buses and all that.
Yorke: Yeah, it depends where you get your biodiesel from. There are ways to minimize it. We did one of those carbon footprint things recently where they assessed the last period of touring we did and tried to work out where the biggest problems were. And it was obviously everybody traveling to the shows.
Byrne: Oh, you mean the audience.
Yorke: Yeah. Especially in the US. Everybody drives. So how the hell are we going to address that? The idea is that we play in municipal places with some transport system alternative to cars. And minimize flying equipment, shipping everything. We can't be shipped, though.
Byrne: [Laughs.]
Yorke: If you go on the Queen Mary or something, that's actually worse than flying. So flying is your only option.
Byrne: Are you making money on the download of In Rainbows?
Yorke: In terms of digital income, we've made more money out of this record than out of all the other Radiohead albums put together, forever — in terms of anything on the Net. And that's nuts. It's partly due to the fact that EMI wasn't giving us any money for digital sales. All the contracts signed in a certain era have none of that stuff.
Byrne: So when the album comes out as a physical CD in January, will you hire your own marketing firm?
Yorke: No. It starts to get a bit more traditional. When we first came up with the idea, we weren't going to do a normal physical CD at all. But after a while it was like, well, that's just snobbery. [Laughter.] A, that's asking for trouble, and B, it's snobbery. So now they're talking about putting it on the radio and that sort of thing. I guess that's normal.
Byrne: I've been thinking about how distribution and CDs and record shops and all that stuff are changing. But we're talking about music. What is music, what does music do for people? What do people get from it? What's it for? That's the thing that's being exchanged. Not all the other stuff. The other stuff is the shopping cart that holds some of it.
Yorke: It's a delivery service.
Byrne: But people will still pay to have that experience. You create a community with music, not just at concerts but by talking about it with your friends. By making a copy and handing it to your friends, you've established a relationship. The implication is that they're now obligated to give you something back.
Yorke: Yeah, yeah, yeah. I was just thinking while you were saying that: How does a record company get their hands on that? It makes me think of the No Logo book where Naomi Klein describes how the Nike people would pay guys to get down with the kids on the street. I know for a fact that major record labels do the same thing. But no one has ever explained to me exactly how. I mean, do they lurk around in the discussion boards and post "Have you heard the…"? Maybe they do. And then I was thinking about that Johnny Cash film, when Cash walks in and says, "I want to do a live record in a prison," and his label thinks he's bonkers. Yet at the same time, it was able to somehow understand what kids wanted and give it to him. Whereas now, I think there's a lack of understanding. It's not about who's ripping off whom, and it's not about legal injunctions, and it's not about DRM and all that sort of stuff. It's about whether the music affects you or not. And why would you worry about an artist or a company going after people copying their music if the music itself is not valued?
Byrne: You're valuing the delivery system as opposed to the relationship and the emotional thing...
Yorke: You're valuing the company or the interest of the artists rather than the music itself. I don't know. We've always been quite naive. We don't have any alternative to doing this. It's the only obvious thing to do.
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Y qué sentido tiene controlar la filtración, si al fin y al cabo no se saca ningún beneficio económico de ello?
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@Flash:10tvciem:
Y qué sentido tiene controlar la filtración, si al fin y al cabo no se saca ningún beneficio económico de ello?
Supongo que es una manera de poder hablar de numeros mas o menos exactos, y no, imaginar y suponer.
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@kramer:2drvqofr:
@Flash:2drvqofr:
Y qué sentido tiene controlar la filtración, si al fin y al cabo no se saca ningún beneficio económico de ello?
Supongo que es una manera de poder hablar de numeros mas o menos exactos, y no, imaginar y suponer.
The main thing was, there's all this bollocks [with the media]. We were trying to avoid that whole game of who gets in first with the reviews. These days there's so much paper to fill, or digital paper to fill, that whoever writes the first few things gets cut and pasted. Whoever gets their opinion in first has all that power. Especially for a band like ours, it's totally the luck of the draw whether that person is into us or not. It just seems wildly unfair, I think.
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@Sr.:
He oído rumores de que una universidad americana
va ha incluir a Sinnamon en sus nuevos planes de
estudio, como ya hicieron anteriormente con otras
empresas que destacaron generando dinero de
manera imaginativa. Así los futuros empresarios
aprenderán a exprimir los bolsillos ajenos como
Dios manda.
pues es para hacerles un estudio... mala comida, mala organización, grupos que "interesan" a muchos, y a petar recintos... es el sistema sinammon... y sino montan un weekendance y a ganar pasta... -
jaja,…ningún beneficio??? A ver, todo esto no reporta más que beneficios a Radiohead, exprimiendo a sus fans. El fan el fan de Radiohead antes se bajaba el disco para tenerlo antes que nadie y luego cuando el disco estaba a la venta, se lo compraba. Lo que han conseguido Radiohead ahora es que el primer paso del fan, lo paguen. Porque algunos fans no habrán pagado por la descarga, pero sí lo habrán hecho cientos de miles de ellos, que sólo con que hayan puesto 1 € cada uno, son cientos de miles de euros que se embolsan de gente que igualmente comprará el disco en su formato tradicional. El ansia del fan les ha reportado unos cuantos milloncejos al tuerto y compañia. Sin contar la cantidad de páginas que están llenando con el debate de la nueva era discográfica y que les está dando una publicidad enorme sin mencionar siquiera el contenido del disco, porque se ha hablado de todo lo que rodea a In rainbows, pero de sus canciones se habla más bien poco en ningún medio.
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@HIROMI:39bt02wj:
jaja,…ningún beneficio??? A ver, todo esto no reporta más que beneficios a Radiohead, exprimiendo a sus fans. El fan el fan de Radiohead antes se bajaba el disco para tenerlo antes que nadie y luego cuando el disco estaba a la venta, se lo compraba. Lo que han conseguido Radiohead ahora es que el primer paso del fan, lo paguen. Porque algunos fans no habrán pagado por la descarga, pero sí lo habrán hecho cientos de miles de ellos, que sólo con que hayan puesto 1 € cada uno, son cientos de miles de euros que se embolsan de gente que igualmente comprará el disco en su formato tradicional. El ansia del fan les ha reportado unos cuantos milloncejos al tuerto y compañia. Sin contar la cantidad de páginas que están llenando con el debate de la nueva era discográfica y que les está dando una publicidad enorme sin mencionar siquiera el contenido del disco, porque se ha hablado de todo lo que rodea a In rainbows, pero de sus canciones se habla más bien poco en ningún medio.
7 millones de euros. Leí el otro dia la cifra.
Y luego los medios decían que la propuesta había sido un fracaso
Hay que joderse.
Radiohead si que saben.
Y lo que nos rondaran morena.
Pero bueno, les hemos dado ese poder, no? -
Yo le he dado bien poco.
Pues eso, esos 7 millones de euros vienen de personas que seguramente acabarán comprando el disco físico igualmente, porque les mola tenerlo en la colección o porque incluye extras que no tienen en su versión digital. Lo de controlar el leakeo y todo ese rollo es una patraña, lo que han querido Radiohead, que son un poco plastas, pero tontos no son, es sacar provecho de ese leakeo. Lo peor de todo es que quien lo termina pagando son sus fans, que pagan dos veces por el mismo producto. De hacerlo bien, deberían haber ofrecido descuentos por el mismo valor ya pagado a los que luego quisieran comprarse el disco, de esta forma sí que hubiera sido exclusivamente por las razones que apunta Yorke.
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@HIROMI:326zn3nk:
Yo le he dado bien poco.
Pues eso, esos 7 millones de euros vienen de personas que seguramente acabarán comprando el disco físico igualmente, porque les mola tenerlo en la colección o porque incluye extras que no tienen en su versión digital. Lo de controlar el leakeo y todo ese rollo es una patraña, lo que han querido Radiohead, que son un poco plastas, pero tontos no son, es sacar provecho de ese leakeo. Lo peor de todo es que quien lo termina pagando son sus fans, que pagan dos veces por el mismo producto. De hacerlo bien, deberían haber ofrecido descuentos por el mismo valor ya pagado a los que luego quisieran comprarse el disco, de esta forma sí que hubiera sido exclusivamente por las razones que apunta Yorke.
Si lo hubieran hecho "Nacho y Cristina" habria sido un gesto mega guay.
Anda a cagar a la via.
De las canciones de "In Rainbows" se habla, y mucho. Seguramente en los sitios mega kwell no. Pero te puedo asegurar que la mayoria de los musicos con los que he hablado del disco, coinciden en que es una brutalidad. Tengo bastante reciente el ATP y debes saber que muchas de las "vacas sagradas" que alli actuaron comparten esa opinión. Sobre todo de "Arpegi" que es una de las cosas mas proximas al jazz (como ejercicio técnico) que se han hecho en pop.
Lo que se han asegurado radiohead aparte de la pasta, cosa que tú tambien habrias hecho si te dedicases a la música y fueses tan lista como lo es el ojo pipa, es que todo el mundo tenga un leakeo con una compresión decente y que suene como dios manda, para que las canciones no pierdan por el camino. Yo pagué 1p por la descarga, mientras que para poder escuchar un monton de discos la mitad de buenos y peor comprimidos pago 6 euritos de rapidshare y 40 de ADSL.
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Bueno, Koan, no entiendo esta pulla tuya hacia mí. Yo no he dicho que las canciones no merezcan la pena, no podría decirlo ya que no las he escuchado. Yo sólo digo que en lo que he podido ver en la prensa se habla más del como han sacado el disco al mercado, que del disco en sí. Para nada quería decir que el disco sea malo ni bueno, ya que de eso no tengo la menor idea. Pero vamos, que yo no digo que no mole lo que han hecho, si precisamente alababa su inteligencia al sacar rentabilidad al leakeo del que tantas otras bandas no hacen más que lamentarse. Pero tampoco es tan guay ni tan nuevo, ya que hay otras bandas que ya lo han hecho con anterioridad, pero no son tan importantes y no han dado tanto que hablar.
No entiendo lo de que pagues 6 € por el rapidshare. Y digo yo que los 40 de adsl los has pagado por el resto de discos y por el de Radiohead además de 1p. no?
Tampoco creas que claudico con todo lo que hacen Christina y Nacho. De hecho, yo soy más de Christina. Nacho, me gusta, pero me aburren un poco que repita estructuras en sus canciones una y otra vez…El ep conjunto me parece más bien flojito, pero parte de la culpa la tiene una muy mala producción que olvida las voces como el elemento más importante de estos dos. Espérate al nuevo de Christina y volvemos a hablar.
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