Novosti iz svijeta muzike

[medvjed23]

Henry Rollins at Pukkelpop Festival in Belgium, 1990.

[medvjed23]

Maynard James Keenan and Trent Reznor, depression contest, 1996.

[medvjed23]

Peter Hook visits Italian tombs featured on Joy Division artwork of Love Will Tear Us Apart.

[medvjed23]

[Altsa]

The Birthday Party, 1983 Dallas. David Yow u publici.

[medvjed23]

Autentično tumačenje djela je tumačenje koje vrši saam autor djela. Od svih tumačenja, upravo autentično tumačenje ima najveću težinu, jer ko će bolje od autora znati kako je djelo nastalo, zašto je nastalo, kakvu poruku nosi...

U nastavku, poslušajmo autentično tumačenje pjesme Creep:

[Hajvan]

bajate ove "novosti" iz Cveta glazbe

[Point.]

Zoster izdao album konačno a Kultur Shock najavio za 7 oktobar nove stvari.

[medvjed23]

[Nierika]

[dale cooper]

Zanimljiv članak o muzici koju su Toto radili za Lynchovu Dune adaptaciju.

The Unlikely Story of Toto’s Soundtrack for David Lynch’s Infamous Dune Adaptation

https://pitchfork.com/thepitch/the-unli ... daptation/

In this excerpt from the new oral history A Masterpiece in Disarray, members of the rock band look back on their experience scoring the 1984 sci-fi oddity.

In his one-star review of David Lynch’s Dune, Roger Ebert wrote, “This movie is a real mess, an incomprehensible, ugly, unstructured, pointless excursion into the murkier realms of one of the most confusing screenplays of all time.” In his new book A Masterpiece in Disarray, the author Max Evry writes, “When seen through the lens of today’s tentpole films, whose four-quadrant aspirations render them hopelessly homogenous, Lynch’s Dune is a unique oddity, equal parts baroque and philistine.”

Nearly 40 years after Dune hit the big screen, both sentiments ring true.

Especially when compared to director Denis Villeneuve’s epic recent Dune adaptation, Lynch’s 1984 take on Frank Herbert’s classic science-fiction book is beyond strange. Filled with jargon-y voice-overs, Atari-age special effects, and performances that range from unusually stilted to hilariously over-the-top (including a memorable turn from Sting as a punky villain with spiked hair), the big-budget affair often feels like an arthouse curio. It’s no wonder the film confounded critics and audiences at the time—even Lynch, who didn’t have final cut, has disowned it.

With A Masterpiece in Disarray, Evry reevaluates the movie by telling its full story with the help of those who were there, including stars Kyle MacLachlan and Sean Young, and even Lynch himself. Every aspect of Dune is put under the microscope, including its surprisingly quiet and moody score courtesy of the 1980s rock band Toto, best known for their No. 1 hit “Africa.” In the following excerpt, members of Toto recount their experience working with Lynch, Brian Eno’s involvement in the soundtrack, and why they maybe should have just written a song for Footloose instead.

David Lynch looked at numerous musicians and bands to do the film’s music, including Giorgio Moroder, before he went with Toto, the rock group led by David Paich and also consisting of Steve Lukather alongside the three Porcaro brothers, Steve, Mike, and Jeff. The group had just released a triple-platinum album, Toto IV. Singles like “Rosanna” and “Africa” catapulted them to mega-stardom. Then their lead vocalist Bobby Kimball left the band, which helped push them in a new direction.

Steve Lukather (Toto guitarist and vocalist): We’d just won the Album of the Year Grammy. We won every accolade we could get! A really wonderful time. Then our singer kind of went south, so we took a break and had to regroup. We were looking for something to do to buy us some time before we got back to our own thing. Another project to be creative, make a few bucks, and have a laugh until we found somebody to replace our singer. Opportunities came up.

Ultimately, Toto had to choose between two plum projects: Dune and Footloose.

David Paich (Toto keyboardist and vocalist): Footloose was definitely in our wheelhouse.

Lukather: Footloose wasn’t a score; they just wanted some songs from us because we were the big band at the time. Who knew that soundtrack was going to sell 12 million copies? You never know with this shit. You hear actors all the time say, “I turned down the part that won the Academy Award!” We could have done a track for Footloose, because I sang lead on a bunch of stuff. David Paich sang lead on fucking “Africa,” one of our biggest songs.
Toto circa 1984

Toto circa 1984, from left: Michael Porcaro, Steve Porcaro, David Paich, Jeff Porcaro, Steve Lukather, and Fergie Frederiksen Photo by Jim Shea/Michael Ochs Archives/Getty Images

Paich: Dune was just a stroke of luck. Ridley Scott was originally directing it when we found out about it. I was a very big Ridley Scott fan. I knew of David Lynch because he had done Elephant Man, which was a great movie.

Lukather: When I heard the name “David Lynch” I had to stop, because I had been a fan since Eraserhead. I used to take everybody to see this thing at the Nuart Theatre in Santa Monica every couple of weeks. One of the times we went, Jack Nance was sitting two rows behind us. I turned to one of my buddies and said, “Look, it’s Eraserhead!”

Paich: When it passed hands from Ridley to David, the band got together and said, “Should we still pursue this?” Jeff Porcaro said that was a definite “yes.” It would be a very cool thing to do.

Lukather: We were sold on: “It’s going to be the new Star Wars.”

Paich was invited to fly to Mexico City during production to meet with David Lynch and play the chords that eventually became the movie’s signature theme.

Paich: I was able to play my main theme for David Lynch. They loved it and hired us on the spot. He had a Walkman, and put this set of phones on me and said, “Tell me if you can make this kind of music for my movie?” He put on two Shostakovich symphonies. He made me listen and said: “I want this music low, and I want it slow.” I thought, Well, I can handle that. This isn’t Star Wars. He’s making the anti-Star Wars movie. He wanted me to avoid anything that’s uplifting, that’s happy, that’s joyous, that’s compelling. He hates popular movies that make people come and eat popcorn and stuff. Super-nice guy, though. He wanted it low and slow.

Lukather: Sometimes we wanted to rowdy it up a little bit but we thought, It’s too much. It’s too much. It wasn’t about us. That’s the thing about scoring films—it wasn’t about, “Oh, let’s dig the Toto music.” A lot of people were like, “Who’s scoring the film? Those guys?” Like we’re going to write “Africa” for the film or something. They didn’t realize that we can do all kinds of shit. We worked with Miles Davis, Quincy Jones, Michael Jackson, Steely Dan. We were all over the map.

Paich: Everybody was getting a little anxiety, a little stressed by the time we got involved. It was the end of the movie, and they wanted the music to be put in there. Lord knows people have differences of opinion about music all the time, but I got along with Lynch great. We had no problem with David.

Lukather: He’s such a unique filmmaker and a unique human being. We were working on stuff on-and-off for about three months together. The weirder it was, the more David liked it. He didn’t like real busy stuff, he liked more ominous sounds. We did it all in L.A., and David would come a lot when he was starting to cut the film. We weren’t around when they were actually filming anything; it was all afterward. Some of the actors, like Kyle MacLachlan, would come around. It was a positive experience in terms of the hang.

Toto wrote no lyrical songs for Dune, instead conjuring a big, sweeping orchestral sound with only a few guitar chords here and there.

Paich: That’s where my head was at because I grew up with orchestras. My father was an orchestrator for [film composer] Jerry Goldsmith. He did some movies and a lot of TV and constantly conducted orchestras all his life. I come from the old-school orchestra scoring of a movie. When Queen did Flash Gordon, I thought, Wow, that’s interesting to have a band score a movie. We took it that way and kind of Toto-ized it, trying to follow David Lynch’s instructions, which put limitations on what we’re trying to do.

Lukather: David Paich gets to scratch his itch to write an orchestral score with all of us contributing compositional ideas, but—in all fairness—Paich was really running the show on this one. I got to give credit where credit’s due. We were still in our 20s. I was 25 years old. I’d never done anything like that before. It was a new experience for me, and I learned a lot.

While Paich and Lukather were always the main composers for the film, another artist Lynch considered bringing in from the get-go was British ambient pioneer Brian Eno. The filmmaker ultimately decided to supplement the score with a single 12-minute synth track by Eno (alongside Daniel Lanois and Roger Eno) known as the “Prophecy Theme,” which caused a bit of tension with the members of Toto.

Lukather: He temped a scene with Brian Eno’s music, and we tried to fucking satisfy him, and nothing would do it until he finally said, “I’ll pay Brian to do this.”

Paich: It was a little touchy at first, because we thought that he wanted to go in a different direction, that he wasn’t satisfied with Toto. We read that wrong. All they wanted was to be more inclusive with the music and bring in some other elements to it. Now that I look back on it, it was the perfect call. I was lucky to be part of all that.

Lukather: I’ve never met Brian. Love his work, but he wrote a 30-second theme and basically got the same credit as us. They used him because of his name value, so people attributed our work to him and his work to us, and it was confusing. It was much hipper to say Brian Eno wrote the score than Toto at the time. If they didn’t like the movie, they’d go after us. If they liked it, they’d give Eno all the credit. I have no beef with Brian Eno, I have no beef with David. That’s what he wanted so he should have it. I love Brian Eno.

Paich: When I look back on it, the sound design aspect was Brian Eno. He brought in those luscious and compelling and haunting voices that were in some of the scenes. It was a great mixture to have both elements, between Eno and Toto. He pre-recorded stuff he just thought would be good for the movie and sent it to David Lynch, and that was the music. Toto did all the percussion in L.A. here, and Steve Lukather did some of the guitar backward sounds.

Penelope Shaw Sylvester (Dune assistant editor): David had a strong audio vision too. The sound. He had one of his sound designers, Alan Splet, who unfortunately isn’t with us anymore, come on the film, and he was on David’s wavelength for that.

Paich: There was a lot of sound design going on with Lynch at the same time this orchestral stuff was being conceived. Lynch is very into the combination of those things. I remember when I went to his house, he had this haunting, low, whistling sound. I said, “What is that?” He said he went to Scotland up into the hills where there was supposedly a haunted castle. This was the wind whistling through the castle, and he recorded that. He puts it on all of his movies. This low wisp of a sound. It’s almost like a foghorn. David Lynch was one of the champions of sound design and movie music going together.

The Toto score for Dune was Wagnerian and powerful, yet the band never composed the soundtrack for another movie.

Paich: Working on that film discouraged me a little bit from working on films. I thought, If this is the way it’s going to be… I wanted it to be a blockbuster like Jaws, and it wasn’t. It was met with mixed reviews.

Lukather: It was a one-and-done for us, as far as I was concerned. It was a great experience, but it was not something I wanted to do for a living. There are guys that do it so well. I just want to stay in my lane, if you will. I’m not the right guy to spend the rest of my life doing that. It’s very difficult, tedious work, and I just want to run on stage and play my ass off and get paid and go home. I spent a lot of time in recording studios from 1976 to 1992, doing 20 sessions a week… and having a band.

I saw Dune a million times when we were doing it. I could move my lips to the dialogue. Oftentimes, some of the phrases from the film we still use to talk to each other—it just comes out of nowhere. That’s part of our history.

Released in 1984 by Polydor, the Dune soundtrack album was, according to the band, not a bestseller. The label reissued the soundtrack on CD in 1997 with previously unreleased cues. In 2020, Jackpot Records reissued it in a limited 2,000-copy “spice-colored” vinyl run.

Lukather: The soundtrack wasn’t a blockbuster, I can tell you that. It’s not like there was a hit single. It’s a quirky little weird thing.

Paich: It’s an oddity for Toto. The one guy that came up to me was Billy Idol, who told me, “By the way, I love the Dune album. That’s my favorite Toto record of all time.” Made me feel really good.

Lukather: Billy Idol was a friend of mine and said, “My favorite Toto album is Dune.” [laughs] I said, “I love you for that, Billy!” For our last live video, on our 40th-anniversary tour, we put together a medley of the themes of Dune, in a Pink Floyd-y sort of way. Our super-fans get it, like, “I can’t believe they’re playing something from Dune!” We didn’t play the main theme; that would have been too obvious and kind of silly. We aren’t John Williams, but we gave it a go! The irony is the singer in our band now, Joseph Williams, his father is John Williams.

You can definitely hear hints of Paich’s Dune theme in the memorable themes for 1988’s Scrooged and 1989’s Batman by Danny Elfman, another rocker-turned-composer. Shades of it occur in the track “Stillsuits” from Hans Zimmer’s score for the 2021 version of Dune.

Paich: There’s another one, from Star Wars, where they blatantly use that theme in it. I just take it as flattery, you know?

Lukather: I’ll tell you the funny story: On the last tour we did with Jeff Porcaro before he sadly passed, we were headlining these big-ass festivals, and we were on one called Rock am Ring in Germany for 50,000 people. It was 1991, and Sting and Toto were the headliners. I had never met Sting before. I was a big fan. We went on before them, and we killed it, had a great show. At the time, I was still boozing it up a little bit and had this cheap fucking bottle of German schnapps. I walked up to Sting with a little bit more bravado than I would have if I’d been completely sober. I put my arm around him, holding the bottle, and I went, “DUNE.” He looked at me and he goes, “Hey man, at least you didn’t have to wear the blue Speedo!”

[dale cooper]

The 20 greatest concert films – ranked!

https://www.theguardian.com/music/2023/ ... lms-ranked

20. A One Man Show (1982)

The only commercial release of A One Man Show is a wasted opportunity, padding out six live tracks with four (admittedly fantastic) Grace Jones videos. But the live stuff is so fantastic – dramatically lit, beautifully staged, Jones snarling and imperious – it’s unmissable: it’s time someone released the whole gig.

19. Minor Threat Live at 9:30 Club (1983)

It’s shot on video cameras towards the end of Minor Threat’s career, but no other film captures US hardcore punk’s potency this well. Minor Threat don’t play like a band about to break up, and situating a camera behind the drums is an inspired idea, revealing the audience: a stage-diving, slam-dancing maelstrom of arms and legs.

18. Jay-Z: Fade to Black (2004)

Hip-hop concert movies are surprisingly thin on the ground, which means it’s worth overlooking Fade to Black’s premise – heralding a retirement that never happened – and luxuriating in the footage from Madison Square Garden, complete with guests including Kanye West, Missy Elliott, Mary J Blige and Beyoncé.

17. Mad Dogs & Englishmen (1971)

Mad Dogs & Englishmen is now a fantastic period piece, documenting a vast, overblown musical travelling circus touring the US on the morning after the 60s. There’s a bludgeoning intensity about the music, Joe Cocker remains a bizarre, compelling presence, but the scene-stealer is the charismatic, if faintly unsettling keyboard player, Leon Russell.

16. Awesome; I Fuckin’ Shot That! (2006)

A fascinating attempt to re-frame the concert movie: 50 fans at a Beastie Boys’ Madison Square Garden show were handed camcorders and told to film the entire show. Edited together, the lo-fi results are occasionally headache-inducing, but few films so accurately replicate the experience of actually being in the audience at a gig.

15. Don’t Think (2012)

Adam Smith’s astonishing film of a Chemical Brothers set at Japan’s Fuji Rock mixes colour-saturated visual bombardment with audience members wandering off for food midway through the performance. It genuinely feels like being at a festival in an altered state: moreover, it captures the lost-in-the-moment transcendence central to dance music.

14. Elvis: That’s The Way It Is (1970)

Without wishing to pick nits, it’s the 2001 cut of That’s The Way It Is you need to see – more performance and fewer fans rhapsodising, thus more compelling evidence that, initially, Elvis in Vegas represented a career highlight: on stage he’s spontaneous, emotionally powerful and still carries a distinct sexual energy.

13. Sign O’ the Times (1987)

Prince diehards may favour the rarely screened film of Prince’s 1986 Parade tour – which features the Revolution and mercifully eschews Sign O’ the Times’ scripted “dramatic” vignettes – but Sign O’ the Times is fantastic nonetheless: beautifully shot, with a setlist heavy on the career-highlight album with which it shares a title.

12. Wattstax (1973)

The Wattstax festival was labelled the Black Woodstock, but the subsequent film is infinitely more interesting than that of Woodstock itself: the performances are all spectacular (Isaac Hayes is the star, the Bar-Kays possibly the highlight) and the director’s contextualising is gripping – it’s a festival situated in a tense, deprived Black neighbourhood.

11. Depeche Mode: 101 (1989)

DA Pennebaker’s film inadvertently helped invent reality TV – the footage of Depeche Mode is interspersed with that of young fans who’ve won a contest to see them live. Quite aside from the performance at the Pasedena Rosebowl, 101 ends up saying fascinating things both about Depeche Mode on the brink of vast fame, and about late-80s America.

10. The Song Remains the Same (1976)

The fantasy sequences may be the last word in 70s rock self-indulgence, some sections of footage may feature the band miming at Shepperton Studios, Robert Plant might have dismissed it all as “bollocks”, but no matter: the highlights of Led Zeppelin’s 1973 live performance at Madison Square Garden are so fierce as to trample all objections underfoot.

9. Dance Craze (1981)

The making of Dance Craze was apparently fraught with arguments between the director Joe Massot and the artists, but you can’t tell from the end product: a relentless onslaught of frenetic live performances – from the Specials, Madness, the Beat et al – that perfectly captures the rowdy euphoria of the Two Tone movement’s zenith.

8. The Last Waltz (1978)

Martin Scorsese approached shooting the Band’s farewell show like a feature film: storyboarding, employing seven cameramen, playing close attention to lighting. But it’s the performances – not just the Band, but Bob Dylan, Neil Young, Joni Mitchell and an accelerated-looking, high-kicking Van Morrison – that make it worth watching.

7. The TAMI Show (1964)

The story of The TAMI Show – of James Brown’s determination to upstage headliners Rolling Stones – is better known than the film itself, which spent decades out of circulation. Brown is incredible, but the rest of the lineup is great too, taking in Motown, the Beach Boys, Lesley Gore and garage punk (via the Barbarians): a perfect survey of mid-60s US pop.

6. Homecoming: A Film by Beyoncé (2019)

The rehearsal footage is perhaps a little too hagiographic, but Beyoncé has every right to feel pleased with herself: the first Black woman to headline Coachella put on an authentically jaw-dropping show, its thrills amplified by the movie cutting between its two performances, denoted by a change in costume colour.

5. Monterey Pop (1968)

Jimi Hendrix’s guitar-immolating appearance is Monterey Pop’s most famous moment, but really, the viewer looking for highlights is spoilt for choice: Janis Joplin’s racked reading of Ball and Chain, the thuggish power of the Who – utterly at odds with the festival’s peace-and-love vibe – or Otis Redding’s majestic career-changing appearance.

4. Gimme Shelter (1970)

Most great concert movies make you wish you’d been there; Gimme Shelter makes you delighted you weren’t. The Rolling Stones’ performances are really good, but that’s besides the point: the film’s power lies in the way it keeps cutting back to the band’s subsequent reaction to reports and footage of the violence and murder at Altamont.

3. Stop Making Sense (1984)

Director Jonathan Demme called Stop Making Sense a “performance film” rather than a concert film, stripping away visual and lighting effects to concentrate on Talking Heads’ incredible, highly choreographed performance, catching them at their post-Speaking in Tongues musical peak, their augmented live band awesomely tight and funky.

2. Amazing Grace (2018)

When Aretha “gets her body and soul all over some righteous song, she’ll scare the shit out of you”, the late Billy Preston once opined. Well, quite: other concert films may be more visually spectacular, but for sheer, blazing musical intensity, nothing matches this long-unreleased 1972 film of Aretha Franklin at her father’s LA church.

1. Summer of Soul (2021)

Summer of Soul isn’t so much a concert film as an incredible piece of cultural archaeology, unearthing long-buried footage of the 1969 Harlem cultural festival. It seems astonishing it was ever forgotten in the first place: it may well represent the pop era’s greatest gathering of Black talent – with every participant at the top of their game – and the audio and visual quality is stunning. Literally every performance, from Nina Simone’s incendiary rabble rousing to Sly and the Family Stone’s euphoric set, to Mavis Staples and Mahalia Jackson’s soaring gospel, is jaw-dropping: no wonder it scooped every award going.

Dobra lista, nešto od ovoga sam gledao, ali mnoge i nisam.

[Better Man]

The Song the Remains the Same od Led Zeppelin je remek djelo.Od prve minute i prikaza gangsterske pljačke, pa sve do kraja. Film je snimljen na turneji na kojoj su promovisali 5 album Houses of the Holy. Isto tako Stop Making Sense od Talking Heads je remek djelo. Oba koncertna filma prikazuju bendove u njihovim vrhuncima.

[dale cooper]

Kako je turneja najveće pop zvijezde današnjice spasila američko gospodarstvo.

https://www.index.hr/magazin/clanak/kak ... omentari_d

TAYLOR SWIFT stvara milijarde američkom gospodarstvu. Njena rekordna turneja Eras Tour bit će najunosnija serija koncerata u američkoj povijesti. No, ne samo da je osigurala gomilu novca na rasprodanim stadionima - ona je također donijela korist američkom gospodarstvu.

Dok film o njezinoj turneji puni kina, milijuni fanova će masno platiti za trenutak sa Swift. Dok ona dolazi na filmsko platno, evo uvida u ekonomsku stranu, piše The Washington Post. Najveći dobitak ide ravno Taylor Swift, koja će zaraditi čak 4.1 milijardu dolara od turneje, prema procjenama Petera Cohana, profesora menadžmenta na Babson Collegeu.

Izračun je pod pretpostavkom da pop zvijezda na kraju zadrži standardni postotak izvođača od otprilike 85 posto, s prosječnom cijenom ulaznice od 456 dolara. Njena bi zarada bila najveća od bilo koje glazbene turneje u povijesti i veća od godišnje ekonomske proizvodnje 42 zemlje, uključujući Liberiju, koja ima više od pet milijuna stanovnika.
Fanovi potrošili oko 93 milijuna dolara po koncertu

Međutim, utjecaj Eras Toura daleko je veći od onoga što Swift donosi kući. U jednom od rijetkih pokušaja procjene potrošnje posjetitelja koncerta, softverska tvrtka QuestionPro ispitala je 592 fana koji su odgovorili na online anketu.

Na temelju njihovih odgovora i prosječne posjećenosti koncerata, QuestionPro procjenjuje da su obožavatelji potrošili oko 93 milijuna dolara po nastupu - na ulaznice, ali i na predmete s njenom slikom, putovanja, hotele, hranu i odjeću.

Zbrojite sve to i do kraja turneje po SAD-u dobit ćete poticaj od 5.7 milijardi dolara za nacionalno gospodarstvo. To je dovoljno da se podijeli 440 dolara svakoj osobi u rodnoj državi Taylor Swift - Pennsylvaniji. Ili gotovo dovoljno da se svakom Amerikancu pošalje novčanica od 20 dolara.

Manija je počela nekoliko mjeseci prije početka Eras turneje u ožujku. Pretprodaja ulaznica počela je u studenom - što je mobiliziralo milijune obožavatelja i uzrokovalo pad Ticketmastera. Uslijedila je zajednička tužba i kongresna istraga, kao i bijes mnogih fanova.
Povećala prihod hotela

Ulaznice, čija je početna cijena bila 49 dolara, prodavale su se za višestruke iznose svoje nominalne vrijednosti na stranicama za preprodaju kao što je SeatGeek. Taj nalet potrošnje oživio je industriju zabave nakon višegodišnjeg pada izazvanog pandemijom. "Swift i njezin Eras Tour redefinirali su ekonomiju zabave", rekao je Chris Leyden, direktor marketinga u SeatGeeku.

Ekonomski poticaj turneje proširio se daleko izvan koncertnih stadiona jer su obožavatelji putovali izbliza i izdaleka na bilo koji koncert do kojeg su mogli doći. Federalne službe iz Philadelphije čak su navele Swift efekt u izvješću - rekavši da su posjetitelji koncerata značajno povećali prihod hotela u svibnju.

Hoteli, restorani i trgovine diljem zemlje osjetili su uzlet, a milijuni dolara slijevali su se u 20 američkih gradova koje je Swift posjetila ovog ljeta. Cincinnati je procijenio da će imati oko 48 milijuna dolara dodatnog gospodarskog učinka.
Eras Tour - injekcija za gospodarstvo

U Los Angelesu, gdje je Swift imala šest koncerata, Kalifornijski centar za radna mjesta i gospodarstvo predvidio je poticaj od 320 milijuna dolara. Turistička organizacija Kansas Cityja objavila je da će regija zaraditi dodatnih 48 milijuna dolara od turneje u srpnju. Institut Common Sense, koji proučava stanje gospodarstva u Coloradu, predvidio je da će nastupi Taylor Swift u Denveru donijeti do 140 milijuna dolara u cijeloj državi.

"Eras Tour je bio injekcija za regionalno gospodarstvo koje je stvarno zaostajalo. To je donijelo prijeko potrebne dolare turističkoj industriji", rekao je Mike Kahoe, glavni ekonomist Kalifornijskog centra.

Grupa za hotelsku analitiku STR izračunala je da su obilasci gradova doveli do povećanja prihoda od hotelskih soba u iznosu od 208 milijuna dolara, što je više od uobičajenih sezonskih razina.

U Seattleu je Taylor Swift postavila rekord u jednodnevnom prihodu za hotele u središtu grada - dosegnuvši 7.4 milijuna dolara, oko dva milijuna dolara više od rekorda postavljenog tijekom All-Star utakmice Major League Baseball ranije istog mjeseca.
Narukvice prijateljstva

"Da to stavimo u kontekst, 208 milijuna dolara u osnovi je kombinirani prihod od noćenja ostvaren u New Yorku i Philadelphiji u jednom tjednu", napisao je viši istraživački analitičar STR-a Brian Riley. I to samo za noć nakon koncerata, ne uključujući obožavatelje koji su stigli ranije ili ostali duže.

Njeni obožavatelji žele pamtiti svoju omiljenu Eru - a to znači razbacivanje na odjeću i kostime. "Ima li netko ovdje tko je uložio puno rada, razmišljanja i priprema za pamćenje stihova i/ili što će odjenuti?" pozvala je Swift publiku na glasno navijanje na nastupu u Los Angelesu u kolovozu.

Osnovni dodatak za bilo kojeg Swiftija je nekoliko - ili nekoliko desetaka - narukvica prijateljstva kojima krase svoja zapešća i kojima se trguje na izložbama. Nakit, inspiriran stihovima iz njene pjesme You're On Your Own Kid, često je ručno izrađen ili kupljen na internetu i sadrži popularne stihove.
864.000 dolara za prodaju proizvoda tijekom svakog nastupa

Jedna prodavačica na Etsyju, Kara White, počela je izrađivati narukvice sa svojom mamom početkom ove godine, kada je turneja započela. Dobili su narudžbe za 1500 narukvica u jednom danu dok su se obožavatelji pripremali za nastupe u Los Angelesu. White i njezina mama zaradile su oko 15.000 dolara ove godine prodajom narukvica.

"To samo pokazuje koliko ona izluđuje svoje fanove", rekao je White. Poželjna roba vezana za turneju koju je bilo teško nabaviti natjerala je obožavatelje da se okrenu internetskim stranicama za preprodaju. Jedan od najpopularnijih artikala: plava vesta s okruglim ovratnikom s logotipom Eras Toura po cijeni od 65 dolara.

Na stadionima su redovi za ove proizvode bili dugački - unutra i ispred kamiona parkiranih vani. Justin Paul, DJ, producent i kreativni direktor koji predaje glazbene poslovne tečajeve na UCLA Extensionu, došao je do konzervativne procjene - 864.000 dolara za svaki nastup za prodaju proizvoda Taylor Swift unutar prostora koncerta, koristeći broj ljudi na svakom nastupu i prosjek koliko posjetitelji koncerata obično potroše.
Val ekonomskih aktivnosti

Ipak, Swift je poseban slučaj. "Pogledajte koliko potrošači troše da vide Taylor Swift, to je prilično nevjerojatan iznos. I ne samo da troše, nego u mnogim slučajevima kažu da bi to rado ponovno učinili", rekao je Dan Fleetwood, voditelj istraživanja QuestionProu.

Sudeći prema ispitanicima ankete QuestionPro, prosječni obožavatelj potrošio je gotovo 1300 dolara na odjeću, putovanja, ulaznice i ostalo za koncert. Sva ta potrošnja Swiftija značila je da restorani, trgovine i zaštitarske tvrtke moraju držati korak. Jedno rješenje: zapošljavanje privremenih radnika dok je Taylor Swift u gradu.

"Kada Taylor Swift dođe u grad, ona donosi val ekonomske aktivnosti", rekao je Daniel Altman, glavni ekonomist u Instaworku, koji tvrtkama omogućuje zapošljavanje radnika na sat.

Ne samo da ima više poslova na koncertnim stadionima i oko njih, nego su i bolje plaćeni: prosječna satnica ponuđena na Instaworku u radijusu od osam kilometara od koncerta Taylor Swift 13. svibnja u Philadelphiji bila je 20.57 dolara, dva dolara više nego inače.
Nagradila svoje zaposlenike

Došlo je i do dugotrajnijeg povećanja zaposlenosti. Procjenjuje se da je šestodnevno zaustavljanje Taylor Swift u Los Angelesu generiralo dovoljno prihoda za financiranje 3300 novih radnih mjesta, prema Kalifornijskom centru za radna mjesta i gospodarstvo. To je dovoljno da se zaposle ljudi u svakoj knjižari i novinskom kiosku na području grada.

Swift je također prenijela dio te karme - i novca - svojim zaposlenicima. Ovog je ljeta svakom vozaču kamiona na turneji dala dodatnih 100.000 dolara, a nagradila je i tonske tehničare, ugostitelje, plesače i ostalo osoblje, izvijestio je časopis People u kolovozu.

Swift je možda bila glavni događaj, ali mnoštvo je malih poduzeća uživalo zbog njene slave. U Pennsylvaniji su bili okusi sladoleda inspirirani turnejom, bomboni u Coloradu, a kava u New Hampshireu. U saveznoj državi Washington, Neko Cat Cafe organizirao je "zabave slušanja Taylor Swift" prilagođene mačkama na svoje dvije lokacije u znak sjećanja na dolazak turneje.
Motivi Erasa posvuda

Mala tvrtka zaradila je više od 3000 dolara od događaja, uz prodaju ulaznica na lokaciji u Bellinghamu - gotovo 150 kilometara sjeverno od Seattlea - 140 posto većom prodajom nego što je normalno petkom navečer.

40 mačaka, sve dostupne za udomljavanje, nosile su marame Taylor Swift dok su ljudi pili pjenušavo vino i jeli kolačiće s temom Lover. Ulaznice po cijeni od 40 dolara odmah su rasprodane.

U Kaliforniji je Susie Cakes prodala kolače na temu Swift u vrijednosti od 50.000 dolara. Japonessa Sushi Cocina iz Seattlea zaradila je 10.000 dolara u sushi rolicama i koktelima Reputation. A u Kansas Cityju, Donutology je dobio narudžbe za 20.000 krafni s temom Eras Toura, koje su postale glavna namirnica na zabavama na parkiralištu prije nego što Swift izađe na pozornicu.

U Minneapolisu je Inbound Brew skupio dvostruko više novca nego običnog vikenda kada je ovog ljeta organizirao tri večeri svečanosti vezanih uz Eras Tour, uključujući trivijalne igre, karaoke uživo i plesnu zabavu.
Ekonomska dominacija se nastavlja

"Ovo je bilo veće za nas nego kada je Super Bowl došao u grad 2018. godine", rekla je direktorica Emily Elmer.

Prvi dio njezine sjevernoameričke turneje možda je završen, ali Taylor Swift ne može stati. Stigla je u kina i na nogometne stadione (kada su sportaši zapravo na terenu). Postala je prepoznatljiva figura na utakmicama Kansas City Chiefsa gledajući svog navodnog dečka Travisa Kelcea.

Njezino pojavljivanje uzrokovalo je skok prodaje Kelceovog dresa i porast cijena ulaznica za NFL nakon glasina da će Swift biti prisutna.

Eras Tour je također u novoj fazi. U studenom će pop zvijezda krenuti na svoju međunarodnu turneju od 146 nastupa po Južnoj Americi, Aziji, Australiji i Europi. Ukratko: ekonomska dominacija Taylor Swift se nastavlja.

You go girl. Ali ozbiljno...gledajući neke snimke sa Eras turneje sve zaista nevjerovatno i spektakularno izgleda.

[medvjed23]

You want it darker? Better call Trent Reznor.

https://faroutmagazine.co.uk/10-darkest ... ever-made/

[medvjed23]

[medvjed23]

Thom Yorke and Jonny Greenwood through the years:

[Tito_i_Partija]

@dale cooper jel' ono ti bješe Hall & Oates ljubitelj? Evo ih pokrkali se.

https://www.theguardian.com/us-news/202 ... ning-order

[dale cooper]

@dale cooper jel' ono ti bješe Hall & Oates ljubitelj? Evo ih pokrkali se.

https://www.theguardian.com/us-news/202 ... ning-order

A garant lova neka u pitanju.

Kad smo već kod Daryla, nedavno mu je u gostima u njegovom long running youtube showu Daryl's House bio matori namćor
Robert Fripp. Ovo je im je čini mi se prvo ujedinjenje još od kada su radili na međusobnim solo albumima sa kraja 70-tih.
Svirali su stvari sa tih albuma kao i Bowievu Heroes (na kojoj je Fripp isto svirao), a za kraj su ostavili poslasticu...zajedničku verziju
King Crimsonove Red koju su odsvirali bez prethodnog uvježbavanja...što je inače za Frippa nezamisliva stvar. Sjajno je ispalo.

[kakavdanakneiskustvu]

https://www.index.hr/magazin/clanak/pre ... 5d9XhVrSv4

[dale cooper]

R.I.P. Shane

[Saian]

[Hajvan]

R.I.P. Shane

citav dan mi se vrti u glavi ova

[Škobo Habu]

Prije mjesec-dva na Doku TV je išao dokumentarac o The Pogues.

Dosta dojmiljiv. Topla preporuka.

[Better Man]

Počivaj u miru veliki i neponovljivi Shane. Ovo je čista umjetnost i muzičko remek djelo.