Wywiady i newsy

[RALF]

https://www.thesun.co.uk/news/3450869/i ... test-hits/

No to mamy pozew!

[Papa]

Czyżby jednak się nie dogadali w sprawie zapożyczeń z Beckettem? Bo jeśli tak, to tylko wierzchołek góry lodowej (przypominam o Nomadzie i Life's Shadow, za który na bank dostali by cięgi w sądzie).

[SebastianArcheo]

Tu nie chodzi o Beckett. Ten cały Brian Quinn nie był muzykiem Becketta. Jestem ciekawy jak to się zakończy. Osobiście wątpię żeby coś im się stało. Może to było zaplanowane ?

[Mr. M]

Jeśli dobrze rozumiem, to po 35 latach ktoś sobie przypomniał, że powstał utwór, który jest podobny do tego co napisał 50 lat temu? Zapłon niezły, nie ma co

[Schizoid]

Ja na miejscu Beckett, pozwałbym IM raczej za Nomada, niż HBTN, bo tego pierwszego praktycznie nie da się wybronić.

[RALF]

Z tym "Nomadem", to na 99% jestem przekonany że dostali dolę. Gdyby było inaczej - już dawno by pozew leżał w sądzie Quinn nie jest bezpośrednio powiązany z grupą Beckett, to nie jest pozew Beckett vs. Iron Maiden, to raczej Quinn coś kombinuje, niemniej - wiele nie wskóra, o ile cokolwiek. Takie zbieżności tekstu - parę słów, to na serio może być dzieło przypadku. Równie dobrze twórca może cokolwiek zapamiętać z otoczenia (radio, TV, przeczytany artykuł) i podświadomie przytoczyć jakieś słowa. Trudno będzie dowieść, że to celowy plagiat...

A może wiedząc o sprawie, IM celowo wyłączyli "Hallowed" z tegorocznej setlisty?!

[Schizoid]

A może wiedząc o sprawie, IM celowo wyłączyli "Hallowed" z tegorocznej setlisty?!

To robi sens.

Przypadek jest trudny do uznania w świetle tego, że Iron Maiden zespół Beckett znało. Nawet cover nagrali, a potem ta historia z Nomadem. Raczej można podciągać pod nieumyślne plagiatowanie. Wydaje mi się, że Nomad to może być w tym przypadku gwóźdź do trumny, bo jeśli dobrze użyć argumentu, że z jednego utworu IM wzięło najpierw tekst, a potem po prostu skopiowało muzykę, to Quinn może to wygrać.

[RALF]

Zobaczymy, tyle że musiałby udowodnić, iż ten fragment muzyki z "Nomad" jest jego autorstwa... Codo tekstu - to wcale nie musiał być świadomy plagiat!

[Deleted User 6661]

Nomada nie da się w żaden sposób wybronić - to kompromitacja Maiden na całej linii. Można ewentualnie rżnąć głupa i zrzucić winę na chochliki drukarskie, które wykasowały nazwisko kompozytora - muzyka Beckett - z okładki płyty. A że potem niby nic się nie działo w temacie, to i o przeprosinach zapomniano. Albo załatwiono już tę sprawę polubownie, po cichu.
Nie jest możliwe, aby Nomad był plagiatem niemyślnym - w to nie uwierzę.
Co do Hallowed - to raczej śmiech na sali. Powtórzenie paru związków wyrazowych i tyle. Zdziwiłbym się, gdyby Maiden przegrał sprawę.
Swoją drogą, link podany przez RALFA jest aktualnie nieaktywny.

[hipcio_stg]

Nicko wczoraj był na finale mistrzostw świata w snookera. Komentatorzy wspominali, że ta impreza była wpisana w trasę Iron Maiden i Nicko sobie zastrzegł wolne na 1 maja

Swoją drogą ciekawe komu kibicował? Ja byłem za Higginsem - niestety tym razem się nie udało.

[Deleted User 2259]

A gdzie były te mistrzostwa ?

[hipcio_stg]

Sheffield na wyspach.

[RALF]

Polecam wywiad ze Smallwoodem dla MusicWeek

The Big Interview: Phantom Management's Rod Smallwood and Dave Shack
by George Garner
May 2nd 2017 at 2:38PM

As soon as you walk through the door, you know exactly where you are. Depending on how you look at it, Phantom Management’s HQ – nestled away in a Soho side street – is either a museum, gallery or shrine to British metal titans Iron Maiden.
Be it the extensive collection of plaques arching over the reception or multi-tasking as wallpaper along the winding staircases, every nook and cranny seems to bear the unmistakable countenance of their inhuman mascot Eddie.
This only intensifies when you reach the offices where, in one particular enclave, reside the crown jewels: two of the original Eddie masks used onstage in the very early days, back when Iron Maiden were still more used to plying their trade in pubs in the East End of London than arenas.
Both masks are older than your correspondent. The cumulative effect offers incontrovertible evidence not only of the enormous success of this particular band, but also the enduring nature of it. All of which has been carefully overseen by veteran manager - and Strat-winner - Rod Smallwood.
Understandably, the man in question is initially still tied up in meetings when Music Week shows up. At the time of the interview, Maiden’s impending 13-date UK and Ireland arena tour, which starts this week, is fast-approaching.
It is set to initiate the last touring cycle of their triumphant 2015 The Book Of Souls double album, which debuted at No.1 in the charts and, according to Official Charts Company data, has sold 126,786 copies to date – 109,100 of which were physical.
Fortunately, Smallwood’s co-interviewee for the day, Phantom Management’s managing director, Dave Shack, is on hand. And in his hands is further evidence - alongside those recent sales and chart positions - that despite their rich history, Maiden are not coasting on their past glories.
The proof is on Shack’s iPad. As we wait for Smallwood, he gleefully demonstrates the latest iteration of Iron Maiden’s mobile game The Legacy Of The Beast, which is being updated to coincide with the tour.
Shack was appointed as managing director in December 2013 – thus forging a new management triumvirate with Smallwood and Andy Taylor – but that doesn’t tell the whole story. His roots with Maiden run deep.
Before Phantom, before his marketing, promotions and international work at BMG/Sony BMG, he was a journalist – writing for Kerrang! and even interviewing the band for Metal Forces magazine.
Before that, he was a fan. Today he produces a ticket from his desk drawer that confirms he saw Maiden on The Number Of The Beast tour at Bradford St George’s Hall, March 1, 1982.
In a career as storied as Maiden’s that’s quite close to the beginning, but Smallwood has been there from the start, seeing Maiden traverse a music world that is virtually unrecognisable from the same industry the band entered into. And, somehow, they are more successful than ever.
For the best part of a decade, Iron Maiden have toured the world in their own custom plane – Ed Force One – piloted by none other than their own singer, Bruce Dickinson. It speaks volumes, though, that this feat is not the most pressing topic surrounding Maiden’s current world tour.
Amid the wider furore over secondary ticketing, Iron Maiden took a stand – adopting a paperless policy that led Nigel Adams MP, chair of the APPG on music to opine, “Iron Maiden and their management should be commended for their innovative approach to tackling touts.”
This endeavour itself is nestled amid a business enterprise that includes the aforementioned video game, their own brand of beer (Trooper), their own brand of headphones (née ED-PH0N3S) with Onkyo, a merch empire that by their own mandate requires excessive scrutiny, and a series of complex vinyl reissues.
Quite frankly, it’s a miracle they had time to speak. But they have, and with Rod freshly liberated from his meeting and grinning with excitement about the upcoming tour, over the course of an hour, the pair dispense lessons about life in the music industry that extend far beyond the remit of a metal band.
“Belief in your band,” says Smallwood of his overriding philosophy. “I think Maiden have got to stand for something special – their whole attitude that they’re about the music and not the bullshit. I’m very proud I’ve dealt with them so long.”
More on that later. First, let’s talk touts...
The big story attached to this tour is the stance you’ve taken on secondary ticketing. When did you first decide that was something you wanted to fight?
Rod Smallwood: When I realised what secondary ticketing actually involved, which is basically industrial scale touting.
That was around 2009, and it was particularly in America. In 2010, when we toured there, we did paperless ticketing for the best 2000 or so tickets, thus limiting the touts getting the high value tickets which they can mark up more and keeping the pricing at the level we set.
In 2011, we looked to do the same here but it just wasn’t commercially feasible for us, which is something I always regretted because the Monday after the tickets went on sale on a Friday, I think there were 6294 [listings] – because we counted them – on three major secondary ticketing sites.
I was really pissed off, because for every one of those tickets our fans were paying double, or triple, or quadruple the price or more. And it’s wrong. And it wasn’t anything to do with exchanging a ticket.
We continued to do paperless in America every tour since 2010. For this UK tour we met with Ticketmaster and Live Nation and insisted on having a way to protect the fans and the price they pay for a ticket – to keep them available to the fans at face value.
We had just over 200 tickets on sale on Viagogo for this current tour – which was remarkable. Ticketmaster agreed to not list Maiden on GetMeIn and SeatWave and then StubHub followed suit. It was a great success. We almost completely eliminated secondary ticketing.
Was it a difficult decision to make - striking the balance of slightly inconveniencing fans while also fighting on their behalf?
RS: The reaction from the fans has been very, very positive. We’ve had a few cases where people didn’t quite understand they had to have their own credit card, but within the office we managed to arrange exchanges for them, or for them to change their credit card details.
And even those were just a couple of hundred out of over 130,000 tickets sold. Again, that’s something else about the secondary, they claim to be there to exchange tickets, but we found on this tour we had very few people looking to do that.
There’s a lot of work involved in putting all this together – and enforcing it – we spend a great many man hours, and there’s no benefit to us or the band except for the great benefit of it being good for the fans.
But that is well worth the effort…. I reckon over the whole tour we’ve saved our fans well over £1 million in inflated secondary pricing by there being none.
And also, fans know they are proper tickets from source, not false or counterfeit. I think it’s well worth it, and hopefully before we tour the UK again in arenas, the government will have better legislation to protect the public from profiteering.
What do you want to see happen next in the secondary market?
RS: That the would-be seller has to add to the details that you’ve got to put on the secondary websites: you need the face value put on there, where the tickets are coming from, which person or organisation, and you need to have seat numbers so you know exactly where they are, and you can police it better. That’s a start.
I’d also like to see a 10% cap on what tickets can be sold for above face value. I think the profits are excessive and it’s all out of people’s pockets.
And it means as well, from a music industry standpoint, if you take, say, that £1m we’ve saved them on the secondary ticketing, that could have been spent on merchandise, catalogue or, more importantly, concerts with smaller or new bands.
The only people who benefit are these companies, which is wrong. And that’s me being polite.
Moving on, Maiden’s operations have expanded hugely in recent years. What’s Dave brought to the company to assist with that?
RS: His experience worldwide was very strong. With Maiden, pretty much everywhere in the world we’re very successful, and the more you can have contact with people on the ground in the big markets in particular, the more you can achieve.
But also, since Dave joined us, with Trooper coming in, and the headphones, and the game, there are a lot of wider marketing issues involved so it very much needs expertise and hands-on looking after, which he does.
What is the biggest challenge attached to Maiden’s name serving as an umbrella for so many ventures?
Dave Shack: I think it’s keeping it all believable. We work so hard here on everything not being spurious or opportunistic. Is there a good reason to do this? Is it going to enhance what we do? Is it right that we’re doing it?
That’s how we treat everything we look at. We say no more than we say yes. An opportunity to do some high end quality earphones?
Steve [Harris, Iron Maiden founder/bassist] is known for his great ears and his sonic capabilities and qualities, so yes: that’s the right thing to do. You make them as good as they can be, not a gimmick.
We’re not about gimmicks at all. Humour? Yes, that’s definitely a big part of the canon. But the beer, the headphones, the game, it’s about quality – it’s about, Will it enhance the band’s reputation?
Will it take it outside the areas we’re already strong in and magnify it? That’s all the things we look at. Some shitty, short term deal offering more money? Not interested. It’s always about the long game.
RS: We approve everything that comes out with Maiden’s name on. It goes across mine or Shacky’s desk.
We see it all and make sure it’s the right quality and that it works.
Regarding the expanded aspect of the business, what are you most proud of in terms of achievement?
DS: I think the beer has got to be a standout. I think the biggest cheer – excuse the pun – I take from that is really the fact that so many other bands have launched a beer and disappeared.
Without wishing ill on anyone else, it’s because I think we’ve done it differently to everybody else. Bruce is an ale aficionado, and I don’t just mean he likes to drink beer.
He’s become a student of beer taste and hop mixes, he treats it like the science it undoubtedly is.He had a taste profile he wanted to achieve with Trooper.
From the very beginning, it’s believable because Bruce has been involved for nine months getting that beer to taste like that.
It’s not just going, Hey mate at the brewery, I want it to taste a bit like Newcastle Brown Ale. He physically got stuck in there, made his choices, increased the ABV – that’s what fans appreciate.
RS: For me, it’s the game. It’s brilliant, and I think the way the Eddies and characters have been translated into it has been exceptional.
Eddie has a huge presence in Maiden’s iconography. What role does Ed have in Maiden’s history?
RS: He is the essence of Maiden. Going back to when he was formed, then it was a matter of these five very young guys from the East End, who weren’t a Lemmy. Also, they never went into it for fame, they went into it for the music.
So I had an idea to try and create something that represented them so that hopefully in the future – because I always believed the band would be very successful – when they walked down Oxford Street they wouldn’t get recognised.
He’s fantastic fun. I’ve seen or been involved in thousands upon thousands of different Eddie things and I still get a kick when I see him.
In terms of metal as a whole, where do you see the genre fitting into the current music industry in 2017?
RS: Ask Shacky, I’m the wrong person to ask. I really don’t care about pop or fashion. We have never worried about what is contemporary. I hate fashion.
We don’t think that way. Things come and things go, both inside and outside of metal. But we don’t think about it.
We do try to keep abreast of new developments, because it would be silly not to use them. Some we use, some we don’t – it depends if it fits our ethos or not.
What areas of the business currently excite you?
DS: “I don’t think any of us really fully understand what streaming can bring. Certainly not sat as a band, I don’t think we’re seeing the full fruits of our labour in that area.
We’ve embraced it, we’ve been able to find great opportunities there. We just want as many people as possible to hear what we’re doing. Now, does that make you a fan in my book?
No, it doesn’t. I’ve always been about participation, I’ve always judged it that if you spend some money you become a fan – to me that’s either downloading a track, buying an album, a T-shirt, a ticket – that to me is a designation.
But wouldn’t a lot of people argue that’s not the case in the age of streaming?
DS: I look at ‘ownership’ and that’s where streaming comes in. With track equivalents and everything else now we’re probably never going to have another No.1 album again.
That’s highly bloody likely when, if we’re lucky, we have another studio album out. It won’t be judged on our fans buying it on release day, it’ll be benchmarked against songs streamed in their millions and assimilated into album units. It’s not a level playing field anymore.
Maiden have always worked outside of the mainstream – is that even a concern?
DS: It’s only a concern if you’re judging it by old values. Personally, I am driven by how many No.1 albums we’ve had around the world. I know it’s an old school value, but to me there’s something in that. It’s a tangible thing, but being eroded.
Maiden still thrive without the support of mainstream TV, radio and print media. Why do they endure?
DS: They never had to rely on any of that stuff. It’s always been about that solid build upon build upon build of touring, making a decent record, identifying fans, being good to fans, breaking boundaries like going to Eastern Europe and Poland back in 1984 and also being one of the very first bands to fully develop South America as a viable market.
Nothing’s really changed. We don’t make pop songs or videos and guess what? We’ve grown. There’s just something about these six individuals, their canon of work.
In a changing world, Iron Maiden are a fabulous, unchanging entity. It matters because we made it matter. It’s not a gimmick, it’s not bollocks or fly by night, it’s solid, it’s historic, it’s powerful.
Dave, you’ve had a long career in music prior to this – what have you learned since joining Maiden?
DS: I think it’s that the power lies with the artist. As a manager, representing an artist, that’s where I feel the decision-making power is.
The other big learning – the biggest compliment – is that no one else manages a band in the way that Rod and Andy manage Iron Maiden.
There’s not another manager in the world I have ever seen who runs a band in this way. Rod will pull things out
of the air you wouldn’t even think of, and you go, Damn!
Why didn’t I think of that? It’s just second nature to him. It drives you mad, but it’s bloody impressive.
Rod, you’ve steered Maiden for so long, is there one guiding principle that’s seen you through?
RS: I could spend the next week talking management principles but ultimately it’s instinctive. I am into metal, it is my music, that and hard rock. I am of our audience.
At the end of the day you want the band to be able to make the music they want without tampering with it. And you do not get A&R in Maiden’s studio.
We’ve always done our own artwork; we still do our own press releases. We initiate everything and insist on it being the case.
In the long term, that allows the artist a lot of freedom. I think all artists would appreciate doing what they want
to do without being told, That won’t get on the radio.
We were told that many times. But you know… nearly a 100 million albums later, who gives a fuck?

[Dejavu]

Dzięki za wklejenie RALF, poczytam sobie.

[SebastianArcheo]

Znów pojawił się link do artykułu z The Sun. Nomad tez włączono w pozew. Maideni według mnie będą mieli przewalone... Nomad aż "boli"gdy się go porówna z oryginałem Beckettow.

[RALF]

Dogadają się... Wiecie co, ja nie chcę uchodzić za adwokata diabła, niemniej - tyle lat minęło od napisania "HBTN" (35) i "Nomad" (18) i dopiero teraz ktoś sobie o tym przypomniał...

[RALF]

http://www.planetrock.com/news/rock-new ... he-garden/

Harris nie wybiera się na emeryturę, reszta chłopców - też!

[Bon Dzosef]

A kto to k...a jest ten Quinn ?

[RALF]

Podobno współautor...

[Budziol]

http://www.planetrock.com/news/rock-new ... he-garden/

Harris nie wybiera się na emeryturę, reszta chłopców - też!

Raczej nic nowego nie wnosi ten artykul do tematu.
Poki co po koncercie w Hamburgu stwierdzam zdecydowanie, ze zespol w takiej formie niech ciagnie jak najdluzej.
Ciekawe jakie plany po zakonczeniu trasy?