訂閱

多平臺閱讀

微信訂閱

雜志

申請紙刊贈閱

訂閱每日電郵

移動應用

商業

天津快乐10分网上投注: 1969年的美國太精彩,對它的紀念已經成為一門生意

天津快乐10分预测 www.mkjab.com Morgan Enos 2020年01月05日

對音樂公司、電視授權方以及拍賣行來說,這門生意才剛剛開始。

1969年的關鍵元素:《逍遙騎士》、阿波羅 11號登月以及弗蘭克?扎帕等音樂人。在50年后,出現了許多唱片合輯、拍賣以及其他方式來紀念這一年。
?
圖片來源:EASY RIDER: LMPC VIA GETTY IMAGES; MOON: GETTY IMAGES/UNIVERSAL IMAGES GROUP; ZAPPA: MICHAEL OCHS ARCHIVES—GETTY IMAGES)

到了2019年,弗蘭克·扎帕正拿著吉他演唱《Peaches en Regalia》,這首歌出自他1969年的專輯《Hot Rats》。自1988年起直至他五年后去世,扎帕都沒有再唱過這首歌。而如今,他的全息影像和現實朋友們又一次唱起了這首歌,而且《Hot Rats》也將成為一份打包合輯。

這次名為“弗蘭克·扎帕奇異世界”的全息巡演于去年春天開始,《Hot Rats》50周年紀念版則收錄了當時錄制的所有曲目,并于12月20日上市。它的發行也標志著老專輯大賺特賺的一年接近尾聲。2019年發行的其他搖滾經典專輯還包括:披頭士的《Abbey Road》、滾石樂隊的《Let It Bleed》以及Kinks的《Arthur》(又名《大英帝國的衰敗和沉淪》)。然而從許多方面來看,1969年這門生意才剛剛開始,對音樂公司、電視授權方以及拍賣行來說都是如此。

1969年可能被視為20世紀最重要的年份。從阿波羅11號到處于萌芽狀態的互聯網,從芝麻街到史酷比,它們共同組成了現代社會的DNA。同時,1969年的內容長盛不衰——令人震驚的是,Capitol/UMe推出的《Abbey Road: Super Deluxe Edition》將一張50年前的專輯送上了美國公告牌榜單第三名的位置。

UMe的總裁兼首席執行官布魯斯·雷斯尼科夫告訴《財富》雜志:“這顯示了公眾對這支樂隊持久的興趣和熱愛。愛好者無論以何種方式消費音樂,都可以接觸到所有的藝術家及其專輯,這是我們業務的基礎?!?

隨著1969年金色周年的光輝在夕陽掩映中逐漸褪去,很多行業紛紛表示想要舉辦55、60和65周年紀念。BMG的專輯業務高級副總裁邁克爾·卡奇科說:“我們把一些記憶重新賣給了人們。到2029年,這會成為又一個回首過往的絕佳理由??梢悅?0年紀念一次,5年更好?!?

精品音樂管理及咨詢公司CAD Management的創始人克雷頓·杜蘭特指出:“他們必須想到10年以后的事情,這是最低要求?!保ɡ姿鼓崢品蛩礥Me已經為2019年的紀念活動籌劃了25年。)

杜蘭特認為現代人聽音樂的習慣是主要動力:“流媒體推開了老專輯行業的大門, 1969年這門生意也借著這股東風迅速火熱起來?!?

Woodstock音樂節推出了50周年紀念專輯,這份由Rhino公司制作的打包合輯包括38張唱片,按照時間順序收錄了該音樂節上表演過的所有曲目。該合輯僅有1969份,800美元的售價也高得驚人。這無異于一次賭博,但所有合輯銷售一空。

杜蘭特表示:“他們充分證明可以借Woodstock音樂節賣出大量高端產品。而且人們會在超級流媒體上聽很多這些黑膠唱片上的音樂。他們可以在很多不同的地方賺錢,不一定是唱片本身?!?

Superior Music Publishing的總裁及創始人瑪拉·庫戈認為這是因為人們依然生活在1969年形成的音樂格局中。她說:“就流行文化而言,這50年很有意思,原因在于我們仍然處在搖滾時代。進入搖滾時代后我們就停在了這里。現在和搖滾樂剛剛出現時并不存在代際差異,人們都在聽搖滾樂?!?/p>

It’s 2019, and Frank Zappa is shredding on “Peaches en Regalia,” from his 1969 album Hot Rats. He hadn’t played the song live since 1988, five years before his death. But today, he’s a hologram among his real-life collaborators—and Hot Rats is about to be a boxed set.

That hologram tour, “The Bizarre World of Frank Zappa,” ran last spring, and the 50th anniversary edition of Hot Rats, which captures every composition recorded during its sessions, sell onDec. 20. The release marks the end of a lucrative year for back catalogs; among other rock classics, the Beatles’ Abbey Road, the Rolling Stones’ Let It Bleed, and the Kinks’ Arthur (Or the Decline and Fall of the British Empire) were rereleased in 2019. But the 1969 business is, in many ways, just getting started—from music labels to TV licensees to auction houses.

Aside from 1914—the year Gavrilo Princip fired a shot that triggered World War I—1969 could be considered the most important year of the 20th century. From Apollo 11 to the first stirrings of the Internet, from Sesame Street to Scooby-Doo, its events coded the DNA of the modern world. And 1969 content is still evergreen—astonishingly, Capitol/UMe’s Abbey Road: Super Deluxe Edition sent a 50-year-old album to No. 3 on the Billboard Top 200.

“It’s a testament to the public’s unwaning interest in and love for the band,” Bruce Resnikoff, the president and CEO of UMe, tells Fortune. “It’s a fundamental part of our business to ensure that all of our artists and their catalogs are available however music fans consume their music.”

As 1969’s golden anniversary fades into the sunset, many industries are clamoring to stake claims on its 55th, 60th, and 65th anniversaries. “We’re selling people back their memories a little bit,” says Michael Kachko, the SVP of catalog at BMG. “In 2029, it’ll be another great reason to look back. Every 10th nniversary—every fifth, even.”

“They have to think about that 10 years out, bare minimum,” says Clayton Durant, the founder of CAD Management, a boutique music management company and consulting firm. (Resnikoff says that UMe had been plotting?last year’s anniversary for 25 years.)

Durant says that modern listening habits are a major driver: “The 1969 business is booming right now because of streaming, which has opened up the back catalog business.”

He’s talking about Woodstock—Back to the Garden: The Definitive 50th Anniversary Archive, Rhino’s 38-disc boxed set that contains almost every note played at the festival, restored to its historical sequence. The label released only 1,969 copies of the box with a whopping $800 price tag. It was a gamble, but Rhino sold every copy—and Durant says they’re playing the long game.

“They just proved that Woodstock can sell massive amounts of high-end merchandise,” he says. “And people are going to hyper-stream a lot of the music that is on the vinyl set. They’re able to make money from a lot of different places that aren’t necessarily the records themselves.”

Mara Kuge, the president and founder of Superior Music Publishing, says this is because we’re still living in the musical landscape that 1969 created. “This 50-year span is interesting as far as pop culture because we’re dealing with the rock era. We entered the rock era, and we stayed there,” she says. “There isn’t that generational divide from when rock started out. Now, all generations listen to rock ‘n’ roll.”

1969年8月,拉斯維加斯International Hotel and Casino門前的艾爾維斯·普雷斯利演唱會廣告。
?
圖片來源:FRANK EDWARDS—FOTOS INTERNATIONAL/GETTY IMAGES

Legacy Recordings在推廣《貓王1969現場》打包合輯時就是這么想的。這份合輯收錄了這位歌手在拉斯維加斯復出演唱會上的11張唱片。對他來說這一年被低估了,因為他還是一位活力十足、魅力超凡的歌手,和他生命的最后18個月中那個“胖子艾爾維斯”有著天壤之別。

Legacy Recordings的藝人發掘和培訓部門主管約翰·杰克遜說,推廣《貓王1969現場》不單是為了創造銷量,也想讓人們在流媒體上更多地聽艾爾維斯的歌。

杰克遜解釋說:“流媒體上艾爾維斯的聽眾年齡遠低于35歲,這是讓數字原生代進入整個貓王粉絲圈的關鍵。我們想讓這些人在流媒體上更多地聽他的歌,而且更加了解他的職業生涯?!?

在西方世界真的有人不熟悉貓王嗎?杰克遜說:“任何事都不能想當然。Spotify把2005年的音樂編成了‘老歌’曲目。來自1969年的音樂正在文化和社會認知的背后漸漸消失。你得做點兒什么讓這些東西重新回到人們的腦海中?!?

Legacy Recordings kept this in mind while marketing Elvis Presley: Live 1969, an 11-disc boxed set capturing the singer’s comeback shows at Las Vegas’s International Hotel. While the King was struggling to regain commercial momentum in 1969, it was an underrated year for him, as he was still a dynamic, charismatic performer—far from the “fat Elvis” of the last 18 months of his life.

John Jackson, the head of A&R at Legacy, says that Live 1969 wasn’t only meant to move units, but to coax people to stream more Elvis.

“It’s really about how you use this release to drive the whole idea of Elvis,” Jackson explains. “The demographics of people who are streaming Elvis are way below that 35-year-old mark, which is key for getting native digital people into overall Elvis fandom. We’re trying to get those people to stream more Elvis and become more familiar with his career.”

Is there actually a single person in the Western world unfamiliar with Elvis? “You can’t take anything for granted anymore,” Jackson says. “Spotify has ‘oldies’ playlists of music from 2005. Music from [1969] is starting to fade into the background of culture and society’s consciousness. You have to do things to get this stuff back into people’s heads.”

1969年的《逍遙騎士》海報,其中有盧克·埃斯庫(最左邊)、彼得·方達和丹尼斯·霍珀。
?
圖片來源:LMPC VIA GETTY IMAGES

?

1969年對電視和電影來說也很重要

兒童節目方面,芝麻街和史酷比都誕生于1965年。芝麻街直播了50周年PBS特別節目,但參與該節目的代表拒絕就本篇報道發表評論。史酷比的周年紀念活動是發行藍光專輯。

華納兄弟家庭娛樂的公司發言人表示,50年后史酷比依然和我們的時代息息相關。這位要求不透露姓名的發言人說:“直到今天,一直都有圍繞著那些角色形象不斷推出的新作品。那些形象也繼續和所有年齡段的觀眾產生共鳴?!保ɑ尚值艸頗勘曄詹卣呷禾宓哪炅潿撾?5-54歲。)

1969 was also big for TV and film

TV and film audiences are ripe for rediscovery, too—on the children’s-show front, both Sesame Street and Scooby-Doo debuted that year. Sesame Street aired a 50th anniversary PBS special; a representative from the show declined to comment for this article. Scooby-Doo rang in its anniversary with the Blu-ray set Scooby-Doo, Where Are You!: The Complete Series, packaged in a cardboard haunted house with collectibles.

Fifty years later, Scooby-Doo is still relevant to our era, a Warner Bros. Home Entertainment spokesperson who declined to be named says. “Up to the present day, there have been continued new productions built around the characters,” the spokesperson notes. “The characters continue to resonate with audiences of all ages.” (Warner Bros. cites a target demographic of collectors ages 35 to 54.)

1969年的《逍遙騎士》海報,其中有盧克·埃斯庫(最左邊)、彼得·方達和丹尼斯·霍珀。
?
圖片來源:LMPC VIA GETTY IMAGES

與此同時,拍賣行Julien’s Auctions于去年12月16日拍賣美國隊長摩托的復制品,丹尼斯·霍珀為1969年的經典影片《逍遙騎士》做宣傳時騎的就是這輛摩托。制片方發現找不到這輛摩托后,又為這部影片重新造了一輛。盡管沒有在銀幕上出現過,但估計其成交價將介于8-10萬美元。

過去幾年,Julien’s Auctions一直在拍出Woodstock音樂節上的物品,比如The Who’s樂隊成員凱斯·穆恩的低音鼓蒙皮,吉米·亨德里克斯用過的Fuzz Fac失真單塊效果器。該拍賣行總裁及創始人達倫·朱利安說:“顯然,Woodstock音樂節組織的不是那么好。許多人都沒有把他們的東西保留下來,也沒有想到今天這些東西會值這么多錢?!?

同時也別忘了阿波羅11號登月

對收藏者來說,阿波羅11號是1969年的聚寶盆——人類首次登月帶來了一些珍貴的東西。RR Auction的公關執行副總裁鮑比·利文斯頓說該拍賣行靠的是小紀念品,比如旗子和散雜貨清單,它們“不適合博物館”,但仍能拍到六位數的價格。

他說:“從林德伯格和埃爾哈特開始,飛行員一直都在保留飛行紀念品。我們拍賣的則是宇航員帶到太空的那些東西?!?/p>

Meanwhile, at a live auction on last?Dec. 16, Julien’s Auctions will offer a replica of the “Captain America” motorcycle that Dennis Hopper used in the publicity for the 1969 classic Easy Rider. (When the filmmakers lost access to the bike, they re-created it for the film.) Despite not being shown on-screen, the chopper, it’s estimated, will sell for $80,000 to $100,000.

And in past years, Julien’s Auctions has reliably sold Woodstock artifacts, like Keith Moon of The Who’s bass drumhead and the Fuzz Face distortion pedal Jimi Hendrix played through. “Obviously, Woodstock wasn’t a real organized event,” says Darren Julien, the auction house’s president and founder. “A lot of people didn’t save things thinking that they were going to be worth as much as what they are today.”

And let’s not forget the Apollo 11 moonwalk

To collectors, Apollo 11 is 1969’s golden goose; precious few items from the first moon landing are still out there. Bobby Livingston, the executive vice president of public relations at RR Auction, says that auction houses rely on small mementos, like flown flags and stray checklists, that “aren’t for museums” but still command six figures.

“Since the days of Lindbergh and Earhart, pilots have kept souvenirs of their travels,” he says. “We’ve been selling those things that the astronauts took to space with them.”

1969年7月,尼爾·阿姆斯特朗在月球表面留下了人類的第一個腳印。
?
圖片來源:NASA/NEWSMAKERS—GETTY IMAGES

2017年,RR Auction以149,841美元的價格拍出卡帝亞送給巴茲·奧爾德林的登月艙金-銀模型。拍賣記錄顯示阿波羅指令艙緊急逃生裝置的拍價為147,572美元。被宇航員帶上月球并由尼爾·阿姆斯特朗、巴茲·奧爾德林和邁克爾·柯林斯簽名的旗子拍出了120,693美元的價格。

阿姆斯特朗和奧爾德林只在月球上待了兩個半小時,留下的物品非常少,拍賣成交價自然很高。利文斯頓說:“我們這樣的人都看過登月,我和同學們在電視上有幸目睹了這一幕。受此激勵的人們接著創造了互聯網?!?

在2017年的另一次拍賣中,蘇富比拍賣行把RR Auction的阿波羅11號物品最高拍價提高了11倍。尼爾·阿姆斯特朗用過的一個還帶有月球塵土的小取樣袋拍出了180萬美元的價格,而且是在和美國國家航空航天局(NASA)以及聯邦法院進行了拉鋸戰之后。盡管拍價已經令人震驚,但蘇富比此前曾經希望其價格達到300-400萬美元。這個取樣袋后來被盜,但毫不影響這場拍賣引發的爭議。

利文斯頓說:“可支配收入增多,價格也一路上漲?!?

2019年,我們應該感謝美國國家航空航天局為大多數現代便利做出的創新,比如個人電腦、手機和GPS。鑒于差不多還有12個國家基本上或者完全沒有互聯網,杜蘭特說即將到來的全球互聯將帶來數不清的1969年消費者——艾爾維斯粉絲、披頭士粉絲、亨德里克斯粉絲、Woodstock音樂節粉絲以及美國國家航空航天局和芝麻街粉絲。

他指出:“隨著5G投入使用,網素將達到現在的10倍,而這些遺留下來的歌曲和表演甚至還沒有進入國際市場。受制于數字流媒體的規模,它們的所觸及的范圍仍很有限?!?

杜蘭特的結論是:“1969年這門生意永遠也不會消失?!?

50周年紀念只有一次,但1969年留下的所有音樂、藝術和科技都存續了下來??飧曛賦?,1969年時幾乎沒有1919年這門生意,沒有人會對自動鋼琴、打孔紙卷或者伍德羅·威爾遜的總統任期動懷舊之情。她笑著說:“我們這代人的復古不需要那么久遠?!?/p>

關于1969年可以重新被包裝,甚至是通過全息影像“復活”,我們做的也許還只是皮毛。在1989年出版的回憶錄中,在扎帕說他的愿望是成立一家名為I.C.A.(世界奇譚)的全息影像公司。他還預言,21世紀的最初10年將被“懷念至死”?!?/p>

扎帕寫道:“在接下來的25年中,懷舊周期會非常緊密地連在一起,以至于人們不懷念剛剛走過的那一步,就無法邁出新的一步。到那個時候,一切都會陷入停頓?!?/p>

但50年后,扎帕的全息圖像以及1969年這門生意一點兒也沒有要停頓的跡象。(財富中文網)

譯者:Charlie

審校:夏林

In 2017, RR Auction sold a solid-gold replica of the lunar module that Cartier presented to Buzz Aldrin for $149,841, a rescue arrow pointing out the command module’s escape hatch for $147,572, and a flag taken to the moon and signed by Neil Armstrong, Buzz Aldrin, and Michael Collins for $120,693.

Armstrong and Aldrin walked on the moon’s surface for only two and a half hours—leaving a scarcity of items, which leads to ever higher prices. “People like me, we watched men walk on the moon,” Livingston says. “I saw it with my own two eyes on television among my classmates. The people who were inspired by that went on to create the Internet.”

In another auction that same year, Sotheby’s multiplied RR Auction’s highest Apollo 11 price by 12. A small lunar sample bag, used by Neil Armstrong and with moondust still on it, fetched $1.8 million after a tug-of-war with NASA and federal court. Despite this astronomical price, Sotheby’s was hoping to get $3 million or $4 million, and the sale of the bag, which had been stolen, remains controversial.

“That generation has come into disposable income,” Livingston says. “The prices just keep going up and up and up and up.”

In 2019, we can arguably thank NASA’s innovations for most of our modern conveniences—personal computers, mobile phones, GPS. Given that roughly a dozen countries have little to no Internet access, Durant says that impending global connectivity will bring innumerable new 1969 consumers—Elvis fans, Beatles fans, Hendrix fans, fans of Woodstock, as well as those of NASA and Sesame Street.

“As 5G comes into play, the connectivity of the world is going to increase tenfold—and these legacy acts haven’t even hit international markets yet,” he says. “They’ve only hit the cusp of where they could be because of the scale of digital streaming.

“The 1969 business is never going to die,” Durant declares.

Soon, it will never again be the 50th anniversary of something that happened in the 1960s. But the music, art, and technology 1969 leaves behind all but ensures its own preservation. Kuge is quick to note that there was barely a 1919 business in 1969—no nostalgic ache for piano rolls, or the presidency of Woodrow Wilson. “Our generation wouldn’t have gone that far back with our retro,” she says with a laugh.

When it comes to 1969, we may have only scratched the surface of who can be repackaged, resold, and even resurrected as a hologram. In his 1989 memoir, The Real Frank Zappa Book, Zappa expressed his desire to start a hologram company called I.C.A. (or Inter-Continental Absurdities)—and prophesied that the 2010s would be gripped by “death by nostalgia.”

“In the next quarter century, the nostalgia cycles will be so close together that people will not be able to take a step without being nostalgic for the one they just took,” he wrote. “At that point, everything stops.”

But 50 years later, Zappa’s holographic likeness—and the rest of the 1969 business—shows no signs of stopping.

我來點評

  最新文章

最新文章:

500強情報中心

財富專欄