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| FPM C10 |
I was just checking tonight's Dylan setlist on BobLinks when a Victoria's Secret Commercial came on. It uses part of "Love Sick" like the original one with angels in their underwear, only it's the verse that goes "I see/ I see silhouettes on the window" - I turned around to look and Dylan is IN the commercial! He has a little goatee to go with his Vincent Price moustache, and you see his cowboy hat fall to the floor. It's like he's in the room with the angel in her underwear but he's not paying any attention to her. He's got something else on his mind.
Truly these are the End Times.
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| Bloozehound |
did Bob Dylan look like this?
 
[Edited by Bloozehound] |
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| bez85 |
I've always said that once Dylan gives a song for a commercial it's over........... |
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| Lazy Bones |
quote:
bez85 wrote:
I've always said that once Dylan gives a song for a commercial it's over...........
So, it's over, then...? |
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| Nasty Habits |
The wines they are a-changin': bottled Bob to sell for �35
John Hooper in Rome
Tuesday March 30, 2004
The Guardian
Bob Dylan is a man of many aspects: poet, protester and born-again Christian. Now, it seems, the bard has turned to the bottle.
The eternal bohemian has developed an interest in upmarket Italian wine, with the result that, later this year, a classy blend of Montepulciano and Merlot will reach the shelves in a bottle signed by the singer and bearing the name of his 1974 album Planet Waves.
"I tried to make a wine that reflects both sides of his character," said Antonio Terni, a lifelong Dylan fan who owns a vineyard near Ancona. "Angular, difficult and unpredictable like Montepulciano, yet generous and friendly like Merlot."
On the label is a suitably inscrutable disquisition on causes and effects which ends with the words: "What pushed two guys from opposite corners of the world to put their names on a bottle of Italian red wine? Destiny? Fate? Coincidence? Planet Waves."
Their joint venture began in November when Mr Terni, who spends his holidays going to wherever Dylan is performing, met his drummer at a party in Milan. He took advantage of the meeting to send his idol a bottle of a wine he had produced called "Visions of J", after the Dylan song Visions of Johanna.
"I got back an email from his manager asking if I could do something to help him become more involved in wine," Mr Terni said. The singer has been sent samples of the new wine to approve. His only return would seem to be some free bottles.
The wine, a 2002 vintage, will retail at around �35. This may help to explain a characteristically abstruse part of Dylan's All Along the Watchtower: "Businessmen, they drink my wine, ploughmen dig my earth, None of them along the line know what any of it is worth." |
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| jb |
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| MrPleasant |
Old news:..........
Dylan & York
Range connection on music video
By LINDA TYSSEN WILLIAMS
Mesabi Daily News
Last Updated: Wednesday, October 17th, 2001 10:46:10 PM
SHERMAN OAKS, Calif. -- She made movies with Jerry Lewis and Marlon Brando and Elvis Presley.
She romanced Arnold the Pig on "Green Acres,'' played Marilyn Monroe and bombed the Batmobile. She was Nicolas Cage's mother-in-law in "Family Man'' and is even in a new Tom Cruise movie.
But for Aurora-born actress Francine York, it's hard to top the latest adventure, a TV commercial promoting the new album of another Iron Ranger -- rock legend Bob Dylan.
In a telephone interview from her Sherman Oaks, Calif., home, York called Dylan an icon. "I have worked with some stars,'' she said, but Dylan was someone out of the ordinary.
The commercial shot in Los Angeles promotes Dylan's "Love and Theft,'' produced by Columbia Records and described by critics as one of the "most anticipated'' music releases of the year. According to Dylan's Web site, the record company took an "unusual step of creating a specially crafted television commercial featuring Bob Dylan in a key role.'' The commercial, the first of its kind, began appearing in mid-September.
York didn't even audition for the role, she said. "They just called me for it out of the clear blue sky. They said, 'How about Francine York?'''
The commercial features Dylan playing poker in a seedy Los Angeles restaurant. With him are four other players who seem to be cheating. There is no dialogue, but a song from the album plays throughout. A 60-second version can be viewed on bobdylan.com.
The commercial is directed by Kinka Usher, the same director York worked with for a Qwest commercial, which has appeared on The History Channel and on ABC's "Nightline.''
For the Dylan commercial, the director cast her as a "broken-down Mae West'' trying to look at the dealer's cards. "I didn't know how it was going to turn out,'' she said, but "working with Bob Dylan was incredible.'' She said they got along well. "He liked me. I kidded him. I told him, 'I don't always look like this,''' she said about the blue shadow on one eye and nothing on the other, as the director had wanted her to wear an eyepatch.
York said she enjoyed Dylan's "droll sense of humor'' and how he would tell jokes and then laugh. According to York, Usher didn't have much luck directing Dylan. "You don't direct Bob Dylan. He directs himself,'' she said.
"Everybody was afraid to talk to him, but I kept talking.'' But then, York has had some 40 years in Hollywood talking with stars.
Born Francine Yerich to Frank and Sophie Yerich, she spent her childhood watching and critiquing movies at the local theater. She won the Miss Eveleth pageant, modeled sweaters for a New York sportswear company, was Miss San Francisco, studied modeling in California and worked as an LA showgirl. Then came her first break -- "Secret File Hollywood.'' It premiered at Aurora's Tacora in 1960.
York enjoyed her work with Dylan. "All his songs say something,'' she said. "You have to listen and listen to them,'' she said, noting that she especially liked the song, "Tweedle Dee and Tweedle Dum.''
At age 65, York is "still going strong.'' She looks forward to the premiere of the murder mystery film "Vanilla Sky'' with Tom Cruise in December. "Hopefully they will leave enough of my stuff in it,'' she said. She will be making a film in Tucson, Ariz., called "Remember Donut,'' in which she plays the mother of actor John Savage, and there is a possible movie to be made in Canada next year, "if the world holds together.''
For York it was a "thrill'' working with fellow Minnesotan Dylan. "He is certainly an interesting character.''
York only wishes her mother and father were still alive to share in her latest success. But then, she said, her mother must have talked to God when she got to heaven and said, "You've got to get more work for my daughter.''
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| jb |
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| Ten Thousand Motels |
quote:
bez85 wrote:
I've always said that once Dylan gives a song for a commercial it's over...........
I've always said that once Mick accepts a knighthood it's over........
LOL.
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| Joey |
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| MrPleasant |
BTW: "Tweedle Dee & Tweedle Dum" appeared on that dull flick Bandits. |
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| Joey |
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| MrPleasant |
MUSICIAN: Would you sell a song out of the Who catalogue for a commercial?
TOWNSHEND: I've done it. Hundreds of times.
MUSICIAN: If someone came to you and wanted "My Generation" for a shoe commercial?
TOWNSHEND: Shoes? Depends on the subject. It's my legal property, my right to do what I like with it. You might not like it. You might feel it's your property...
MUSICIAN: Not my legal property...
TOWNSHEND: It's not your moral property either. It's just not your property. What's your property is your response. And the truth is, the advertisers have already made fortunes out of your response. They've used that response on a daily basis by advertising on radio and dictating what the playlis is going to be. If you respond in a positive way to a song like "My Generation" or "Baba O'Riley" or "Won't Get Fooled Again" because you listen to AOR and then go out like a turkey and buy fucking Odorono, then they've got you. But most of all, they've got me, because it's my career that's suffering. Because the other 400 songs I've written don't ever get heard. I can't deal with it. I go to a sponsor and say, "Give me the money to do what I want to do." The public are already in the vise-like grip of advertising agencies' reductive demographic practices, reducing my career down to eight songs as AOR radio reproduces it. If somebody offers me the right price and I think it's worth doing, I'll sell the song. I've done it many times.
MUSICIAN: Aren't you contributing to the vise-like grip Madison Avenue has?
TOWNSHEND: It's already been done! What's the difference? There's further damage to be done? Why shouldn't I benefit the same way that you do? It's my fucking work!
MUSICIAN: How do I benefit from it?
TOWNSHEND: You benefit from it because it's part of your society. If you want to change society, change it. It's not my job. I'm a songwriter. It's what I do for a living. Your article isn't worth shit without the advertisers who advertise in Musician. It wouldn't be here except for advertisers.
MUSICIAN: I don't make much money. You're in a privileged position in society. You're expected to tell the truth
TOWNSHEND: Bullshit! Bullshit! I'm not expected to do anything. Nobody is going to tell me what to do. Nobody is even going to ask me what to do. If anybody doesn't like it, that's their problem. It's my work. If someone doesn't like it, I can't help it.
MUSICIAN: I'm not saying I don't like it. Your songs meant an enormous amount to me when I was growing up. Still do. Take it from another angle: When I listen to �I Heard It Through the Grapevine�, surely one of the great rock songs, I don't want to think about the dancing raisins. I feel that�s Madison Avenue stepping on a part of my memory that I don't want them having access to. The many associations I have with that song are violated and overpowered by a commercial image. I resent it.
TOWNSHEND: You obviously watch too much fucking television.
MUSICIAN: Actually, I don't watch that much. But when I do, the dancing raisins are there.
TOWNSHEND: Your memory is violated by dancing raisins? Are you crazy? Is your perception of "I Heard It Through the Grapevine" so shallow that it's violated by dancing raisins? I feel strongly about this, because I've had to consider every single song I've had a bid on. For a long time there were certain things I wouldn't let go. Someone wanted "Magic Bus," and I thought, "Okay, that's a fun song. People won't ming." Then somebody comes along and wants "My Generation" to sell laxative pills. You know, "Dah dab dah, my constipation." They seriously think you're going to give them the song. And you think, "Well, let's play with the motherfuckers" And you say, "Okay, you can have the song for 16 million dollars, 'cause that's what the hatred of every Who fan in the world is worth to me." You have to realize there's a price to what I've done in my life. The price has been established by what people have already given me by buying my work. The ethics are absolutely clear in my n-dnd. It's my decision. It's my right. I've been outraged by certain ads that were absolutely despicable. And you are outraged by the dancing raisins. Maybe what we should do, the pair of us, is get a couple of machine guns and machine gun the lot of them. Is it really that serious?
MUSICIAN: I'm not willing to machine gun people.
TOWNSHEND: What are you willing to do? I'll do it with you. I do think advertising has an enormous responsibility. And they've fucked a lot of things. I just think it's better to have advertising at the front end of a project. So if there is any question about a song being associated with a product, it's there from the beginning so the public can relate to it directly. The interesting thing about tour sponsorship is you have to deal with the promoters who have already sold the venue to a beer company. Often the deal is already done, and the promoter wants his sponsor, not yours. If you want to go to heaven saying, "It's all right, because I didn't get a dollar from it, " I say take it a step further. Would the event have happened at all without sponsorship? Would you be paying by a reduction in your performance fee? Better to know what you're doing. Better to take the money. Better to let the artist deal with the moral issues. Better to let the artist influence the advertisers and agencies involved.
http://www.thewho.net/articles/townshen/musician.htm
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| Ten Thousand Motels |
Hey look. Advertising is what makes the capitalist world tick. It's actually protected by what's left of the 1st Amendment. The moral/philosophical/spirititual problem is the difference between advertising and propaganda. There things can get real dicey. |
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| Joey |
" Money Go forth and All Doors Open " !
( Shakespeare , 1997 )
Go !
Fly !
Spread It !!!! |
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| TheSavageYoungXyzzy |
"General Admission Tickets Go Forth, Doors Stay Shut!"
Cleaveland, 1979.
Go!
Crush!
Crush it!
-tSYX --- Call me lightnin'... |
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| Gazza |
>I've always said that once Dylan gives a song for a commercial it's over...........
he already did. He gave permission to Coopers and Lybrand to use "The Times They Are A Changin'" in a commercial about five or six years ago. Although the version they used was sung by Richie Havens
great interview with Townshend. Thanks for posting it. He is of course 100% right as he often is. If some twit is so culturally shallow that they can only associate a song with a product its their problem. Every artist who allows his material to be used in this way knows the score.
[Edited by Gazza] |
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| Sir Stonesalot |
Of course Pete is right about it.
Iggy was recently asked about "Lust For Life" being used to sell cruises. He said that he understood that lots of people think he's selling out. But he said he's fine with it. He knows that he didn't write that song to sell cruises. But why should he turn down a huge sum of money? It's how he earns a living after all. He said for the money he gets for the use of that song, he can record a new album and tour behind it...and still have money in the bank.
Don't forget...it is still a business. Certainly we Stones fans should recognize that more than most. |
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| jb |
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