Biyernes, Mayo 20, 2011

Staring at Katy Perry Could Cost You Your Job

It's very rare for a tour rider to make an artist look good. It is, after all, the rundown of provisions a performer requires on the road, and even Mr. Rogers' list of demands might come off selfish and neurotic. But in some instances, requests on tour riders are so outlandish, so obnoxious, they become legendary. Van Halen had a rule about brown M&Ms. Axl Rose needed Wonder Bread. And Katy Perry has a line item about carnations: "ABSOLUTELY NO CARNATIONS."
Unless coming into contact with a carnation will cause the 26-year-old singer seizures or death, Perry's specifications about the flowers in her dressing room are a little extreme. But that's nothing compared to the rules governing her drivers that came to light yesterday when a six-page excerpt of her 45-page rider hit the Smoking Gun. According to the document drawn up for her California Dreams World Tour, drivers chauffeuring Perry are not permitted to open doors, touch bags, or "stair at the backseat thru the rearvieuw mirrow" (that rule was so exciting, whoever typed it up mangled it beyond recognition). Furthermore, the driver will not start a conversation with Perry, speak to her guests or fans, ask for autographs, speak on the phone, or drive anywhere other than the left lane on highways. In total, there are 23 bullet-pointed rules on the page marked "Principle Driver Policy." Perry's reps have not responded to a request for comment at press time.
While many of the requests for Perry's dressing rooms are pretty standard (tea, fresh fruit, chips and salsa), and one is even awesome (she outfits her team with Sigg water bottles to reduce waste), there is one provision in the part of the rider that addresses tickets that is particularly off-putting. On page 17, Perry's team asks for promoters to set aside tickets for her "Personal Manager" to resell via secondary ticket vendors, adding Katy's crew isn't required to share any of the profits with the promoter. That means Perry's people are selling a handful of tickets directly to fans via the legendarily inflated secondary-ticket market -- the market artists like Bruce Springsteen have condemned -- and pocketing the profits. That's unflattering -- not as unflattering as the photo Perry picked for her hilarious "Last Friday Night" remix cover, but it's not a good look.

Jon Bon Jovi: Still Rockin, And Making A Killing

The next time you play Rock Band don't invite Jon Bon Jovi. The 49- year-old singer's wife and kids recently convinced him to give the popular videogame a try. So he picked up the microphone and launched into a rendition of his classic "Wanted Dead or Alive," backed by family on virtual guitars and drums. He never made it through the song.
"I failed--it buzzed me down," Bon Jovi admits over lunch in Manhattan.
Fortunately for Bon Jovi, audiences in real arenas around the world are kinder. His eponymous band took home $125 million over the past 12 months by FORBES' estimates, more than any other music act besides U2--and more than relative whippersnappers Justin Bieber, Katy Perry and Kanye West combined. In the past year the band has played 74 gigs in 15 nations, grossing $203 million in ticket sales and $20 million in merchandise; Bon Jovi ranks No. 8 on this year's Celebrity 100.
Whereas Lady Gaga schleps dozens of dancers from town to town and needs 28 trucks to cart her equipment, Bon Jovi typically plays with six people. A dozen trucks carry the gear, including a circular stage and 192 double-sided LED video screens connected with a specially designed motion control system, which allows them to come together to form a screen 13 feet high and 40 feet wide. At arenas like Montreal's 21,500-capacity Bell Center, the in-theround setup lets the band sell up to 5,500 more tickets than a traditional arena stage would. Wherever possible Bon Jovi plays consecutive nights at the same venue to cut back on setup and strike costs. By playing 12 shows in 19 days at London's O2 arena the band saved $300,000.Surprised? Bon Jovi out-earns younger, glitzier acts thanks to a relatively affluent, aging fan base who turn out to hear the ballads of their youth and see a tightly run touring machine built on decades of experience.
"They're one of the highest-grossing bands every year," says veteran concert promoter Ron Delsener. "Jon is a workaholic, constantly touring, constantly making loads of money."
"It wasn't some conscious decision to be penny-pinching. I think it's just wise to be efficient," says Bon Jovi. "I know big bands where each of them has personal assistants on the road, each of them has a security guard. We don't have a security guard. Take your own friggin' bags!"
On the revenue side the band's U.S. fans sport an average household income of $78,989, slightly higher than the mean for the 350 music groups tracked by research firm NPD's Brand Link database. The economic difference between Bon Jovi's fans and those of, say, Justin Bieber ($71,389) or Metallica ($71,089) is more than enough to cover a pricey special like the Crush Package, which comes with a grab bag of perks and tchotchkes, including souvenir lanyards, autographed lithographs and two front-row seats that you can fold up and take home after the show. The average cost for this VIP treatment is $2,550 per couple; lowend alternatives set you back $450. Bon Jovi sells an average of 600 individual special package tickets per arena show.
Though regular tickets start at $20, these packages push Bon Jovi's average price to $95, about 50% higher than acts like the Dave Matthews Band ($59) and the Black Eyed Peas ($63). Bon Jovi shows have up to 20 different price points, including special packages; on a recent tour AC/DC offered only one.
"Jon is a businessman," says co-manager David Munns. "He knows what it takes to have a great-quality show, but he also knows how to be efficient with money."
Born in 1962 in Perth Amboy, N.J., a rough port town just south of New York City, Bon Jovi decided to be a rock star at age 13 after seeing the Doobie Brothers in Erie, Pa. His break came when he wrote and recorded the song "Runaway." He sent his tape out to record labels but didn't receive any responses. So in 1983 he took his cassette to Long Island's WAPP, a station so new it didn't yet have a receptionist. He banged on the window of the DJ's booth and convinced him to play the song. Within months it hit number 39 on the Billboard charts. "That same cassette that was sitting on every record guy's desk was suddenly getting me phone calls," he says.
Mercury Records signed Bon Jovi that year. He clipped his name from John Francis Bongiovi Jr. and recruited guitarist Richie Sambora, drummer Tico Torres, keyboardist David Bryan and bassist Alec John Such to form his band. They're still together (minus Such, who left the band in 1994), but it isn't an equal partnership: Bon Jovi keeps the bulk of the earnings, whereas bands like U2 split proceeds evenly.
Slippery When Wet, released in 1986, secured his career. Anthems "Livin' on a Prayer" and "Wanted Dead or Alive" helped sell 28 million copies of the album worldwide and still get standing ovations. In the two years that followed Bon Jovi played 480 shows around the world and released another album. In 1992 an increasingly ambitious Bon Jovi took the group's business into his own hands, forming Bon Jovi Management with longtime tour manager Paul Korzilius-- and dismissed manager Doc McGhee. "It just got to a point where I said, 'I can't pay you 20% of the gross, and I can't see this vision,'" Bon Jovi says. "My peers wanted to be on the cover of Circus. I wanted to be on the cover of Time."Celebrity 100 Drop Offs
Since then the band has produced hits like "It's My Life" in 2000 and the country-leaning "Who Says You Can't Go Home" in 2006. Last year the band released Greatest Hits: The Ultimate Collection, which reached number one on Billboard's rock charts. It hasn't been all smooth sailing: In April Bon Jovi confirmed Sambora would be "absent from upcoming shows" after the guitarist reportedly checked himself into a rehab center.
But the tour rolls on, at least for now. "I don't know if I want to be 68 and doing 140 shows in a year," Bon Jovi admits. Even if the crowds--and the profits-- are still there.

Did the press go too far in identifying Arnold’s mistress?

Former California Gov. Arnold Schwarzenegger's whopping breach of marital ethics has touched off a curious ethical dilemma in the media world: In reporting the ongoing fallout from Schwarzenegger's affair with the former housekeeper who gave birth to his child, has the press unduly invaded the privacy of Schwarzenegger's one-time paramour?
Some major news organizations have exercised restraint, declining to publish the names, photos or any other revealing details about the housekeeper and her son. Others have confirmed the woman's identity, described her home, and splashed her image across TV screens, front pages and web browsers. At its most lurid, the coverage seems akin to stealing an intimate family photo album and scattering its contents around world.
Has the press gone too far?
Some critics think so: "The housekeeper, who was recently let go by the former California governor, did not ask to be at the center of a white-hot political scandal," writes Howard Kurtz of the Daily Beast, which decided not to identify her. "She has made no statement, filed no lawsuit, trotted out no publicist, sold nothing to the tabloids, made no appearance on 'Oprah.'  She had an affair with her boss and got pregnant, but she is as far from a public figure as you can imagine. What gives the media the right to obliterate her privacy?"
Bill Keller, executive editor of The New York Times, which published the woman's name on Wednesday, has an answer.
"Our basic job is to inform readers about news events, so we need a pretty compelling reason NOT to give readers information we think they care about," Keller told the Los Angeles Times' James Rainey. "We're sensitive to privacy issues, but in this case we don't see that compelling reason to keep our readers in the dark ... There's nothing to suggest that reliving the earlier experience is likely to be traumatizing in the sense rape victims describe (she's lived with it--and worked for him--for 10 or 15 years). And the reality is, there is not much privacy left for us to protect."
Russ Stanton, editor of the Los Angeles Times, which broke the Schwarzenegger scandal late Monday night, sees things differently.
"In some circumstances, it might be necessary or appropriate to reveal the identity of a politician's mistress," he told Rainey. "In this situation, we thought it was not. We hewed to the principle of protecting the identify of an innocent child. To have identified the mother would, in effect, have been to identify the child. Different media companies have different standards. We will stick by ours, regardless of what others do."
But the Los Angeles Times appears to be in the minority. CNN made the call to run with the woman's name--Mildred Baena, for the record, as well as her photo following the New York Times report. (Earlier, when the network had TMZ editor Harvey Levin on as a guest, a producer asked him not to identify her, according to Levin.) Other television outlets, including ABC News, CBS News and Fox News, also put Baena on display Wednesday and Thursday, as did various online sources, including the Huffington Post and Yahoo!.
The Associated Press published Baena's name only after it had been floated by multiple news outlets. "The AP has not independently verified that she is the mother of Schwarzenegger's child," the wire noted in a report Thursday.
"We decided to use the name because the story did not involve a sex crime but what appears to be a voluntary relationship with a public figure," AP managing editor Lou Ferrara told The Cutline. "The name is an important fact worthy of knowing."
The Cutline's decision to name Baena also was based on the volume of reports that had already done so. As of the time of this posting, several hours after first contacting seven mainstream news outlets for comment, we were still awaiting statements from ABC, CBS, CNN, the Huffington Post, and the Washington Post.
This is all to say nothing of celebrity gossip sites like Radar Online and TMZ, which were among the first to have a field day with Baena's MySpace photos. (Radar was the first to report her name, according to the AP.) And then, of course, there are the ever-yellow New York tabloids, both of which featured Baena on their Thursday covers.
"The cover of today's Post is lurid and mean-spirited," wrote Capital New York's Tom McGeveran today in hisdaily dissection of the rival tabs. "A candid photo of Baena, who is not pictured in full makeup at an Oprah Winfrey goodbye-special taping the way Maria Shriver was, but who's instead cutting the cake at a baby shower in a floral dress, with a wide, kind smile across her face, holding a blue balloon, is paired with a large red callout box with giant knockout-white type that reads 'ARNIE LOVE CHILD.' An arrow actually points to Baena's abdomen."
That child, who is now said to be around 14, remains shielded from the public eye--in the coverage of his mother, the adolescent's face has been appropriately obscured.
"We don't publish names of minors and we don't show their pictures either, without being blurred. These are children who deserve to be protected, even if others don't," said Fox News VP Michael Clemente. (As for the network's guidelines on Baena, Clemente concurred with the Times' Keller: "In this case, what happened many years ago does not seem to be something anyone is hiding from now.")
But Poynter's Julie Moos questions whether the story has nevertheless veered into too-much-information territory. Do we really need to know that neighbors describe the child as a well-mannered and handsome young man who likes sports and martial arts? Or that Baena's house cost $268,000?
"As journalists, once we moved beyond the woman's name, we compensated for starving readers of details by serving them an all-you-can-eat buffet," Moos writes. "Surely there are options between famine and feast."