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OK GO offical site
累积浏览: 42037
文章: 51
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唔，迟到很久的报告囧
人气 (18) | 
唔这是那场小正太惊悚变身演唱会的海报……被我在9个月之后挖坟出来了囧。最近都没有po东西出来尽管他们有了为数不多的新消息却也还是懒得动……唔冬天真是令人抑郁的时期啊囧
希望明年的夏天，能再次听到一个快乐，热烈，又洒脱地性感着的OK GO
唔于是要来报告[已经是N久以前的]OK GO的最新动向呀：
1 OK GO的第三张新专辑已经进棚，嗯，这次的制作人又是大牌，小正太你很有活·动·力呀~
2 花花君的个人乐队Secret Dakota Ring在11月13日发布了第二张专辑《Cantarell 》，第一张我找不到下载呀……（第二张也找不到ORZ）坦白说听起来还不错的说，花花君你很全能……（嗓子也是一如既往的弱受呀很好XD）
以及单曲the fade to black的MV
3 小正太要在李安的新片《Taking Woodstock》里演一个长发民谣歌手~哦也！长·发！虽然应该会是很小的角色但是还是叫人很期待啊XD也是明年六月的档期，到时要睁大眼睛去寻找他的身影了呢~啊啊正太的长发啊长发！泪流满面，李安桑，你很有审美！我崇拜你来的！
OK GO在档期中的小短片下次再给大家介绍……JQ大爱，XD
呼呼~gigantic入手！
在07年的向the pixies致敬的双张CD专辑中OK GO翻唱的gigantic终于被我拖到！现在的BGM就是咯~XD正太你的声音还是这么SEXY呀~
最近一直感冒，这两天能够起身了，整天除了吃药就是睡觉，下午睡太多而睡不着的半夜3点，坐在黑暗里听OK GO的CD，突然觉得又感动又难过。这个家伙到底是个怎样的存在呢？以及，在我还喜欢着他的这些日子里，我能不能近距离的看他一眼呢？
果然生病就是会让人苏了呀ORZ
哦哦哦于是JQ挖掘GO ON！萌魂燃烧GO ON！你们快点出张新砖啦我就可以给你们写评论啦，西西。
放图放图
要感谢英俊神武的骨头大人！！星星眼，乃最强大！狗腿状扑……向小正太的照片。啊，太美丽了太美丽了，那抿着嘴扭着腰的样子是要怎样啊！！还有这两个打滚的……囧，于是是否证明了OK GO的现场实在是那个基~情四射咩？于是可以同理推断，OK GO其实是个很受GAY欢迎的团体咩？（这证明了什么呢哦呵呵呵呵……）
美丽！太美丽了……
于是……另一张神奇的照片po出= =|||||||
光仔你脸上的那红晕是，什，么……那饥渴的眼神是，什，么……那猴急的动作是，什，么……
到底是什么啊啊啊啊啊啊啊啊啊啊啊啊！！！！！
正太的华盛顿演讲稿
嗯……youtube地址是http://www.youtube.com/watch?v=DzA_zExN8h8
关于支持网络中立的演讲……小样儿你也真够辛酸的……来中国吧姐姐疼你！（被PIA飞……）
似乎有两个版本的样子……我根据某PDF录入了一份，在网络上又找到一份，于是都po出来好了……
PDF下载地址：
http://www.fs2you.com/files/0a09b587-4b2f-11dd-bea6-0014221f4662/
根据PDF的录入：
Testimony of Damian Kulash
2008 03 11
Thank you Mr.Chairman and Mr.Ranking Members of the task force – thank you all for this opportunity to testify before you today on an issue so critical to the future of this country, the issue of Net Neutrality. I`m a rock singer, so I have some experience getting in front of people and speaking my mind, but to be honest,you guys aren`t really the demographic I`m used to dealing with. So this is very exciting for me.
My name is Damian Kulash my band is called OK GO. We`ve been around for nearly 10 years,during whick time we`ve sold over a half a million records, won a Grammy,played over 1200 shows in 45 States and on 5 contines, and most important to us here today, had the good fortune to be one of the first bands to become truly successful via the internet, where we`ve had tens of millions – maybe hundreds of millions – of the streams, downloads, and website hits. We are among the tiny percentage of the world`s musicians lucky enough to earn a living doing what we love, and we owe our livelihood in large part to our online success, a type of success that couldn`t have been imagined just a decade ago. I`m here to ask you to protect the principles that have made the internet great, and that have made it a place where a band like mine can succed.
Mr.Chairman, the music business is experiencing a profound transformation right now – one that could mean either the dawn of a new era for American art and commerce, or its continued consolidation, coming at the expense of not just artists and musicians, but all Americans.
Since the dawn of recorded music early last century, the industry emerged around it has been based on the natural bottleneck that existed between musicians and the music listening public. Musicians needed a way to reach all the people, and the people neede a way to get all the music, and a complicated and profitable system to connect the dots.
The mechanics of making and distributing records were formidable: professional recording studios were expensive to maintain and operate, manufacturing and packaging records was costly and complicated, and getting those records onto the turntables of Americian required a vast and complex network of warehouses, shippers, distributors, and retailers.
On the top of that there was the question of exposing and promoing music to the public. Commercial redio has long been the only medium for reaching most people, and a handful of radio programmers effectively choose what music the country would hear. Naturally, there is intense and expensive competition for their attention. Later came MTV, where once again a few people pick a few songs for the hole country.
As I`m sure you`re well aware, the extreme bottlenecks of this system encouraged pretty ethically challenged behavior at times. Some songs successed primarily on the merits of the drugs and the Superbowl tickets that were delivered to the radio stations with them. But I`m not here today to question or condemn how business was done, but rather to simply recognize that the architecture of the industry, the system of powerful gatekeepers, had a profound influence on what music got made and listened to in America, and under what conditions. Gatekeepers, of course, sometimes used their power to compet artists to enter onerous contracts.
Today, that system has been turned on its head. Digital technologies have begun to remove the bottlenecks, and the industry founded on them faces a crisis, even as music itself enters a new golden age. Making, distributing, and listening to music is easier now than ever before. Anyone with access to a decent computer now has recording tools that the professionals of my parents`s generation couldn`t have dramt of – making high quality recording is now nearly as easy as word processing. With a few click of a mouse, recordingscan be distributed to pretty much any place on the globe, and listened to practically anywhere. If you`ve been on the Metro recently, you`ve no doubt noticed that the entire commuting community has headphones on – they`re all listened to digital music players. I`d bet that more music is being listened to now than ever before in history. Musical ideas as are spreading and combining and growing, even as the rigid structure of the traditional music business is crumbling. All sorts of exciting new things are possible. It`s an exhilarating time.
It certainly has been for my band. Let me give you a quick overview of how we got where we are. OK GO started in 1999 and followed a pretty well-worn path for the first few years. We developed a following at local clubs in our hometown of Chicago, spent as much time on the road as we could afford to, eventually landed ourselves a record deal with a major label, and then played the promotional game as it is generally played in the major: a ton of no-profit touring, a lot of free shows for radio atations, as many interviews as we could get, and the occasional music video, where the cost is advanced by our label and deducted from our royalties. Our first record, which came out in 2002, did decently well: on the Modern Rock radio charts we just barely broke into the top 20, and on Billboard`s sales charts we made it to about 100. We were in the middle of the pack: successful enough to keep going, but struggling for every fan we could find.
In 2005 we released a second album and that`s when our story take a turn pertinent to the subject at hand today. When the record came out, we did all the standard promotion that our label advised, but we also decided to launch our own online campaign with simple, absurd videos we made ourselves.
With the help of my sister, we choreographed a parodic dance routine and shot a single-take home video of us performing it in my back yard. If you include the Starbucks run, the total budgets for the video was about $20. We posted the clip online, and it caught on like wildfire. We watched, astonished, as the video racked up hundreds of thousands, then millions, then tens of millions of hits at online video sites. Before long, we were getting offers to play to thousands in countries where our record had never even been released.
And something even wilder started happening: fans started posting their own versions of the video. Thrilled by direct connection with our fans, we launched a dance contest, and received homemade remakes of our video from all over the world. We got hundreds of entries, videos of the dance at weddings, in churches, at high school talents shows, in firehouse, and even a versions performed by animated legos. This is a whole new phenomenon, a feedback loop of creativity that allows us to be more than just a commercial product to our fans – we are the center of an active, creative community.
We followed that video up with another that we shot at my sister`s home in Orlando. It was a single take again, and we were dancing again, but this time on eight moving treadmills. To my knowledge, this routine has only been repeated four times(once in Japan, once in Mexico, and twice in the US), and for the record we assume no liability for those dumb enough to try it. In the first two days after we posted the clip on YouTube, it was viewed a million times. In the month afte it went online, our album sales increased nearly 4000%. We won a Grammy for the video, beating out much bigger acts with exponentially bigger budgets and promotional campaigns. Now we get stopped in Times Square by people old enough to be our grandparents. To date, it`s been viewed over 30 million times on YouTube alone.
Whether you think our videos are brilliant or gimmicky – I`d be the first to say they`re a little of both – they`ve done more to promote our music to an audience around the world than anything else we or our label has produced. For seven years we barely covered our bills, and since our internet success, we`ve become a very successful operation. We believe the videos were so loved because they came directly from us. There was no one telling us what we could or couldn`t do, no middle men or marketers, and we didn`t have to sell a committee of gatekeepers on our idea before we could take it to our fans. Our success couldn`t have happened in the pay-to-pay music industry of ten years ago, or in a world without an open, unbiased, and unfettered internet.
Of course, like most bands, we use the internet for everything toay: it`d not just a medium for our videos. We connect with fans through our website, our online forums, and through social networking sites like Myspace and Facebook. We alert our online fans to concerts and television and radio appearances, and we promote those appearances to new fans. We sell our merchandise and CDs, and book our tours online. We broadcast some concerts online, and have done many performances solely for an online audience. Today, as I speak to you,some dedicated prtion of our fans is listening to this testimony, online. (Hi guys.) Basically, the internet stops just short of writing our music for us, but it takes care of just about everything else.
This part of our story is common to every band working today. We`ve joined with over eight hundred other bands in the Furture of Music Coalition`s Rock The Net campaign, and each of them – and I`d venture to say pretty much every working musician out there today – will tell you how vital an open internet is to their business.
Mr.Chairman, let me be very clear here, though: with the big opportunities and big changes that digital technologies have brought to the music world, there are great unknows for musicians. My peers and I run small business, and like all entrepreneurs, we want to ensure that our work is valued, that we can livings, and that our good ideas can make us good money. I am no fan of piracy. You will not find a songwriter or musician out there who doesn`t want to get paid, but piracy issues must be addressed by innovations that build on an open internet, not shut it down.
We believe people are willing to pay for good music in their lives. That hasn`t changed, and the smart folk who build new systems capitalizing on the strengths of the internet will reap big wards. Net neutrality is necessary for the growth of new businesses and businesses models, and creating a new legitimate digital music business is critical to artists and the music industry. To put it simply, without net neutrality, I would not be sitting here today. If companies think they are going to protect their profits by erecting artificial bottlenecks, artists and their fans will lose. The new system that`s emerging in the music world cannot return to a gatekeeper system – a system where the success of our ideas was determined solely by the middlemen who delivered them.
This principle extends beyond the realm of music, it applies to everything on the internet: we cannot allow a system of gatekeepers to be built into the network as a whole. We must protect the basic equality that has made the internet so great, and make sure the few existing broadband providers can`t use their market power to erect new bottlenecks for music or any other industry. The failure to enact strong net neutral legislation would mean an internet with gatekeepers; an internet that exists for the profit of a few, rather than the good for the many; a society where value comes not from the quality of information, but from the control of access to it.
Creativity and innovatiom are the lifeblood of any successful endeavor, whether artistic, commercial, or political. There are only two guitar companies who make the majority of guitars sold in America, but luckily they don`t control what we play on those guitars. Whether we use Macs or a PC doesn`t govern what our minds can bring to life with our computers. The telephone company doesn`t get to decide what we discuss over our phone lines. Similari, the companies who deal with the nuts and bolts of the internet should not determine what we can do, or make, or access, or dream up while we`re using it. The Internet has always been a place for freedom of speech, and commerce. We should keep it that way.
Until now, the internet has fostered an explosion of creativity, innovation, and progress not in spite of its level playing field – but precisely because it is a level playing field. It`s as close to a genuine meritocracy as we`ve ever seen. It`s a place where my bans`s $20 video found a wider audience than industry`s million-dollar productions, because ours was simply better. Legislation to protect this level playing field is essential not just for the music community, but for all of us. The world of tomorrow must be built on our society`s best ideas, not just those ideas that align with interests of a few powerful gatekeepers.
We`ll do our part. We`ll keep making the best songs, the best videos, and the best ideas we can. And on behalf of millions of Americans, musicians and artists, both aspiring and established, I an asking today that the Congress do its part, too. Make sure there is always a fertile place for all of our good ideas to flourish. Do not allow the few existing broadband providers build new bottlenecks. Enshrine the internet`s level playing field in law.
Thank you.
——————————我是分割线——————————————
网络上找到的版本：
Damian Kulash from OK Go's Spoken Testimony
for House Judiciary Anti-Trust Task Force Hearing
on Network Neutrality
March 11, 2008
Mr. Chairman, Mr. Ranking Member, Members of the committee,
It's a real honor to be here. I'm a rock singer, so I'm used to speaking my mind in front of a mic, but to be honest, this isn't the crowd I'm used to. The reason I'm here is because my band OK Go has had the good fortune to be one of the first to truly find success via the internet.
I probably don't need to tell you our story, because I'm assuming you're the FloridaDeb23 and TechRick2000 that I always see on our message boards…but I do wanna show you a few of our videos to demonstrate how important an open internet is to musicians these days.
Our band started out the way every band did 10 years ago. The traditional music structure was still in place: musicians wanted to reach all those people out there, and the people wanted access to the music, and a big system had developed to connect the dots. We worked in that system -- we started out playing shows at the local clubs in Chicago, we plastered posters everywhere, we toured when we could afford to, and we eventually landed that prized bird: a major label record contract.
Our first record, which we put out in 2002, did moderately well. We got into the top 20 on the Modern Rock radio charts and we got to about 100 on the Billboard sales charts. To translate that – we were in the middle of the pack, doing better than most musicians, very lucky to be doing what we love for a living, but still struggling for every fan we could find, and frankly, still struggling to pay the bills.
When we put our second record, we decided to add our own ideas into the mix a little bit. We still did all the standard things – free shows for radio stations, non-stop touring, every interview we could land – but we also started our own online campaign.
Let me show you the first video we posted online.
This is us dancing in my back yard. We choreographed this dance with my sister, and it was originally intended to be just a stunt for our live show. When you see a band on stage abandon their instruments and break into dance, it's pretty weird, and pretty wonderful….. we just wanted to look out and see 500 or 1000 jaws on the floor.
But when we shot this clip of us practicing in my backyard, we realized the clip itself was pretty cool. So we posted it online, thinking it was a nice little gift to our most serious, hardcore fans, But something about it appealed to an audience way bigger than just those core folks – within a month, it had been viewed several hundred thousand times. More people had clicked through to it than had bought our first record. Something crazy was happening.
Even crazier, we started seeing fan versions of the dance. They started posting their own videos. Hundreds of them. Check this out,.. this is actually a compilation made by a fan, of other fans doing the dance.
We saw versions of the dance at people's weddings, in firehouses, churches, and even done by animated legos. It was something totally new… Bands are usually at arm's length from their fans, and here we were, connecting directly with them and they with us. It was pretty amazing, and something that simply could not have happened just 5 years before.
Not to be outdone by our fans, of course, we thought we'd put up another video. We went to my sister's house and made this. As you can see, we're dancing again, but this time with 8 moving treadmills.
For the record, we assume no liability for any fans who try to copy this one.
We figured that FIRST video had reached about as many fans as you possibly can online, so we weren't expecting this video to do much different than the last. But in the first two days after we posted it on YouTube, it was viewed a million times.
As you can see on the screen here, this posting alone is now over 31 million views.
Keep in mind, this video just would not have seen the light of day in a pay-to-play system.
After that video spread all over the world, our band really started to exist on a whole different level. Now we play to crowds of thousands in countries where our record isn't even for sale… Our creativity paid off.
And, crucially, we're making money for our label too. We license our songs all over the place, we sell real records, and our band is now a success, no matter how you slice it.
If people are wondering if the music industry will benefit from Net Neutrality, they don't need to look any farther than us. We're musicians. We're part of the music industry. We need this business to thrive more than anyone else does. I'm here today representing the Future of Music Coalition's Rock the Net Campaign and there are over 800 other bands and 125 labels signed on with me… There is some consensus, here. Net neutrality has allowed us to innovate and to create in new and wonderful and unpredictable ways.
And keep in mind, all of us are business people, and we all want to get paid for our hard work. What we need is a legitimate digital marketplace for music, and that will only happen if we build on a level playing field. So, Members of the Committee, I'm here today to ask you to preserve net neutrality and the openness of the internet. I believe it's crucial to the future of music.
Thank You.
于是……我终于也做了MV了囧
如果播放不能的话请前往http://www.youtube.com/watch?v=RrtxCDkAYb4
这是大作业到昏天黑地怨念破表的产物……ORZ不过windows movie maker比想象中简单很多，嗯。
继续黑犬继续囧
那啥……流泪po出某个正太在两天拍的照片……
Damian Kulash Marijuana Policy Project's Party and Fundraiser at the Playboy Mansion Los Angeles, California - 12.06.08
于是你真的走上大叔道路不回头了么……违和感满塞囧爬ing……
以及……在google图片搜索中……出现了这样的结果
囧死我算了谢谢……ORZZZZZZZZZZZZZZZZ