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ANDERTON Music Festival Capitalism
1 Music Festival Capitalism Chris Anderton Abstract: This chapter adds to a growing subfield of music festival studies by examining the business practices and cultures of the commercial outdoor sector, with a particular focus on rock, pop and dance music events. The events of this sector require substantial financial and other capital in order to be staged and achieve success, yet the market is highly volatile, with relatively few festivals managing to attain longevity. It is argued that these events must balance their commercial needs with the socio-cultural expectations of their audiences for hedonistic, carnivalesque experiences that draw on countercultural understanding of festival culture (the countercultural carnivalesque). This balancing act has come into increased focus as corporate promoters, brand sponsors and venture capitalists have sought to dominate the market in the neoliberal era of late capitalism. The chapter examines the riskiness and volatility of the sector before examining contemporary economic strategies for risk management and audience development, and critiques of these corporatizing and mainstreaming processes. Keywords: music festival; carnivalesque; counterculture; risk management; cool capitalism A popular music festival may be defined as a live event consisting of multiple musical performances, held over one or more days (Shuker, 2017, 131), though the connotations of 2 the word “festival” extend much further than this, as I will discuss below. For the purposes of this chapter, “popular music” is conceived as music that is produced by contemporary artists, has commercial appeal, and does not rely on public subsidies to exist, hence typically ranges from rock and pop through to rap and electronic dance music, but excludes most classical music and opera (Connolly and Krueger 2006, 667). -
Using Green Man Festival As a Case Study
An Investigation to identify how festivals promotional techniques have developed over the years – using Green Man Festival as a case study Victoria Curran BA (hons) Events Management Cardiff Metropolitan University April 2018 i Declaration “I declare that this Dissertation has not already been accepted in substance for any degree and is not concurrently submitted in candidature for any degree. It is the result of my own independent research except where otherwise stated.” Name: Victoria Curran Signed: ii Abstract This research study was carried out in order to explore the different methods of marketing that Green Man Festival utilises, to discover how successful they are, and whether they have changed and developed throughout the years. The study intended to critically review the literature surrounding festivals and festival marketing theories, in order to provide conclusions supported by theory when evaluating the effectiveness of the promotional strategies. It aimed to discover how modern or digital marketing affected Green Man’s promotional techniques, to assess any identified promotional techniques and identify any connections with marketing theory, to investigate how they promote the festival towards their target market, and to finally provide recommendations for futuristic methods of promotion. The dissertation was presented coherently, consisting of five chapters. The first chapter was the introduction, providing a basic insight into the topics involved. The second contains a critical literature review where key themes were identified; the third chapter discussed the methodology used whilst the fourth chapter presents the results that were discovered, providing an analysis and discussion. The final chapter summarises the study, giving recommendations and identifying any limitations of the study. -
Sponsorship Packages
SPONSORSHIP PACKAGES 6 DECEMBER - TROXY, LONDON WWW.FESTIVALAWARDS.COM Annual Celebration of the UK Festival Industry THE EVENT An awards ceremony that will leave UK festival organisers feeling celebrated, indulged and inspired. A highlight of the UK Festivals Calendar, the UKFA was founded in 2002 and is now celebrating its 15th year. With over 650 festival organisers, music agents and trade suppliers in attendance, the evening brings together the UK Festival scene’s key players for a night of entertainment, networking, street food, innovative cocktails and an exclusive after party – all held at the historic Troxy in London. Recognising the festival industries’ brightest and best, previous award winners include Michael Eavis (Glastonbury Festival), Peter Gabriel (WOMAD), Download Festival, Latitude and TRNSMT. We look forward to celebrating 2018’s triumphs with this year proving to be bigger and better than ever. THE BENEFITS The Awards offer sponsors the opportunity to network with the UK’s leading festival influencers and gain extensive exposure: EXCLUSIVE NETWORKING OPPORTUNITIES With the UK festival industry’s key players in attendance, the Awards offers unparalleled opportunity to network and engage one-on-one with decision makers. POSITION YOUR BRAND IN FRONT OF THE UK’S TOP FESTIVAL ORGANISERS Last year’s shortlisted festivals are the most influential, established and recognisable in the country. The UK’s greatest influencers will be attending the event and sponsors will have the opportunity to showcase products and services to a broad prospect base. UK FESTIVAL AWARDS 2017 SPONSORS & SUPPORTERS SPONSORSHIP OPPORTUNITIES HEADLINE PARTNER SPONSORSHIP Bespoke Sponsor Packages £20,000 If you are looking for a more unique package, contact us for The Headline Partner package is designed to offer your brand details about bespoke sponsorship packages. -
The Festival Take-Over Tribes Live #22
#22 The festival take-over Tribes Live #22 Tribes Live is Channel 4's online research community, where around 350 16-24s from across the UK share their opinions and ideas to uncover what life is really like growing up in the UK today. Recruited through 4OD and free- find recruitment, our liberal but diverse community represents all 5 planning segments and 34 Tribes in the UK. Tribes Live: The festival take-over Tribes Live #22 “ Festivals are massive milestones in the year because they're kind of a mix of everything great. You went on holiday camping? You went to a concert? You went to a party? You hung out with friends? A music festival is like all of those things combined into one amazing weekend! Holly, 23, Sports Junkie, Mainstream” Page 3 of 14 Tribes Live #22 Escapism Tribes seek an escape from everyday responsibilities and stresses and how better to achieve this than by packing their bags and heading off to a festival? Festivals are more than just the event for Tribes. They’re accessible, exciting and for first time festivalgoers, , offer a real sense of independence but in a relatively safe and controlled environment. For the care-free and often more experienced Tribes on the festival circuit, spontaneity and the Festivals are the one chance for new and unknown experiences is always on offer. ” “ The music festival becomes everything and Festivals are THE big moment in the year for Tribes – for some it’s a rare time every moment in the day involves it. It’s an to gain independence, while others take the chance to explore new music on the live scene. -
Scotland Management Review 2009/10
SCOTLAND MANAGEMENT REVIEW 2009/10 A INTRODUCTION FROM NATIONAL DIRECTOR A DIFFICULT AND CHALLENGING YEAR HAS, HOWEVER, ALSO BEEN ONE OF TREMENDOUS ACHIEVEMENT, CHARACTERISED BY LANDMARK PROGRAMMES AND INCREASED BBC INVESTMENT IN BROADCASTING IN SCOTLAND. Audiences are at the heart of all of our broadcasting and, across 2009/2010, we looked to ensure that the many diverse needs and tastes of our viewers and listeners were met, on television, radio and online. Across the month of September the This is Scotland season on BBC Four showcased the best of our nation’s culture, arts and music before a UK audience and the second part of Scotland’s History broadcast to critical acclaim at the turn of the year, on BBC One Scotland, network and on the BBC HD channel. Our news teams continued to bring the best local, national and international journalism to radio, television and online audiences across Scotland, from local reporting on the winter weather chaos “AGAINST A DIFFICULT FINANCIAL BACKDROP, BBC to coverage of the release of the Lockerbie bomber, which brought with it a prestigious Royal NETWORK BUSINESS IN SCOTLAND HAS CONTINUED Television Society award. The BBC’s Network Supply Review saw several key programmes transfer to Scotland during the TO INCREASE, AND WE ARE NOW STARTING TO course of the year. The Review Show and The Weakest Link both began filming in our studios atP acific REALISE THE FULL POTENTIAL OF OUR DIGITAL Quay in Glasgow. They joined a slate of new productions, across genres, which have helped boost BBC network investment in Scotland to over 6% of the total BBC spend, meeting the 2012 target TELEVISION AND RADIO STUDIOS AT PACIFIC QUAY set for us in 2007 by the Director-General and the BBC Trust. -
Annual Report and Accounts 2007/08 the BBC Executive’S Review and Assessment 07 08
PART TWO: Annual Report and Accounts 2007/08 The BBC Executive’s review and assessment 07 08 Director- General ’s introduction 01 About the BBC 02 BBC & me 04 BBC Executive Board 24 BBC at a glance 26 Review of services Future Media & Technology 29 Vision 32 Audio & Music 38 Journalism 44 Commercial activities 52 Engaging with audiences 54 ...quality programming that informs Performance us, educates us and more often BBC People 58 than not, entertains us. These three Operations 62 Statements of Programme Policy tenets are as important today as commitments 2007/08 70 when they were first uttered around Finance 80 years ago. Financial overview 82 Governance and financial statements 86 Getting in touch with the BBC 148 Other information Inside back cover THE DIRECTOR -GENERAL 01 WELCOME When I wrote to you a year ago, our award- Despite these difficulties, the BBC has had a downloads and streams. And it’s still growing. winning Gaza correspondent Alan Johnston year of outstanding creative renewal. From There is no evidence that it is impacting was still missing. We didn’t know if we would Cranford to Sacred Music to Gavin and Stacey, our linear television and radio ratings which ever see him again. And then, what we’d all television has lived up to our aim – to delight remain very strong. been hoping, working and praying for: Alan’s audiences. And we have seen the nation share tired but smiling face as he was led to freedom. some of the events that unite us all – from the With Freesat now launched, complementing Concert for Diana to Wales’ triumph at the Six our popular Freeview service, it’s clear But within a few days, we had fresh problems Nations Rugby championship. -
2017 MAJOR EURO Music Festival CALENDAR Sziget Festival / MTI Via AP Balazs Mohai
2017 MAJOR EURO Music Festival CALENDAR Sziget Festival / MTI via AP Balazs Mohai Sziget Festival March 26-April 2 Horizon Festival Arinsal, Andorra Web www.horizonfestival.net Artists Floating Points, Motor City Drum Ensemble, Ben UFO, Oneman, Kink, Mala, AJ Tracey, Midland, Craig Charles, Romare, Mumdance, Yussef Kamaal, OM Unit, Riot Jazz, Icicle, Jasper James, Josey Rebelle, Dan Shake, Avalon Emerson, Rockwell, Channel One, Hybrid Minds, Jam Baxter, Technimatic, Cooly G, Courtesy, Eva Lazarus, Marc Pinol, DJ Fra, Guim Lebowski, Scott Garcia, OR:LA, EL-B, Moony, Wayward, Nick Nikolov, Jamie Rodigan, Bahia Haze, Emerald, Sammy B-Side, Etch, Visionobi, Kristy Harper, Joe Raygun, Itoa, Paul Roca, Sekev, Egres, Ghostchant, Boyson, Hampton, Jess Farley, G-Ha, Pixel82, Night Swimmers, Forbes, Charline, Scar Duggy, Mold Me With Joy, Eric Small, Christer Anderson, Carina Helen, Exswitch, Seamus, Bulu, Ikarus, Rodri Pan, Frnch, DB, Bigman Japan, Crawford, Dephex, 1Thirty, Denzel, Sticky Bandit, Kinno, Tenbagg, My Mate From College, Mr Miyagi, SLB Solden, Austria June 9-July 10 DJ Snare, Ambiont, DLR, Doc Scott, Bailey, Doree, Shifty, Dorian, Skore, March 27-April 2 Web www.electric-mountain-festival.com Jazz Fest Vienna Dossa & Locuzzed, Eksman, Emperor, Artists Nervo, Quintino, Michael Feiner, Full Metal Mountain EMX, Elize, Ernestor, Wastenoize, Etherwood, Askery, Rudy & Shany, AfroJack, Bassjackers, Vienna, Austria Hemagor, Austria F4TR4XX, Rapture,Fava, Fred V & Grafix, Ostblockschlampen, Rafitez Web www.jazzfest.wien Frederic Robinson, -
Detecting Disease Outbreaks in Mass Gatherings Using Internet Data
JOURNAL OF MEDICAL INTERNET RESEARCH Yom-Tov et al Original Paper Detecting Disease Outbreaks in Mass Gatherings Using Internet Data Elad Yom-Tov1, BSc, MA, PhD; Diana Borsa2, BSc, BMath, MSc (Hons); Ingemar J Cox3,4, BSc, DPhil; Rachel A McKendry5, BSc, PhD 1Microsoft Research Israel, Herzelia, Israel 2Centre of Computational Statistics and Machine Learning (CSML), Department of Computer Science, University College London, University of London, London, United Kingdom 3Copenhagen University, Department of Computer Science, Copenhagen, Denmark 4University College London, University of London, Department of Computer Science, London, United Kingdom 5University College London, University of London, London Centre for Nanotechnology and Division of Medicine, London, United Kingdom Corresponding Author: Diana Borsa, BSc, BMath, MSc (Hons) Centre of Computational Statistics and Machine Learning (CSML) Department of Computer Science University College London, University of London Malet Place Gower St London, WC1E 6BT United Kingdom Phone: 44 20 7679 Fax: 44 20 7387 1397 Email: [email protected] Abstract Background: Mass gatherings, such as music festivals and religious events, pose a health care challenge because of the risk of transmission of communicable diseases. This is exacerbated by the fact that participants disperse soon after the gathering, potentially spreading disease within their communities. The dispersion of participants also poses a challenge for traditional surveillance methods. The ubiquitous use of the Internet may enable the detection of disease outbreaks through analysis of data generated by users during events and shortly thereafter. Objective: The intent of the study was to develop algorithms that can alert to possible outbreaks of communicable diseases from Internet data, specifically Twitter and search engine queries. -
English Folk Traditions and Changing Perceptions About Black People in England
Trish Bater 080207052 ‘Blacking Up’: English Folk Traditions and Changing Perceptions about Black People in England Submitted for the degree of Master of Philosophy by Patricia Bater National Centre for English Cultural Tradition March 2013 This work is licensed under the Creative Commons Attribution- NonCommercial-NoDerivs 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/3.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. Trish Bater 080207052 2 Abstract This thesis investigates the custom of white people blacking their faces and its continuation at a time when society is increasingly aware of accusations of racism. To provide a context, an overview of the long history of black people in England is offered, and issues about black stereotypes, including how ‘blackness’ has been perceived and represented, are considered. The historical use of blackface in England in various situations, including entertainment, social disorder, and tradition, is described in some detail. It is found that nowadays the practice has largely been rejected, but continues in folk activities, notably in some dance styles and in the performance of traditional (folk) drama. Research conducted through participant observation, interview, case study, and examination of web-based resources, drawing on my long familiarity with the folk world, found that participants overwhelmingly believe that blackface is a part of the tradition they are following and is connected to its past use as a disguise. However, although all are aware of the sensitivity of the subject, some performers are fiercely defensive of blackface, while others now question its application and amend their ‘disguise’ in different ways. -
Is It Just the Music? Towards an Understanding of Festival-Goers and Their Experience at UK Music Festivals
Is it just the Music? Towards an Understanding of Festival-goers and their Experience at UK Music Festivals by Alyssa Eve Brown PGCert, BA (Hons), FHEA A thesis submitted in partial fulfilment for the requirements for the degree of Doctor of Philosophy at the University of Central Lancashire April 2019 i STUDENT DECLARATION FORM Concurrent registration for two or more academic awards I declare that while registered for the research degree, I was with the University’s specific permission, an enrolled student for the following awards: Post Graduate Certificate in Business and Management Research Methods Post Graduate Certificate in Teaching and Learning in Higher Education Material submitted for another award I declare that no material contained in the thesis has been used in any other submission for an academic award and is solely my own work Signature of Candidate ______________________________________________________ Type of Award PhD__________________________________________________ School Lancashire School of Business and Enterprise ii Abstract Festivals are an adventure of the emotional and physical senses and can create unforgettable, exciting and thrilling memories of unfamiliar and unique experiences. With music festivals in particular, there is an additional emphasis on the chance to experience live music by often idolised musicians within a temporary community of shared musical interests. However, whilst a music festival may attract visitors through advertising an attractive and appealing line-up of popular acts, this far from guarantees a happy customer. There are many other elements that contribute to and impact upon the experience of the festival-goer (Morgan, 2008: 83). If these elements are managed well, this can result in benefits for both the consumer, through positive emotional and cognitive experiences, and for the organisation through repeat custom, recommendations and increased sales. -
Recipients Address Goes Here
Summer Days Festival 2016 Clitheroe Castle, Clitheroe Peppermint Events Ltd. Bar & Alcohol Management Plan (CONFIDENTIAL) Contents 1. Introduction to Peppermint Bars & Events Ltd 2. Core team names & further information 3. Operating Systems 4. Responsible Drinking Policy SUMMER DAYS FESTIVAL 2016 - CLITHEROE P E P P E R M I N T B A R S A N D E V E N T S | P R I V A T E A N D C O N F I D E N T I A L P A G E 1 O F 14 1. Introduction With over 10 years’ experience, we are industry leaders in providing festival bars for events of all sizes. Our reputation is based on a quality, accountability and a professional service. During that time we worked on a wide range and breath of UK festivals including; The British Summer Time Concerts in Hyde Park, Glasgow Summer Sessions, Bestival, Secret Garden Party, Shakedown Festival, Bingley Music Live, Field Day, RockNess, Camp Bestival, Henley Regatta, T4 on the Beach, Lovebox, Hevy Festival, Led Festival, Red Bull X fighters, Cowes Week, Metro Weekender, Eastern Electrics, Circo Loco, Shakedown and many more. One of the other sides to our business is to build and manage “pop up” bar environments which can last between 1 week to 3 months, past projects have included The Moose bar in Canary Wharf, The Moose in Manchester Spinning Fields and The Feast Restaurant and Bar as part of the Brighton Pavilion Ice Rink. We are committed to the continual process of making the event a safe and pleasant environment for the public to enjoy themselves through effectively managing the sale of alcohol. -
Exploring the UK Festival Scene
Exploring the UK Festival scene What makes a festival? Or more specifi - and ingrained in the festival spirit. traditional ‘fallow year’, while the whimsi - cally, what makes a British festival? Across While Glastonbury is largely recognised cally eclectic Secret Garden Party, a won - fields, seafronts and the paved streets of now as being the pinnacle of the festival derland of neon and glitter in the London, summer brings people of all in - scene, the Isle of Wight was at the fore - Cambridge village of Abbots Ripton, per - terests and backgrounds together as one. front. Beginning as a counterculture event manently came to an end last year and In 1971, a year after its debut, a film between 1968 and 1970, it was recognised Scotland’s T in the Park has announced a crew captured the atmosphere of as the British equivalent of Woodstock. Its hiatus. ese aside, though, leaves no Glastonbury festival (see Nicolas Roeg’s 1970 line-up consisted of Joni Mitchell shortage especially as T in the Park has documentary Glastonbury Fayre ). Hair standing harmoniously in a yellow maxi been replaced by TRNSMT, a city festival flowed, tan coloured flares danced, tassels dress under the afternoon sun and Leonard in the centre of Glasgow which happens waved and light-weight, loose garments Cohen gripping the audience with his over the last weekend of June and first seemingly floated with the bodies of their tuneful poetry. e Who and e Doors weekend of July. supplied the rock and roll while Jimi wearers moving in swirling hypnotic mo - While most festivals are a temporary tions to the banging of drums.