A Guide to Experiential Activations at Music Festivals Table of Contents
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Managing the Boundaries of Taste: Culture, Valuation, and Computational Social Science* Ryan Light University of Oregon Colin Od
Managing the Boundaries of Taste: Culture, Valuation, and Computational Social Science* Ryan Light University of Oregon Colin Odden Ohio State University Ohio Colleges of Medicine This is a pre-copyedited, author-produced version of an article accepted for publication in Social Forces following peer review. The version of record is available online at: https://doi.org/10.1093/sf/sox055. *Please direct all correspondence to Ryan Light, [email protected]. The authors thank James Moody, Jill Ann Harrison, Matthew Norton, Brandon Stewart, Achim Edelmann, Clare Rosenfeld Evans, Jordan Besek, and Brian Ott for their helpful comments on earlier drafts of this paper. Managing the Boundaries of Taste: Culture, Valuation, and Computational Social Science Abstract The proliferation of cultural objects, such as music, books, film and websites, has created a new problem: How do consumers determine the value of cultural objects in an age of information glut? Crowd-sourcing – paralleling word-of-mouth recommendations – has taken center stage, yet expert opinion has also assumed renewed importance. Prior work on the valuation of artworks and other cultural artifacts identifies ways critics establish and maintain classificatory boundaries, such as genre. We extend this research by offering a theoretical approach emphasizing the dynamics of critics’ valuation and classification. Empirically, this analysis turns to Pitchfork.com, an influential music review website, to examine the relationship between classification and valuation. Using topic models of fourteen years of Pitchfork.com album reviews (n=14,495), we model the dynamics of valuation through genre and additional factors predictive of positive reviews and cultural consecration. We use gold record awards to study the relationship between valuation processes and commercial outcomes. -
Universidade Federal Do Rio De Janeiro Centro De Filosofia E Ciências Humanas Escola De Comunicação
UNIVERSIDADE FEDERAL DO RIO DE JANEIRO CENTRO DE FILOSOFIA E CIÊNCIAS HUMANAS ESCOLA DE COMUNICAÇÃO A ECONOMIA DA EXPERIÊNCIA NO CONTEXTO DOS FESTIVAIS DE MÚSICA Inacio Faulhaber Martins Martinelli Rio de Janeiro/RJ 2013 UNIVERSIDADE FEDERAL DO RIO DE JANEIRO CENTRO DE FILOSOFIA E CIÊNCIAS HUMANAS ESCOLA DE COMUNICAÇÃO A ECONOMIA DA EXPERIÊNCIA NO CONTEXTO DOS FESTIVAIS DE MÚSICA Inacio Faulhaber Martins Martinelli Monografia de graduação apresentada à Escola de Comunicação da Universidade Federal do Rio de Janeiro, como requisito parcial para a obtenção do título de Bacharel em Comunicação Social, Habilitação em Publicidade e Propaganda. Orientador: Prof. Dr. Micael Maiolino Herschmann Rio de Janeiro/RJ 2013 MARTINELLI, Inacio Faulhaber Martins. A Economia da Experiência no Contexto dos Festivais de Música/ Inacio Faulhaber Martins Martinelli – Rio de Janeiro; UFRJ/ECO, 2013. xi, 63 f. Monografia (graduação em Comunicação) – Universidade Federal do Rio de Janeiro, Escola de Comunicação, 2013. Orientação: Micael Maiolino Herschmann 1. Festivais de música. 2. Economia da Experiência. 3. Entretenimento. I. HERSCHMANN, Micael Maiolino II. ECO/UFRJ III. Publicidade e Propaganda IV. A Economia da Experiência no Contexto dos Festivais de Música. Dedico essa monografia aos meus pais, Ivan e Leci, por se esforçarem ao máximo para que os seus quatro filhos tivessem uma educação de qualidade. AGRADECIMENTO Gostaria de agradecer, primeiramente, à minha família, pelo apoio incondicional sempre que eu precisei. Meus pais, Ivan e Leci, além de meus três irmãos, Ivan, Isabel e Italo, não sei o que seria de mim sem vocês. Ao professor Micael Herschmann, um “muito obrigado” pela colaboração nesse desgastante processo e por abraçar a minha idéia desde o princípio. -
Event As the Brand Ambassador of Its Host City: Analyzing the Social Media Exposure of Split Generated by Ultra Europe Music Festival
Event as the Brand Ambassador of its Host City: Analyzing the Social Media Exposure of Split Generated by Ultra Europe Music Festival 7 Event as the Brand Ambassador of its Host City: Analyzing the Social Media Exposure of Split Generated by Ultra Europe Music Festival Petra Barisic Events have become an important part of tourist destination branding. They attract domestic and international visitors, and generate media exposure for the city. In that sense, music festivals can be seen as the brand ambassadors of their host cities which represent novelty in the implementation of this concept. Brand ambassadors are usually persons, but for the purpose of this research, one of the biggest electronic, dance, and house music festivals in the world, the Ultra Europe is considered to be the brand ambassador of the city of Split, its host city. The research determines the nature and extent of social media exposure generated for Split by hosting the Ultra Europe music festival. The coverage of the festival on social media was content analyzed for any verbal and written mentions of Split and its associated images. Four different types of social media platforms were examined; Wikipedia, Facebook, Twitter and, YouTube. The research shows that the Ultra Europe is very important ambassador of Split branding, and that Split and its associated images has been mentioned and displayed more than 800 times. Due to the festival, Split gained huge media exposure and increase number of tourist arrivals. Keywords: Brand ambassador, event, social media, Split, Ultra Europe. Introduction The industry of events and festivals has started developing from the beginning of the 1990s (Derrett, 2008; Gibson & Connell, 2012), while today events represent an essential part of the urban life, having generally very diversified themes, such as music festivals, fairs, exhibitions, shows, political events, cultural activities, sport events, religious meetings, etc. -
Open'er Festival
SHORTLISTED NOMINEES FOR THE EUROPEAN FESTIVAL AWARDS 2019 UNVEILED GET YOUR TICKET NOW With the 11th edition of the European Festival Awards set to take place on January 15th in Groningen, The Netherlands, we’re announcing the shortlists for 14 of the ceremony’s categories. Over 350’000 votes have been cast for the 2019 European Festival Awards in the main public categories. We’d like to extend a huge thank you to all of those who applied, voted, and otherwise participated in the Awards this year. Tickets for the Award Ceremony at De Oosterpoort in Groningen, The Netherlands are already going fast. There are two different ticket options: Premium tickets are priced at €100, and include: • Access to the cocktail hour with drinks from 06.00pm – 06.45pm • Three-course sit down Dinner with drinks at 07.00pm – 09.00pm • A seat at a table at the EFA awards show at 09.30pm – 11.15pm • Access to the after-show party at 00.00am – 02.00am – Venue TBD Tribune tickets are priced at €30 and include access to the EFA awards show at 09.30pm – 11.15pm (no meal or extras included). Buy Tickets Now without further ado, here are the shortlists: The Brand Activation Award Presented by: EMAC Lowlands (The Netherlands) & Rabobank (Brasserie 2050) Open’er Festival (Poland) & Netflix (Stranger Things) Øya Festivalen (Norway) & Fortum (The Green Rider) Sziget Festival (Hungary) & IBIS (IBIS Music) Untold (Romania) & KFC (Haunted Camping) We Love Green (France) & Back Market (Back Market x We Love Green Circular) European Festival Awards, c/o YOUROPE, Heiligkreuzstr. -
"UMF Radio" Channel to Launch on Siriusxm Live from Miami During Ultra Music Festival and Miami Music Week
"UMF Radio" Channel to Launch on SiriusXM Live from Miami during Ultra Music Festival and Miami Music Week Limited-run channel to broadcast live Ultra Music Festival performances by Afrojack, Armin van Buuren, Avicii, Bingo Players, Cazzette, David Guetta, Dirty South, Fatboy Slim, Fedde le Grand, Kaskade, Knife Party, Martin Solveig, Nicky Romero, R3hab, Sander van Doorn, Steve Aoki, Thomas Gold, W&W and more Tiesto to present a special live DJ set from the SiriusXM Music Lounge to celebrate the 1 year anniversary of his SiriusXM channel Tiesto's Club Life Radio SiriusXM's "UMF Radio" to feature live DJ sets by Armin van Buuren, Calvin Harris, Ferry Corsten, Hardwell, Krewella, Nicky Romero and Quintino from the SiriusXM Music Lounge in Miami NEW YORK, March 12, 2013 /PRNewswire/ -- Sirius XM Radio (NASDAQ: SIRI) announced today that it will launch "UMF Radio," ("Ultra Music Festival Radio"), the limited-run, 24/7, commercial-free channel featuring performances, DJ sets and interviews with the world's most popular DJs, producers and international dance music artists from the Ultra Music Festival, the world famous outdoor electronic dance music festival. (Logo: http://photos.prnewswire.com/prnh/20101014/NY82093LOGO ) SiriusXM's "UMF Radio" will air on SiriusXM's Electric Area, channel 52, beginning Friday, March 15 at 12:00 pm ET. The limited-run channel will broadcast live DJ sets from both weekends of Ultra Music Festival, which is celebrating its 15 year anniversary, including Afrojack, Armin van Buuren, Avicii, Benny Benassi, Bingo Players, Borgore, Cazzette, Chuckie , David Guetta, Dirty South, Fatboy Slim, Fedde le Grand, Hardwell, Kaskade, Knife Party, Major Lazer, Martin Solveig, Markus Schulz, Nicky Romero, Quintino, R3hab, Sander van Doorn, Steve Aoki , Thomas Gold, Tritonal, W&W and more. -
II «Grande Crollo » Di Lira E Borsa
UNIPOL ASSICURAZIONI Sicuramente con te Sicuramente con te ANNO 71. N. 190 SPED. IN ABB. POST. - 50% - ROMA SABATO 13 AGOSTO 1994 - L 1.300 MULL zm La nostra moneta fino a 1.030 sul marco. Il Cavaliere: sono in guerra. I Progressisti: venga subito in Parlamento II «grande crollo » di lira e Borsa L'esponente Berlusconi: va tutto bene Confindustria Fumagalli: «Non c'è Dini attacca Bankitalia fiducia nell'Italia» m Lira, Borsa, titoli di stato in ca duta libera. La peggiore giornata . BRUNO dai tempi della «tempesta moneta UGOLINI ria» di due anni fa. Mentre Berlu A PAGINA 2 Il problema Due anni sconi preparava il suo «messaggio di ottimismo» agli italiani sui mer cati finanziari l'azienda Italia ha • buttati via combattuto e perso una sanguino sa battaglia. Il marco è volato a 1.030,5 lire, per finire poi nella «fo Vicepresidente tografia» di. Bankitalia a quota Cariplo LUIQIBERLINGUER VINCENZO VISCO 1.026,8: record negativo assoluto. La Borsa ha chiuso per l'ottava vol Talamona: UELCHE .sta OLO POCHI gior ta consecutiva in calo, perdendo succedendo in ni fa, nel corso di oltre il 3%; il Btp decennale è'sceso «La crisi questi giorni in una conferenza di oltre il 2%. Il ministro del Tesoro Italia è di asso stampa tenuta as Dini ha parole gelide per Bankita ha cause luta gravità. La sieme . al Partito lia: il rialzo del tasso di sconto è lira perde terre S•—— popolare italiano politiche» no toccando record storici, la per illustrare la posizione del . «sgradevole», non servono misure £ d'emergenza. -
Um Modelo Conceitual De Megaeventos Musicais
CULTUR, ano 09 - nº 02 – Jun/2015 www.uesc.br/revistas/culturaeturismo Licença Copyleft: Atribuição-Uso não Comercial-Vedada a Criação de Obras Derivadas UM MODELO CONCEITUAL DE MEGAEVENTOS MUSICAIS A CONCEPTUAL FRAMEWORK FOR MUSIC MEGA EVENTS Recebido em 13/04/2015 Fabrício Silva Barbosa1 Aprovado em 28/05/2015 1 Doutorando em Engenharia de Produção e Sistemas. Mestre em Turismo e Hotelaria. Coordenador do Curso Superior de Tecnologia em Gestão do Turismo Instituto Federal Farroupilha. RESUMO Os eventos em geral cada vez mais se encontram inseridos no cenário econômico de grandes destinações, sejam elas turísticas ou não. Por meio da implementação da produção e consumo da música, os eventos alavancam a economia local e contribuem significativamente no desenvolvimento das localidades nas quais se encontram inseridos. A presente pesquisa objetivou propor um modelo conceitual a ser utilizado no planejamento estratégico de megaeventos, analisando a sua estrutura desde a concepção, perpassando sua preparação e realização, até o encerramento total das atividades envolvidas. O resultado deste estudo aponta para a elaboração de um modelo conceitual com a finalidade de ilustrar as diferentes fases dos eventos que têm a música como facilitador da indústria do entretenimento. PALAVRAS CHAVE Gestão de Serviços. Evento. Entretenimento. Música. ABSTRACT Events are increasingly embedded in the economic scenario of large allocations, whether tourist or not. Through the implementation of production and consumption of music, events influence the local economy and contribute significantly to the development of the areas in which they are inserted. This research aimed to propose a conceptual model to be used in strategic planning for mega events, based on the supply chain of music, analyzing its structure from conception, passing their preparation and holding until the complete closure of the activities involved. -
Steve Waksman [email protected]
Journal of the International Association for the Study of Popular Music doi:10.5429/2079-3871(2010)v1i1.9en Live Recollections: Uses of the Past in U.S. Concert Life Steve Waksman [email protected] Smith College Abstract As an institution, the concert has long been one of the central mechanisms through which a sense of musical history is constructed and conveyed to a contemporary listening audience. Examining concert programs and critical reviews, this paper will briefly survey U.S. concert life at three distinct moments: in the 1840s, when a conflict arose between virtuoso performance and an emerging classical canon; in the 1910s through 1930s, when early jazz concerts referenced the past to highlight the music’s progress over time; and in the late twentieth century, when rock festivals sought to reclaim a sense of liveness in an increasingly mediatized cultural landscape. keywords: concerts, canons, jazz, rock, virtuosity, history. 1 During the nineteenth century, a conflict arose regarding whether concert repertories should dwell more on the presentation of works from the past, or should concentrate on works of a more contemporary character. The notion that works of the past rather than the present should be the focus of concert life gained hold only gradually over the course of the nineteenth century; as it did, concerts in Europe and the U.S. assumed a more curatorial function, acting almost as a living museum of musical artifacts. While this emphasis on the musical past took hold most sharply in the sphere of “high” or classical music, it has become increasingly common in the popular sphere as well, although whether it fulfills the same function in each realm of musical life remains an open question. -
Brooks V. Ultra Enterprises, Inc
Case 1:20-cv-22495-XXXX Document 1 Entered on FLSD Docket 06/17/2020 Page 1 of 7 UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF FLORIDA CASE NO. MARCY BROOKS, on behalf of herself and all others similarly situated, Plaintiff, vs. ULTRA ENTERPRISES INC., Defendant. __________________________________/ NOTICE OF REMOVAL Defendant Ultra Enterprises Inc. (“Ultra”)1 hereby removes this civil action from the Eleventh Judicial Circuit Court in and for Miami-Dade County, Florida, to the United States District Court for the Southern District of Florida pursuant to the Class Action Fairness Act (CAFA), codified in relevant part at 28 U.S.C. §§ 1332 and 1453. Ultra hereby provides a “short and plain statement of the grounds for removal” pursuant to 28 U.S.C. § 1446(a).2 I. PROCEEDINGS TO DATE On May 18, 2020, Plaintiff Marcy Brooks (“Plaintiff”) filed a putative class action complaint (the “Complaint”) in the Eleventh Judicial Circuit Court in and for Miami-Dade County, Florida (the 1 Event Entertainment Group, Inc. (“EEG”), not Ultra, is the proper named defendant in this action. Ultra is the entity that owns the Ultra Music Festival® trademark. Bassett Decl. ¶ 4 (Ex. 1). EEG licenses rights from Ultra to exploit the Ultra Music Festival® trademark in conjunction with producing an annual 3-day music festival in Miami (the “Event”). Id. at ¶ 5. EEG is the sole producer of the Event and sells tickets for the Event using a third-party ticketing intermediary. Id. at ¶ 6. Ultra is not a party to any ticket sales transactions respecting any Event, including the Event that was scheduled to take place in Miami, Florida on March 20-22, 2020 (the “2020 Event”). -
Copyright by Jessica Lyle Anaipakos 2012
Copyright by Jessica Lyle Anaipakos 2012 The Thesis Committee for Jessica Lyle Anaipakos Certifies that this is the approved version of the following thesis: Celebrity and Fandom on Twitter: Examining Electronic Dance Music in the Digital Age APPROVED BY SUPERVISING COMMITTEE: Supervisor: Shanti Kumar Janet Staiger Celebrity and Fandom on Twitter: Examining Electronic Dance Music in the Digital Age by Jessica Lyle Anaipakos, B.S. Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin December 2012 Dedication To G&C and my twin. Acknowledgements This thesis would not have been possible without the guidance, encouragement, knowledge, patience, and positive energy of Dr. Shanti Kumar and Dr. Janet Staiger. I am sincerely appreciative that they agreed to take this journey with me. I would also like to give a massive shout out to the Radio-Television-Film Department. A big thanks to my friends Branden Whitehurst and Elvis Vereançe Burrows and another thank you to Bob Dixon from Seven Artist Management for allowing me to use Harper Smith’s photograph of Skrillex from Electric Daisy Carnival. v Abstract Celebrity and Fandom on Twitter: Examining Electronic Dance Music in the Digital Age Jessica Lyle Anaipakos, M.A. The University of Texas at Austin, 2012 Supervisor: Shanti Kumar This thesis looks at electronic dance music (EDM) celebrity and fandom through the eyes of four producers on Twitter. Twitter was initially designed as a conversation platform, loosely based on the idea of instant-messaging but emerged in its current form as a micro-blog social network in 2009. -
Jax Anderson About
Jax Anderson about Jax Anderson (previously known as “Flint Eastwood”) is a Detroit-based alt- pop artist who has dominated stages around the world. Anderson’s DIY ethos runs deep, as she writes, records, designs, and directs everything she releases. She heads out on the road this fall on Bishop Briggs’ North American “Champion” Tour with Miya Folick. Previously, Anderson has had two US headlining tours, national tours supporting PVRIS, Misterwives, & Poppy, European and Australian support runs (Foster The People, Sigrid), and has played festivals around the world including Lollapalooza, Bonnaroo, Sasquatch, Summerfest, Falls Fest, Les Escales, and more. 2019 • National US tour with Poppy • Australia fest / headline tour including headlining Night 1 of highlights Gaytimes Festival 2018 • First US Headline Tour - Northeast / Midwest two Anderson has had • Sold Out Indianapolis (450 cap), Chicago (350 cap) US headlining tours, • Direct Support: Bleachers, PVRIS, Misterwives, flor, Now Now national tours • Direct Support to GRiZ at Red Rocks Amp. on 7/13 supporting PVRIS, • Detroit Co-Headline with Princess Nokia on 6/29 (2,300 cap) Misterwives, & Poppy, • Licensing: Ford Mustang GT 500 Relaunch, Biore European and 2017 Australian support • "Queen" #10 most played song on triple J (AUS) runs (Foster The People, • VEVO DSCVR Artist (July) Sigrid), and has played • 1,500 tickets sold in hometown of Detroit, MI (April) festivals around the • Licensing: VICE, Freeform, Fox, ESPN (Wimbledon & US world including Open), Amazon, Bravo • US Direct Support: Walk The Moon, PVRIS, Sigrid, Rostam Lollapalooza, Bonnaroo, (Vampire Weekend), Sylvan Esso, Phantogram Sasquatch, Summerfest, • US Festivals: Bonnaroo, Lollapalooza, VooDoo Falls Fest, Les Escales, • Europe: Les Escales (FR), Champagne (FR) and more. -
Performance in EDM - a Study and Analysis of Djing and Live Performance Artists
California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses Capstone Projects and Master's Theses 12-2018 Performance in EDM - A Study and Analysis of DJing and Live Performance Artists Jose Alejandro Magana California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes_all Part of the Music Performance Commons Recommended Citation Magana, Jose Alejandro, "Performance in EDM - A Study and Analysis of DJing and Live Performance Artists" (2018). Capstone Projects and Master's Theses. 364. https://digitalcommons.csumb.edu/caps_thes_all/364 This Capstone Project (Open Access) is brought to you for free and open access by the Capstone Projects and Master's Theses at Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. For more information, please contact [email protected]. Magaña 1 Jose Alejandro Magaña Senior Capstone Professor Sammons Performance in EDM - A Study and Analysis of DJing and Live Performance Artists 1. Introduction Electronic Dance Music (EDM) culture today is often times associated with top mainstream DJs and producers such as Deadmau5, Daft Punk, Calvin Harris, and David Guetta. These are artists who have established their career around DJing and/or producing electronic music albums or remixes and have gone on to headline world-renowned music festivals such as Ultra Music Festival, Electric Daisy Carnival, and Coachella. The problem is that the term “DJ” can be mistakenly used interchangeably between someone who mixes between pre-recorded pieces of music at a venue with a set of turntables and a mixer and an artist who manipulates or creates music or audio live using a combination of computers, hardware, and/or controllers.