Music Festival Study
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World's Most Influential Electronic Artists Trust Avid Live Sound Systems at Moogfest
April 30, 2014 World's Most Influential Electronic Artists Trust Avid Live Sound Systems at Moogfest Industry's Most Popular Touring Systems Deliver Power and Reliability to Help Main Stage Artists Including Kraftwerk and Chic Featuring Nile Rodgers Connect With Audiences Like Never Before BURLINGTON, Mass., April 30, 2014 (GLOBE NEWSWIRE) -- Avid® (OTC:AVID) today announced that its live sound systems were selected to record and mix headline performances at Moogfest, an annual five-day technology, art and music festival featuring some of the world's most influential electronic artists. Moogfest, which celebrates the visionary and creative spirit of Bob Moog, inventor of the Moog synthesizer and founding father of electronic music, took place on April 23-27 in Asheville, North Carolina. For the main stage, which hosted headline acts including electronic music legends Kraftwerk, Chic featuring Nile Rodgers, and M.I.A., Moogfest needed a powerful and reliable front of house console that could cope with the size, scope and complexity of the headliners' live sound requirements. As the headline artists' live system of choice, the Avid Profile System was the house console for the main stage, while the ultra- compact Avid S3L System was the main stage recording console. Every stage throughout the festival used Avid Pro Tools® audio production software to record the live music performances. Pro Tools is a flagship application of the Avid Artist Suite of content creation applications, powered by the Avid MediaCentral Platform. "Avid live sound systems deliver performance and reliability and are the standard for headline acts," said KamranV, Moogfest documentation producer and CEO of CyKiK. -
SFX ENTERTAINMENT, INC., Et Al.,1 Debtor. Chapter 11 Case No. 16-10
Case 16-10238-MFW Doc 657 Filed 05/25/16 Page 1 of 8 UNITED STATES BANKRUPTCY COURT DISTRICT OF DELAWARE In re: Chapter 11 SFX ENTERTAINMENT, INC., et al.,1 Case No. 16-10238 (MFW) Debtor. Jointly Administered DECLARATION OF ADAM KEIL IN SUPPORT OF THE MOTION OF THE DEBTORS FOR ENTRY OF AN ORDER: (I) AUTHORIZING THE SALE OF ALL OR SUBSTANTIALLY ALL OF THE ASSETS OF THE FAME HOUSE BUSINESS FREE AND CLEAR OF ALL LIENS, CLAIMS, ENCUMBRANCES AND INTERESTS; (II) APPROVING FINAL ASSET PURCHASE AGREEMENT; (III) AUTHORIZING THE ASSUMPTION AND ASSIGNMENT OR REJECTION OF CERTAIN EXECUTORY CONTRACTS AND UNEXPIRED LEASES; AND (IV) GRANTING RELATED RELIEF I, ADAM KEIL, hereby declare, under penalty of perjury, as follows: 1. I am a managing director of Moelis & Company, LLC (“Moelis”), where I have been employed for approximately 8 years. Prior to joining Moelis, I was a vice president in the Recapitalization and Restructuring Group at Jefferies & Company, Inc. I attended the Wharton School at the University of Pennsylvania, where I received a 1 The Debtors in these Chapter 11 Cases, along with the last four (4) digits of each Debtor’s federal tax identification number, if applicable, are: 430R Acquisition LLC (7350); Beatport, LLC (1024); Core Productions LLC (3613); EZ Festivals, LLC (2693); Flavorus, Inc. (7119); ID&T/SFX Mysteryland LLC (6459); ID&T/SFX North America LLC (5154); ID&T/SFX Q-Dance LLC (6298); ID&T/SFX Sensation LLC (6460); ID&T/SFX TomorrowWorld LLC (7238); LETMA Acquisition LLC (0452); Made Event, LLC (1127); Michigan JJ Holdings LLC (n/a); SFX Acquisition, LLC (1063); SFX Brazil LLC (0047); SFX Canada Inc. -
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. -
August Highlights at the Grant Park Music Festival
FOR IMMEDIATE RELEASE Contact: Jill Hurwitz,312.744.9179 [email protected] AUGUST HIGHLIGHTS AT THE GRANT PARK MUSIC FESTIVAL A world premiere by Aaron Jay Kernis, an evening of mariachi, a night of Spanish guitar and Beethoven’s Ninth Symphony on closing weekend of the 2017 season CHICAGO (July 19, 2017) — Summer in Chicago wraps up in August with the final weeks of the 83rd season of the Grant Park Music Festival, led by Artistic Director and Principal Conductor Carlos Kalmar with Chorus Director Christopher Bell and the award-winning Grant Park Orchestra and Chorus at the Jay Pritzker Pavilion in Millennium Park. Highlights of the season include Legacy, a world premiere commission by the Pulitzer Prize- winning American composer, Aaron Jay Kernis on August 11 and 12, and Beethoven’s Symphony No. 9 with the Grant Park Orchestra and Chorus and acclaimed guest soloists on closing weekend, August 18 and 19. All concerts take place on Wednesday and Friday evenings at 6:30 p.m., and Saturday evenings at 7:30 p.m. (Concerts on August 4 and 5 move indoors to the Harris Theater during Lollapolooza). The August program schedule is below and available at www.gpmf.org. Patrons can order One Night Membership Passes for reserved seats, starting at $25, by calling 312.742.7647 or going online at gpmf.org and selecting their own seat down front in the member section of the Jay Pritzker Pavilion. Membership support helps to keep the Grant Park Music Festival free for all. For every Festival concert, there are seats that are free and open to the public in Millennium Park’s Seating Bowl and on the Great Lawn, available on a first-come, first-served basis. -
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). -
In the United States Bankruptcy Court for the District of Delaware
Case 16-10238-MFW Doc 10 Filed 02/01/16 Page 1 of 15 IN THE UNITED STATES BANKRUPTCY COURT FOR THE DISTRICT OF DELAWARE In re: Chapter 11 SFX ENTERTAINMENT, INC., et al.,1 Case No. 16-10238 ( ) Debtors. (Joint Administration Requested) MOTION OF THE DEBTORS FOR ENTRY OF AN ORDER AUTHORIZING THE DEBTORS TO HONOR CERTAIN PREPETITION TICKET OBLIGATIONS TO CUSTOMERS AND TO OTHERWISE CONTINUE CERTAIN PREPETITION CUSTOMER PRACTICES IN THE ORDINARY COURSE OF BUSINESS The above-captioned debtors and debtors-in-possession (collectively, the “Debtors”) hereby move the Court (the “Motion”) pursuant to sections 105(a), 363, 507, 1107 and 1108 of title 11 of the United States Code, 11 U.S.C. §§ 101, et seq. (the “Bankruptcy Code”) and Rules 6003 and 6004(h) of the Federal Rules of Bankruptcy Procedure (the “Bankruptcy Rules”) for entry of an order authorizing, but not directing, the Debtors, in their sole discretion, to honor certain prepetition obligations to customers and to otherwise continue certain prepetition customer practices offered in the ordinary course of their prepetition operations. In support of this Motion, the Debtors respectfully state as follows: 1 The Debtors in these Chapter 11 Cases, along with the last four (4) digits of each Debtor’s federal tax identification number, if applicable, are: 430R Acquisition LLC (7350); Beatport, LLC (1024); Core Productions LLC (3613); EZ Festivals, LLC (2693); Flavorus, Inc. (7119); ID&T/SFX Mysteryland LLC (6459); ID&T/SFX North America LLC (5154); ID&T/SFX Q-Dance LLC (6298); ID&T/SFX Sensation LLC (6460); ID&T/SFX TomorrowWorld LLC (7238); LETMA Acquisition LLC (0452); Made Event, LLC (1127); Michigan JJ Holdings LLC (n/a); SFX Acquisition, LLC (1063); SFX Brazil LLC (0047); SFX Canada Inc. -
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. -
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. -
Living Blues 2021 Festival Guide
Compiled by Melanie Young Specific dates are provided where possible. However, some festivals had not set their 2021 dates at press time. Due to COVID-19, some dates are tentative. Please contact the festivals directly for the latest information. You can also view this list year-round at www.LivingBlues.com. Living Blues Festival Guide ALABAMA Foley BBQ & Blues Cook-Off March 13, 2021 Blues, Bikes & BBQ Festival Juneau Jazz & Classics Heritage Park TBA TBA Foley, Alabama Alabama International Dragway Juneau, Alaska 251.943.5590 2021Steele, Alabama 907.463.3378 www.foleybbqandblues.net www.bluesbikesbbqfestival.eventbrite.com jazzandclassics.org W.C. Handy Music Festival Johnny Shines Blues Festival Spenard Jazz Fest July 16-27, 2021 TBA TBA Florence, Alabama McAbee Activity Center Anchorage, Alaska 256.766.7642 Tuscaloosa, Alabama spenardjazzfest.org wchandymusicfestival.com 205.887.6859 23rd Annual Gulf Coast Ethnic & Heritage Jazz Black Belt Folk Roots Festival ARIZONA Festival TBA Chandler Jazz Festival July 30-August 1, 2021 Historic Greene County Courthouse Square Mobile, Alabama April 8-10, 2021 Eutaw, Alabama Chandler, Arizona 251.478.4027 205.372.0525 gcehjazzfest.org 480.782.2000 blackbeltfolkrootsfestival.weebly.com chandleraz.gov/special-events Spring Fling Cruise 2021 Alabama Blues Week October 3-10, 2021 Woodystock Blues Festival TBA May 8-9, 2021 Carnival Glory Cruise from New Orleans, Louisiana Tuscaloosa, Alabama to Montego Bay, Jamaica, Grand Cayman Islands, Davis Camp Park 205.752.6263 Bullhead City, Arizona and Cozumel, -
Canal Convergence Events
Item 23 CITY COUNCIl REPORT Meeting Date: June 27, 2017 General Plan Element: Economic Vitality General Plan Goal: Sustain Scottsdale as a tourist destination ACTION Adopt Resolution No. 10821 authorizing a FY 2017/18 Tourism Development Fund operating contingency transfer in the amount of $650,000 to the Tourism and Events Department operating budget for use in supporting the 2018 Canal Convergence events. BACKGROUND It started as an idea, a conversation, a meeting and grew into a partnership between the City of Scottsdale, Scottsdale Public Art and Salt River Project. Many others have since joined, all of whom share in the belief that Public Space conceived upon the nature of what supports us, what keeps us here, what inspires our creativity and enables our growth is the reflection of all that is important for sustaining life in this desert city. Canal Convergence is this idea. Since 2012 it has been a place of engagement, a place where international and local artists come together to celebrate a one of a kind community environment and immersive art experience for all, and a new point of pride for Scottsdale residents and businesses. As Canal Convergence began taking shape, the Tourism Strategic Plan adopted by City Council in 2013 outlined the importance of creating a destination event during the tourism industry's shoulder season (May through December). Through the Council appointed Tourism Advisory Task Force (TATF) and Request for Proposal (RFP) process, the city contracted with Webb Management Services to complete a three-phased destination event study. The goal of the study (Webb Report) was to identify events that would: 1. -
Satan's Trance Media & Magic Final Exam Colleen Viana 12
SATAN’S TRANCE MEDIA & MAGIC FINAL EXAM https://vimeo.com/55339082 COLLEEN VIANA 12/11/12 Sensation can be defined as the mediation of body and world. It enforces and impacts a premonition of what our bodies experience upon some type of contact. Thus, it allows the body to be opened up to other forces and becomings that affirm in and as the future. This concept, posed by Elizabeth Grosz in Chaos, Territory, Art: Deleuze and the Framing of the Earth, is quite eminent in the subject of magic. The quandry of it as the mediation of object and experience, or science and religion, is what drew me to this video experimentation of the mediations created by media in occult and horror film. While sensation is, perhaps, the only state of consciousness that is impossible to scientifically measure, as are the limits of magic, I find it more valuable to visually see how it can be created/manipulated. The juxtaposition of horror film/television clips, and electronic music (with cosmological and haunting characteristics), and documentary footage from raves/electronic music festivals (that possess qualities of the occult) is experimented in this project. The latter adds an extra layer to this research, paralleling a cultural music phenomenon with the magical representations and rites defined by Mauss. With these media devices combined, I hope to embody this sensory experience that Grosz explains “as the contraction of vibrations...the forces of becoming-other” (Grosz, 80-1). Essentially, how can we experience Hollywood-defined magic and the magic associated with music and rave culture differently? In this video montage, I aim to highlight the three components of magic presented in Mauss’ A General Theory of Magic, in relation to the electronic dance music (EDM) culture. -
SFX Entertainment
MediaTainment FINANCE Issue No. 23 For Decision-Makers and Strategists Who Value Creativity and Appreciate the Value Creativity Brings to Business www.mediatainmentfinance.com Facebook: MediaTainment Finance; Twitter: @MediatainmentMT; @JayKayMed NEWS … 3-14 film: Pinewood regains Shepperton Studios in £37m buyout; China Star raises HK$134m tv: Viacom buys Channel 5 to take on UK; Hearst pays $81m for AwesomenessTV stake music: 10 highest-earning music stars amass $1.36bn games: Gfinity introduces eSport to UK stock exchange; Vivendi settles $275m lawsuit fashion: Advent seeks IPO for fashion retail giant architecture: Thomas Heatherwick Studios designs London, New York river gardens books/prints: HarperCollins launches New Age imprint; Vox Media raises $46.5m ads/marketing: Dentsu Aegis’ $48m Fetch Media acquisition; Brands embrace new tech sport: UK Premier League rights to top $7bn copyright: US Supreme Court tackles Spider Man toy; IP worth $14.5bn to the Philippines live entertainment: Dalian Wanda’s $1.3bn theme park; global music tours valued $20bn photography/art: Iceland government slashes arts funding FEATURES & REPORTS THE UNSEEN: —the London design studio that is taking fashion and innova- tive creative industries by a storm with a magic fabric that changes colour in response to the invisible substances in our environment. See more on … page 15 SFX Entertainment Inc: — why on earth use stock exchange cash to fi- nance electronic dance music festivals starring DJs with names like Avicii, Deadmau5 and Afrojack ? CEO Robert Sillerman