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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). -
Big Fish Games Torrent Download All Big Fish Games Keygen
big fish games torrent download All Big Fish Games KeyGen. Founded in 2002, Big Fish is the world’s largest producer and distributor of casual games, delivering fun to millions of people around the world. Through its mobile and online distribution platforms, Big Fish has distributed more than 2.5 billion games to customers in 150 countries from a growing catalog of 450+ unique mobile games and 3,500+ unique PC games. If you are big fish fans make sure you dun miss up the keygen for more than 1000 games included. Updated 5355 Games. Visit BigFish. Keygen. 26 thoughts on “ All Big Fish Games KeyGen ” Good evening, may i know how it works after download it? step-by-step please, thank you so much. download install bigfish game that keygen have.. register via keygen for it. It is not that hard. I like Big Fish games and the keygen gives really good results for registering thanks for the file’s. Big Fish Games Torrents. Azada is an adventure-puzzle casual game developed by Big Fish Studios Europe, and distributed by Big Fish Games. The studio previously developed Mystic Inn and Atlantis Sky Patrol . Maps, Directions, and Place Reviews. Story. Hapless adventurer Titus has been trapped for years in a magical book, for a reason that is only later revealed in the game. With the last of the magical powers he acquired while trapped, Titus transports you, the player, to his study, and asks for your help to get free. The only way he can ever be released from the book is to solve the ancient puzzles of Azada. -
September 1, 2010, V. 2.0 Rm+Dw Page 1 of 45 Software Licensing
For use by the OE IT Design Team only Software licensing Main questions Now What licenses are held at which level? How much do they cost? How do these costs compare with those that might be obtained by aggressive contract negotiation, perhaps for a larger number of seats? Going forward What are the Best Practices re: software acquisition, software distribution, and contract management? Where are there economies of scale? What are the barriers to purchasing through negotiated agreements? Are there incentives? What are the options – on campus, at other UCs, in the “cloud”? Our current campus services what we do now Customer value/software license products Standard desktop software, e.g., Microsoft Office Suite, Adobe Creative Suite Operating systems for individual machines and servers Utilities Security Specialized software o Crossdiscipline, e.g., statistical packages o Discipline/activityspecific, e.g., CADCAM, fundraising Cost/price factors included in the negotiation/calculation Type of licenses o New (purchase) o Renewal (maintenance) License term o Annual renewal September 1, 2010, v. 2.0 rm+dw Page 1 of 45 o “License term” then renewal o “Perpetual” so no renewal Media o Delivered through the Internet (most; saves 9.75% sales tax) o If hosted on campus, server and associated costs o Some require receiving a CD, DVD, or flashdrive because of the file size or problems with different operating systems The target user o Server o Singleseat = one machine o Person = one person w/five machines needs only one license o “Knowledge worker” FTE Operating system Version of software Demand/volume Transaction/key management/convenience/forecasting demand/presales consulting addon o Inhouse, perhaps 30% (IST draft, August 2010) o Outsourced . -
'South Park' 'Imaginationland' Mobile Game
COMEDY CENTRAL® and RealNetworks® Announce the Worldwide Launch of 'South Park' 'Imaginationland' Mobile Game Mobile Game Based On The Hugely Popular "South Park" "Imaginationland" Trilogy To Launch Worldwide In June LAS VEGAS - April 1, 2008 - COMEDY CENTRAL Mobile, a division of MTVN Entertainment Group, a unit of Viacom (NYSE: VIA, VIA.B) and RealArcade Mobile®, a division of digital entertainment services company RealNetworks® Inc. (NASDAQ: RNWK) focused on mobile casual gaming, announced today the launch of the new "South Park" "Imaginationland" mobile game. Based on COMEDY CENTRAL's hugely popular "South Park" "Imaginationland" trilogy, in which the doors of the world's imagination are thrown wide open and the boys of South Park are transported to a magical realm in their greatest odyssey ever. The mobile game will be available cross carrier and on a variety of handsets including the Apple® iPhone™, and various Windows Mobile and Blackberry mobile devices. COMEDY CENTRAL Mobile and RealArcade Mobile plan to release the "South Park" "Imaginationland" game worldwide in June. The player's mission in the "South Park" "Imaginationland" mobile game is to take on Butters' massive job to rescue the world in three arenas (Happy Imaginationland, Evil Imaginationland and The Battle for Imaginationland). The quest begins with the Mayor teaching the player how to bounce high by using his imagination. The player must utilize his bouncing skills to collect items and accomplish missions inside an allotted time limit. As the player accomplishes more missions, Butters gains extra imagination power to restore Imaginationland from the grasp of evil. "South Park" "Imaginationland" mobile game has more than 60 mind-blowing levels. -
REALNETWORKS PRODUCTION GUIDE with Realone Player Last Update: 1 October 2002 Realnetworks, Inc
REALNETWORKS PRODUCTION GUIDE With RealOne Player Last Update: 1 October 2002 RealNetworks, Inc. PO Box 91123 Seattle, WA 98111-9223 U.S.A. http://www.real.com http://www.realnetworks.com ©2002 RealNetworks, Inc. All rights reserved. Information in this document is subject to change without notice. No part of this document may be reproduced or transmitted in any form or by any means, electronic or mechanical, for any purpose, without the express written permission of RealNetworks, Inc. Printed in the United States of America. Helix, The Helix Logo, RBN, the Real "bubble" (logo), Real Broadcast Network, RealAudio, Real.com, RealJukebox, RealMedia, RealNetworks, RealPlayer, RealOne, RealPresenter, RealSlideshow, RealSystem, RealText, RealVideo, SureStream, and Surreal.FX Design are trademarks or registered trademarks of RealNetworks, Inc. Other product and corporate names may be trademarks or registered trademarks of their respective companies. SUMMARY OF CONTENTS DOCUMENTATION RELEASE NOTE .......................................................................................1 INTRODUCTION.....................................................................................................................5 PART I: GETTING STARTED WITH STREAMING MEDIA 1 NEW FEATURES .........................................................................................................17 2 PRESENTATION PLANNING.......................................................................................27 PART II: PRODUCING CLIPS 3 AUDIO PRODUCTION ...............................................................................................59 -
DF Concerts 24/08/2010 19:27
DF Concerts 24/08/2010 19:27 Promoting Business Martin Cloonan (University of Glasgow) and Simon Frith (University of Edinburgh) We are presently in the final year of a three year AHRC funded project on the history of live music promotion in the UK since 1950. Our interest is in the ways in which both the economy and the experience of live music have been affected by the social, cultural and technological changes in Britain over the last 60 years and our project is thus deliberately ambitious in scope. Here we want to focus on one aspect of the research: the nature of live music as a business. This interests us partly because it is a neglected topic (in as far as people have examined the economic history of music in Britain since 1950 they have focused on the rise—and more recent fall—of the record industry) and partly because the common sense knowledge of live music is so contradictory. The anonymous peer reviewer of one of our team’s academic papers dismissed the claims we made for promoters’ economic importance, on the grounds that, as everyone knows, promoters are just crooks and chancers, an interesting remark in the light of the rise in the last decade of the US corporations, Live Nation and AEG, who are now the dominant players in British live entertainment. Even during the course of our research media reporting has moved from gloomy accounts of live music venues closing to excited assertions that they are booming. What is clear is that the live music is an unusual kind of business and in this paper we will examine its peculiarities and their effect on its history. -
Marketing Plan
ALLIED ARTISTS MUSIC GROUP An Allied Artists Int'l Company MARKETING & PROMOTION MARKETING PLAN: ROCKY KRAMER "FIRESTORM" Global Release Germany & Rest of Europe Digital: 3/5/2019 / Street 3/5/2019 North America & Rest of World Digital: 3/19/2019 / Street 3/19/2019 MASTER PROJECT AND MARKETING STRATEGY 1. PROJECT GOAL(S): The main goal is to establish "Firestorm" as an international release and to likewise establish Rocky Kramer's reputation in the USA and throughout the World as a force to be reckoned with in multiple genres, e.g. Heavy Metal, Rock 'n' Roll, Progressive Rock & Neo-Classical Metal, in particular. Servicing and exposure to this product should be geared toward social media, all major radio stations, college radio, university campuses, American and International music cable networks, big box retailers, etc. A Germany based advance release strategy is being employed to establish the Rocky Kramer name and bona fides within the "metal" market, prior to full international release.1 2. OBJECTIVES: Allied Artists Music Group ("AAMG"), in association with Rocky Kramer, will collaborate in an innovative and versatile marketing campaign introducing Rocky and The Rocky Kramer Band (Rocky, Alejandro Mercado, Michael Dwyer & 1 Rocky will begin the European promotional campaign / tour on March 5, 2019 with public appearances, interviews & live performances in Germany, branching out to the rest of Europe, before returning to the U.S. to kick off the global release on March 19, 2019. ALLIED ARTISTS INTERNATIONAL, INC. ALLIED ARTISTS MUSIC GROUP 655 N. Central Ave 17th Floor Glendale California 91203 455 Park Ave 9th Floor New York New York 10022 L.A. -
Etsi Ts 103 443-3 V1.1.1 (2016-08)
ETSI TS 103 443-3 V1.1.1 (2016-08) TECHNICAL SPECIFICATION Integrated broadband cable telecommunication networks (CABLE); IPv6 Transition Technology Engineering and Operational Aspects; Part 3: DS-Lite 2 ETSI TS 103 443-3 V1.1.1 (2016-08) Reference DTS/CABLE-00018-3 Keywords cable, HFC, IPv6 ETSI 650 Route des Lucioles F-06921 Sophia Antipolis Cedex - FRANCE Tel.: +33 4 92 94 42 00 Fax: +33 4 93 65 47 16 Siret N° 348 623 562 00017 - NAF 742 C Association à but non lucratif enregistrée à la Sous-Préfecture de Grasse (06) N° 7803/88 Important notice The present document can be downloaded from: http://www.etsi.org/standards-search The present document may be made available in electronic versions and/or in print. The content of any electronic and/or print versions of the present document shall not be modified without the prior written authorization of ETSI. In case of any existing or perceived difference in contents between such versions and/or in print, the only prevailing document is the print of the Portable Document Format (PDF) version kept on a specific network drive within ETSI Secretariat. Users of the present document should be aware that the document may be subject to revision or change of status. Information on the current status of this and other ETSI documents is available at https://portal.etsi.org/TB/ETSIDeliverableStatus.aspx If you find errors in the present document, please send your comment to one of the following services: https://portal.etsi.org/People/CommiteeSupportStaff.aspx Copyright Notification No part may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and microfilm except as authorized by written permission of ETSI. -
Week in Review: Mother Nature on the Hot Seat
Log in | Sign up Why join? Advanced Search: News search Today on CNET Reviews News Downloads Tips & Tricks CNET TV Compare Prices Today on News | Business Tech | Cutting Edge | Access | Threats | Media 2.0 | Markets | Digital Life | Blogs | Extra | My News | RSS Week in review: Mother Nature on the hot seat By Michelle Meyers CNET News.com Staff Published: December 15, 2006, 12:01 PM PST TalkBack E-mail Print del.icio.us Digg this Global warming and the tech industry's environmental role were hot topics this week as scientists convened at a meeting of the American Geophysical Union to discuss the latest information about the state of Earth, planets and space. Former U.S. Vice President Al Gore, in a speech at the San Francisco conference Thursday, urged scientists to come forward and help communicate to the public about the dangers of climate change. He warned that climate change presents an unusual, and dire, set of circumstances, and getting the public to understand the problem and then act upon it is not easy. Humanity will essentially have to make large changes in how it consumes natural resources, and instilling massive societal changes is THE BIG PICTURE RELATED STORIES WHAT'S HOT LATEST HEADLINES difficult. And society has become more short-term in its thinking, he asserted. Samsung aims to put digital TV in cars Gore took quite the flaming from CNET News.com's readers, many of Gates at CES: Thinking servers, pet projects, Vista billions whom questioned his motives and said he's hard to take seriously. -
Nearly 25 Percent of Japanese Internet Users Accessed Itunes in August, According to Comscore World Metrix
Nearly 25 Percent of Japanese Internet Users Accessed iTunes in August, According to comScore World Metrix Yahoo! Music Ranks as Japan's Most Visited Music Site TOKYO, Nov 04, 2008 /PRNewswire-FirstCall via COMTEX News Network/ -- comScore, Inc. (Nasdaq: SCOR), a leader in measuring the digital world, today released a study of music-related sites in Japan finding that nearly 40 percent of the Japanese online population visited an entertainment music site in August. The study also revealed that Japan recorded the highest penetration of users of Apple iTunes software during the month, when compared with the United States, the United Kingdom, France and Germany. (Logo: http://www.newscom.com/cgi-bin/prnh/20080115/COMSCORELOGO) "The Internet and other digital media have become key platforms for music consumption and clearly represent the future of the music industry," said Maru Sato, managing director of comScore Japan. "With so much consumer music activity occurring in the digital space today, it is increasingly important to capture the available audience now and get them engaged with your service." Yahoo! Music Leads Music Category in Audience Size In August, nearly 40 percent of the online population in Japan visited an entertainment music site, averaging 16 minutes per visit and nearly 5 visits per visitor during the month. Yahoo! Music led the category with 7.3 million visitors, followed by Sony Connect with nearly 3 million visitors and Sony BMG Music Entertainment with 2.7 million visitors. Top 10 Entertainment Music Sites in Japan* -
IFPI Digital Music Report 2013 Engine of a Digital World
IFPI Digital Music Report 2013 Engine of a digital world 9 IN 10 MOST LIKED PEOPLE ON FACEBOOK ARE ARTISTS 9 IN 10 OF THE MOST WATCHED VIDEOS ON YOUTUBE ARE MUSIC 7 IN 10 MOST FOLLOWED TWITTER USERS ARE ARTISTS Deezer4artists-HD_acl.pdf 1 26/02/13 17:37 2 Contents Introduction 4-5 Music is an engine of the digital world 22-23 g Plácido Domingo, chairman, IFPI g Fuelling digital engagement g Frances Moore, chief executive, IFPI g Fuelling hardware adoption g Driving the live entertainment industry An industry on the road to recovery: g Attracting customers, driving profits Facts and figures 6-10 Going global: the promise of emerging markets 24-27 Global best sellers 11-13 g Brazil: A market set to surge g Top selling albums g Russia: Hurdles to growth can be overcome g Top selling singles g India: Nearing an all-time high g Strong local repertoire sales g Strong market potential in The Netherlands Digital music fuels innovation 14-17 Engaging with online intermediaries 28-30 g Download stores receive a boost from the cloud g Advertising: tackling a major source of funding for music piracy g Subscription services come of age g Search engines – a vital role to play g Subscription transforming the industry’s business model g Further ISP cooperation needed g Growth for music video g Payment providers step up action on illegal sites g The next generation radio experience g Europe: Licensing helps digital consumers Disrupting illegal online businesses 31 The art of digital marketing 18-21 g Disrupting unlicensed cyberlockers g Reducing pre-release leaks g One Direction mobilise an online army g Dance label harnesses social media Digital music services worldwide 32-34 g A personal video for every fan: Linkin Park g Taking classical digital Cover photo credits: Michel Teló. -
Festival Industry and Funding Models
Festival Industry and Funding Models This research report focussed on providing an insight into the music festival industry and in particular associated business models. Industry Overview UK Music estimates that 3.9 million people attended a festival in the year 20161. There are no official counts of how many music festivals are held in the UK, however they have become increasingly popular and estimates sit at well over 500 (see further sources). As there are many different forms of music festival such as single day festivals and bi-annual ones, it can be quite difficult to measure. One website tracking UK music festivals identifies there are 116 music festivals in the period of June 2018-2019 in the South West alone2. Due to the many music festivals in operation at present, one challenge that those in the industry face is market saturation. This has several potential consequences attached, primarily making it more difficult to sell tickets. Additionally, the associated costs such as hiring musicians, venues and catering also become higher as competition increases3. One of the ways the success of a music festival can be measured is through music tourism; non-local people travelling to attend a festival. Money is both injected into the festival and local economy from attendees that would otherwise not have been in the location. Music tourists contribute to the local economy both directly, through purchasing tickets and spending money at the festival, and indirectly such as through travel, accommodation and spending in the local economy. This value is distributed differently around the UK, with hubs like the South East and the South West having a greater share of music tourists than areas like the North East.