We Are Saying Is... Give Peace a Chance…
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
V&A Acquires the Glastonbury Festival Archive
V&A acquires the Glastonbury Festival Archive The V&A is delighted to announce a collaboration with Glastonbury Festival to create an archive reflecting more than 40 years of diverse and creative performance. Glastonbury Festival is the longest-running popular music and performing arts festival in the world. Set up in 1970 by Michael Eavis on Worthy Farm in Pilton, Somerset – the Eavis’s family farm for four generations - the Festival is now attended by around 175,000 people annually. It has a long and unique history of hosting music, dance, comedy, theatre, circus, cabaret and other arts and collaborating with artists, set designers and craftspeople. Many distinguished names have performed at the summer festival over the last four decades including Beyoncé, Bjork, Blondie, Marc Bolan, Coldplay, The Cure, Jay-Z, Paul McCartney, Van Morrison, New Order, Oasis, Radiohead, The Rolling Stones, Toots and the Maytals, Velvet Underground and Amy Winehouse. This eclectic archive includes a range of material, from programmes and posters from every festival since 1970, designs for the Festival identity, interviews, unseen film and photographs, correspondence, t-shirts, tickets and other memorabilia. Personal accounts and documents trace the origins of the Festival and festival maps reveal how it has grown and developed within the landscape. Press cuttings document the relationship of the Festival with the local community and stories that captured the nation. The working processes of the Festival will be captured in the archive with original backstage passes, photographs and performers’ set-lists. The archive also includes photographs that reveal the evolution of the legendary Pyramid stage since its creation in 1971 to a permanent stage – also briefly used as a cattle shed in 1981. -
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). -
Organization of a Large Scale Music Event: Planning and Production
Organization of a large scale music event: planning and production Tatiana Caciur Thesis MUBBA 2012 Abstract 17.1.2012 MUBBA Author or authors Group or year of Tatiana Caciur entry 2008 Title of report Number of Organization of a large scale music event: planning and pages and production. appendices 54 + 4 Teacher/s or supervisor/s Heta-Liisa Malkavaara Live entertainment is currently one of the few vital components of the music industry as it struggles to survive in the XXI century and conform to the drastic changes on the music market. Music events occur in great amount on a daily basis and it is important to plan and produce them in the right manner in order to stay relevant and secure one‟s place on the market. This report introduces various crucial matters that require attention during event organization process, such as marketing and strategic planning, communication and promotion, risk management, event programming and capacity management, to name a few. The 5-phase project management model is applied as the base on which this thesis is built. The research is conducted by comparing the theoretical and practical approach used in the music event business. The practical approach is based on examinations and interviews with the world market leader in live entertainment – Live Nation. An additional analysis of practices used in other large and successful music events in Europe and USA is also conducted. As this thesis shows, the practical approach is often easier and less rigorous than the theory. Some of the steps in this process may be simply omitted due to being considered of little relevance by the management team, many other are outsourced to professional agencies depending on requirements (security, catering). -
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. -
Live Music Matters Scottish Music Review
Live Music Matters Simon Frith Tovey Professor of Music, University of Edinburgh Scottish Music Review Abstract Economists and sociologists of music have long argued that the live music sector must lose out in the competition for leisure expenditure with the ever increasing variety of mediated musical goods and experiences. In the last decade, though, there is evidence that live music in the UK is one of the most buoyant parts of the music economy. In examining why this should be so this paper is divided into two parts. In the first I describe why and how live music remains an essential part of the music industry’s money making strategies. In the second I speculate about the social functions of performance by examining three examples of performance as entertainment: karaoke, tribute bands and the Pop Idol phenomenon. These are, I suggest, examples of secondary performance, which illuminate the social role of the musical performer in contemporary society. 1. The Economics of Performance Introduction It has long been an academic commonplace that the rise of mediated music (on record, radio and the film soundtrack) meant the decline of live music (in concert hall, music hall and the domestic parlour). For much of the last 50 years the UK’s live music sector, for example, has been analysed as a sector in decline. Two kinds of reason are adduced for this. On the one hand, economists, following the lead of Baumol and Bowen (1966), have assumed that live music can achieve neither the economies of scale nor the reduction of labour costs to compete with mass entertainment media. -
Worksheet- the Boat That Rocked (Film Trailer) Watch the Video 3 Times
Worksheet- The Boat that Rocked (film trailer) Watch the video 3 times VIEWING 1: Write down all the words you understand : VIEWING 2: Fill in the blanks Richard Curtis, creator of Notting Hill, Four Weddings and a Funeral and Love Actually was __________ by the true story of how the _________ _____________ tried to _____ rock ‘n’ roll music from the _________ to bring us his latest comedy : __________ ________ In 1964, all anybody could ______ on _______ radio of ____ music was about _____ hours a week and this was the ________ time for British pop music. That’s the whole point of being the government, if you don’t like something, you simply make it ________ until one __________ DJ and a band of __________ took to the sea to begin __________ _______-_______ hours a day. You had the right to _______ to this music _________ you wanted… They became known as _________, loved by _________ and despised by the ____________. 22 million _____ used to ____ in every day, and then of course they got ________ status, which was even ________ VIEWING 3: Interview Richard Curtis ! What type of film is it according to Richard Curtis ? A comedy A romance A romantic comedy What’s the serious message out of this film ? ………………………………………………………………………. EE : Would you like to watch this film ? Why ? (30 words) …………………………………………..…………………………………………………..…………………………………… ….…………………………………………..…………………………………………………..………………………………… ……. Toolbox : exciting/ hilarious/ based on true events… Activity 3 : Let’s recap ! Using the trailer and your asnwers, write the synopsis (=plot) of the film The Boat that Rocked is a film by………………………………………………………………………………………. -
Festival Statistics: Key Concepts and Current Practices
2695 Festivals can provide substantive income and generate tourism at both local and national levels. There is growing recognition of the importance of collecting data in this field, particularly to gauge the social and economic contributions of festivals to host societies. This requires a greater understanding of how festivals can be measured and data collected in a standardised, systematic manner based on existing models and current practices. This handbook presents the theories, concepts and practices that are currently used in the effective measuring of festivals across the globe. It identifies prevailing theoretical perspectives on measuring festivals; current policy constructs concerning the collection of data on festivals; as well as best practices and processes for festival data collection and statistics based on experience from around the world. 2695 FESTIVAL STATISTICS Key concepts and current practices The UNESCO Institute for Statistics (UIS) is the statistical office of the United Nations Educational, Scientific and Cultural Organization (UNESCO) and is the UN depository for internationally comparable statistics in the fields of education, science and technology, culture and communication. 2009 UNESCO FRAMEWORK FOR CULTURAL STATISTICS HANDBOOK NO. 3 2009 FRAMEWORK FOR CULTURAL STATISTICS HANDBOOK NO. 3 Festival statistics: Key concepts and current practices UNESCO The constitution of the United Nations Educational, Scientific and Cultural Organization (UNESCO) was adopted by 20 countries at the London Conference in November -
Lost in Vagueness
LOST IN VAGUENESS THE ULTIMATE UNTOLD GLASTONBURY FESTIVAL STORY www.lostinvagueness.com A debut music feature documentary by Sofia Olins Presented by Dartmouth Films The cultural crucible for the UK’s alternative arts scene Featuring Fatboy Slim, Suggs (Madness), Keith Allen and Kate Tempest SYNOPSIS // Short The film of Roy Gurvitz, creator of Lost Vagueness at Glastonbury and who, as Michael Eavis says, reinvigorated the festival. Exploring the dark, self-destructive side of creative talent. Medium Lost In Vagueness: The Ultimate Untold Glastonbury Festival Story The film of Roy Gurvitz, who created Lost Vagueness, at Glastonbury and who, as Michael Eavis says, reinvigorated the festival. With the decadence of 1920’s Berlin, but all in a muddy field. A story of the dark, self-destructive side of creativity and the personal trauma behind it. Long Lost In Vagueness: Lost In Vagueness: The Ultimate Untold Glastonbury Festival Story The film of Roy Gurvitz, who invented the Lost Vagueness area at Glastonbury and who, as Michael Eavis says, reinvigorated the festival. It’s a story of the dark, self-destructive side of creative talent and the personal trauma behind it. Anti-hero, Roy, and Glastonbury founder, Michael, became friends in the early 1990’s. Through their story, we retrace Britain’s sub-culture history, to see how a band of troublesome new age travellers came together to create Lost Vagueness. It was a place of opulence and decadence, and reminiscent of a permissive 1920’s Berlin, but all in a muddy field. As an anarchic, punk traveller, Roy scoured Europe searching for a community where he could escape his oppressive upbringing. -
Now That the Party's Started
Proudly printed in the Theatre and Circus Fields of Glastonbury Festival NOW THAT THE PARTY’S STARTED GO WITH THE FLO! Twenty years after Pulp stood in for The Stone Roses (and John Squire’s The life & soul of the farm broken collarbone) as Pyramid Stage headliners, Jarvis Cocker gives As the gates open, we chat to Michael Eavis Florence + The Machine a few words of advice Underground Piano Bar. “They Chris Salmon arrived straight from the ferry were headlining the Pyramid Stage own Glastonbury – maybe they would prevent from me from being from Ireland. They’re absolutely Dear Florence, that night and we caught some of wouldn’t hear everything properly, able to take the stage. I decided I t’s like the tide coming in fantastic people and they put on The folks at the Glastonbury Free their performance. It was windy, maybe they’d be distracted, maybe needed to sit down to minimise with all those bubbles on such a wonderful show, so I wanted Press thought that maybe I could the sound kept coming and going, they might be (gasp!) slightly the chance of injuring myself. the front of the sealine,” to welcome them. It’s the incredible give you some useful tips on how people were talking, but somehow intoxicated, maybe some of them The only chairs available in the saysI Michael Eavis, leaning on his enthusiasm of people like them to step into the shoes of a headline it didn’t matter because… would think we WERE The Stone backstage enclosure were those trusty red Land Rover, watching who build this show that makes the band that have had to cancel their white plastic garden furniture- the crowds flood through the gates whole thing work. -
Proudly Printed in the Theatre and Circus Fields of Glastonbury Festival Heavy Metal Rules
Sunday 25th June 2017 PROUDLY PRINTED IN THE THEATRE AND CIRCUS FIELDS OF GLASTONBURY FESTIVAL FREE • LIBERA • GRATIS IT’S THE FINAL DAY OF “THE BEST GLASTONBURY YET”, SO FILL UP ON MEMORIES AND WE’LL... HEAVY METAL RULES JOHN LEWIS investigates the great grindcore and anarcho-thrash invasion of Glastonbury Festival 2017 It might have invited the likes the indie kids who are the complacent Sex Pistol Glenn Matlock and San of Metallica and Motörhead to apolitical ones, while metal bands Francisco anarcho punks the Dead perform, but Glastonbury has like Rage Against The Machine, Kennedys (sans Jello Biafra). The traditionally had a bit of a blindspot Sepultura and System Of A Down Truth Stage has become the unlikely SEE YOU IN when it comes to metal. It’s have been nailing their colours to centrepiece of Shangri-La, the South something that Nottingham-based the mast, with militant, defiantly East Corner’s hidden-away late- hardcore label Earache Records internationalist anthems that night club culture gem. The stage is attempting to redress this year explicitly support the fight against is surrounded by anti-globalisation as it brings some of its favourite globalisation, war and corporate banners (“Build The World That You acts to Shangri-La’s Truth Stage corruption. Want To Belong To”, “They Starve, and their own Earache Express And it’s this insurrectionary We Carry On Shopping”, “Don’t Be – Glastonbury’s first ever metal metal spirit that Shangri-La A Dick”, “If You Don’t Like The 731 DAYS venue, set in a battered old London is harnessing, with slots Music, F-Off” , and its audience is CHRIS SALMON catches up with Emily and Michael Eavis ) Underground tube carriage. -
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. -
The Orion Publishing Group
The Orion Publishing Group ORIONBOOKS.CO.UK New Titles: July 2019 – January 2020 Weidenfeldc & Nicolson | Trapeze | Gollancz | Orion Spring | Orion Fiction |C Seven Dials Orion_NewTitles_5.4.19.indb 1 08/04/2019 08:15 Artwork from Inland by Téa Obreht, published by Weidenfeld & Nicolson (p9) Orion_NewTitles_5.4.19.indb 2 08/04/2019 08:15 Contents I Weidenfeld & Nicolson | P5 Fiction and Non-Fiction Trapeze | P23 Fiction and Non-Fiction Gollancz | P41 Sci-Fi and Fantasy Orion Fiction | P57 Fiction Orion Spring | P77 Non-Fiction Seven Dials | P83 Non-Fiction Contacts | P88 WWW.ORIONBOOKS.CO.UK Orion_NewTitles_5.4.19.indb 3 08/04/2019 08:15 Artwork from Dolores by Lauren Aimee Curtis, published by Weidenfeld & Nicolson (p.7) 4 Orion_NewTitles_5.4.19.indb 4 08/04/2019 08:15 Fiction & Non-Fiction f WEIDENFELD & NICOLSON is one of the most prestigious and dynamic literary imprints in British and international publishing, home to ground-breaking, award-winning, thought-provoking books since 1949. In non-fiction, W&N publishes across W&N also publishes first-rate literary a number of categories including fiction that appeals to a broad history, memoir, ideas-driven books, readership. Our fiction authors popular science, biography, sport, include Gillian Flynn, Carlos business and narrative non-fiction. Ruiz Zafón, Laura Barnett, Téa Our authors include Antonia Fraser, Obreht, Joe Ide, Jostein Gaarder, Keith Richards, Henry Marsh, Alice Walker, Michel Bussi, Emily Simon Sebag Montefiore, Antony Fridlund, Paul Torday, Julian Beevor, Bettany Hughes, Jennifer Fellowes and Nathan Englander. Worth, Adam Rutherford, Tina Brown, Eric Idle, Philippe Sands, A. A.