Oxford Oxford University Press
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Issue 171.Pmd
email: [email protected] website: nightshift.oxfordmusic.net Free every month. NIGHTSHIFT Issue 171 October Oxford’s Music Magazine 2009 tristantristantristantristan &&& thethethe troubadourstroubadourstroubadourstroubadourstroubadours Oxford’s own Magnificent Seven ride out - Interview inside plus News, reviews and seven pages of local gigs photo: Marc West photo: Marc NIGHTSHIFT: PO Box 312, Kidlington, OX5 1ZU. Phone: 01865 372255 NEWNEWSS Nightshift: PO Box 312, Kidlington, OX5 1ZU Phone: 01865 372255 email: [email protected] Online: nightshift.oxfordmusic.net THIS MONTH’S OX4 FESTIVAL will feature a special Music Unconvention alongside its other attractions. The mini-convention, featuring a panel of local music people, will discuss, amongst other musical topics, the idea of keeping things local. OX4 takes place on Saturday 10th October at venues the length of Cowley Road, including the 02 Academy, the Bullingdon, East Oxford Community Centre, Baby Simple, Trees Lounge, Café Tarifa, Café Milano, the Brickworks and the Restore Garden Café. The all-day event has SWERVEDRIVER play their first Oxford gig in over a decade next been organised by Truck and local gig promoters You! Me! Dancing! Bands month. The one-time Oxford favourites, who relocated to London in the th already confirmed include hotly-tipped electro-pop outfit The Big Pink, early-90s, play at the O2 Academy on Thursday 26 November. The improvisational hardcore collective Action Beat and experimental hip hop band, who signed to Creation Records shortly after Ride in 1990, split in outfit Dälek, plus a host of local acts. Catweazle Club and the Oxford Folk 1999 but reformed in 2008, still fronted by Adam Franklin and Jimmy Festival will also be hosting acoustic music sessions. -
A44805 War Child Annual Report 2010
REPORT 2009 AND PLAN FOR 2010 War Child looks forward to a world in which the lives of children are not torn apart by war. THIS REPORT DESCRIBES OUR CONTRIBUTION TO ACHIEVING THIS VISION. 2 WWW.WARCHILD.ORG.UK Contents Foreword 4 Introduction 6 Part 1: Programmes 7 Introduction 7 Security 7 Child Protection 8 Gender 8 Afghanistan 10 The Democratic Republic of Congo 16 Iraq 22 Uganda 27 Part 2: Campaigning in the UK 32 Awareness Raising 33 Schools Programme 34 Online 36 Advocacy 38 Part 3: Fundraising 41 Corporate and Donor 41 Music, Events and Entertainment 44 Institutional and Trust 47 Part 4: War Child International Family 49 Part 5: War Child Staff 52 Part 6: Thanks 53 Part 7: Accounts 54 WWW.WARCHILD.ORG.UK 3 Foreword 2009 was a very good year for War Child. 11,000, and our email newsletter distribution Amongst many other achievements, we: from 15,000 to 30,000. • Increased the number of children we benefited • Increased the number of schools we work with directly1 by more than 400% vs. 2008. from 110 in 2008 to 250 and reached a total of 5,200 students with global citizenship education. • Provided access to legal representation and other services such as health care and education for 191 • Won the Third Sector Excellence Award for Charity children in Afghanistan. 91 of these children were Trading and the MOBO Award for Social re-united with their families as a result of War Achievement. We were also shortlisted for the Child’s family liaison work. Third Sector Excellence Award for Fundraising Events as well as the Hilton International • Began a child protection project in four Humanitarian Award for the third year in a row. -
Association of Independent Festivals Six-Year Report 2014
Association of Independent Festivals Six-Year Repor t 2014 Dr Emma Webster Live Music Exchange [email protected] Executive Summary ............................................................................................ 1 Introduction ...................................................................................................... 4 The festival ‘ecology’ ....................................................................................... 6 The Association of Independent Festivals ............................................................... 6 A brief history of festivals .................................................................................... 8 Risk factors for the festival sector and examples of cancelled festivals ...................... 11 The festival market in context ............................................................................ 12 Festivals and the state – austerity and secondary ticketing ....................................... 12 Consumer confidence ................................................................................... 13 Is PRS for Music getting tough on festival promoters? .............................................. 14 Festivals and the broader music industries .......................................................... 14 The ‘Glastonbury effect’ ............................................................................... 15 Competition in and outside of the UK ................................................................ 16 Technology – social media, RFID -
ROUNDHOUSE ANNUAL REVIEW 2011/12 an INSPIRATIONAL YEAR Christopher Satterthwaite Chairman, the Roundhouse Trust
ROUNDHOUSE ANNUAL REVIEW 2011/12 AN INSPIRATIONAL YEAR Christopher Satterthwaite Chairman, The Roundhouse Trust It’s difficult to single out individual highlights over art creative spaces right beneath your feet to learn, share the last year. But I have to say that my first glimpse and gain skills that will help them explore their creativity of Curtain Call, Ron Arad’s monumental summer beyond the walls of the Roundhouse. I’m always thrilled installation, is one of the most striking images of the to hear stories like that of Elise Cobain, who came along Roundhouse I have ever seen. Later, seeing the Main to one of our creative projects over the summer and Space transformed into a vibrant circus carnival for eventually joined Roundhouse Radio as assistant station Professor Vanessa’s Wondershow was unforgettable, manager. From there she progressed to a role at XFM and while the electric atmosphere at Paul Weller’s five- she’s now gone on to what she describes as her dream night residency reminded us all that the Roundhouse job at Radio 1. I’m also delighted that she’s now one of is absolutely peerless when it comes to live music. my fellow members of the board of trustees and a brilliant ambassador for the work we do. For me, this is such But as you read this annual review, you’ll see that above a great example of the way that young people can be all, we’re most proud of our ongoing work with 11–25 inspired to achieve so much if given the right tools. -
ROUNDHOUSE ANNUAL REVIEW 2010/11 Celebrating Five Years Since Reopening MY FIRST YEAR Christopher Satterthwaite Chairman, the Roundhouse Trust
ROUNDHOUSE ANNUAL REVIEW 2010/11 Celebrating five years since reopening My fIRSt yEAR Christopher Satterthwaite Chairman, The Roundhouse Trust Since coming on board in November 2010, I’ve been mixed economy and I’m extremely grateful for the hugely impressed by the breadth of high-quality music, continued support of our funders, particularly Arts theatre, circus and other events on offer to audiences, Council England, Camden Council and the Paul Hamlyn and continually inspired by the work we do with 11–25s. Foundation who have all supported us significantly since reopening. We are also indebted to companies such There have been so many highlights already. Just a few… as Bloomberg, The Pret Foundation Trust and EMI, as Inside, a moving and thought-provoking theatre piece well as the dedicated individuals who support us in about young fathers in prison; the ‘Come and Sing’ so many ways. events at Voices Now, which proved why singing with hundreds of other people is such an inspiring and uplifting I’d like to pay tribute to Lloyd Dorfman, my predecessor, experience; and seeing the young performers who’d who played such a vital role in leading the Trust for three progressed through Roundhouse projects hold their own years, and who remains involved as Vice President. And with more established names at our 5th Birthday Gala. to the Trust’s first Chairman and current President, Torquil Norman, whose vision for the Roundhouse as a centre The Gala in March raised £561,415 towards funding of creativity for young people remains our guiding light. further opportunities for young people through our Creative Programme. -
Here Comes the Time for Another Set of ‗Bye Byes' and Happy Tears. Inside
Here comes the time for another set of ‗Bye Byes‘ and happy tears. Inside you will get a chance to read about trips, Leavers‘ Day and interviews with teachers who are sadly leaving us… But memories will never be forgotten. 1 3. Interview with Miss Hayes 4. Interview with Mr Leadon 5. Interview about World Challenge Trip to China 6. Pathways to Success Conference (Murray Edwards College, Cambridge) 8. Canterbury Trip 10. Brunel University Open Day Review 12. Sports Day 14. Year 13 Leaver‘s Day Pictures 15. Year 13 Prom Pictures 16. Enterprise Week 20. Art and Photography Exhibition 21. Recent Music Album Releases 22. Recent Film Releases 24. Music Festivals 25. Sudoku 2 How long have you been at Bullers What was your best memory here at Wood? Bullers? For 5 years. I taught some of the I think it would have to be the Paris trip. kids who are now in Year 11 and It was last year and we went with the some who were then in Years 8 and Year 8‘s and we walked half way up the Eiffel Tower. 9 who are now in the Sixth Form, which is really nice. If you weren‘t a teacher what would you be? Which school will you be moving to? I think I would still be in fashion. I I‘m going to Hayes (in Bromley) to worked in fashion before teaching, in the be the Head of Biology. retail industry. I liaised with people from What will you miss the most about all over the world, but I found working in Bullers? an office boring. -
LC Brochuredigital4.Pdf
TABLE OF CONTENTS: INTRODUCTION, by Andy Heath MBE ........................................................................................2 FOREWORD, by Feargal Sharkey ..............................................................................................5 In 2008, a huge spectrum of Historically the notion of sustainability has al- EXECUTIVE SUMMARY .................................................................................................................7 most exclusively referred to creativity, finance the commercial music sec- and commerce. But in an age that has now tor united together to form awoken to climate change, sustainability has UK Music. had to take on a much broader, more pro- RECOMMENDATIONS .............................................................................................................. 11 found interpretation. UK Music is the umbrella organisation that Formed in 2007 as a not-for-profit company, represents the collective interests of the UK’s Julie’s Bicycle has enabled the music industry commercial music industry – from artists, mu- to commit itself to embedding environmen- Recommendation ONE .......................................................................................................... 13 sicians, songwriters and composers, to major tal responsibility into the heart of the business, and independent record labels and music ensuring that not only are we pre-empting publishers, to music managers, studio pro- inevitable regulations, but also understanding ducers and collecting societies. -
Lecture Notes from 'Get Plugged In' a 3 Day
LECTURE NOTES FROM ‘GET PLUGGED IN’ A 3 DAY COURSE ON THE LIVE MUSIC INDUSTRY FOR MUSIC TANK AT WESTMINSTER UNIVERSITY Note: my apologies for any typos. There’s forty-one pages of text here. Also, to those who remember my talking about something that’s not mentioned below; it’s not realistic for me to record everything I say, listen back to it, then transcribe those parts for inclusion below SECTOR OVERVIEW STAKEHOLDERS - Venues (a 250 cap venue in Glasgow and Wembley Stadium - 80,000 - face very different problems - Managers (the UK’s Music Manager’s Forum is the world’s largest representative body of Artist Management) - Publishers (who benefit when an artist’s profile increases in the live arena, through performance royalties, and the ability to charge / charge more for sync licenses) - Merchandise companies - Backline hirers, van hire companies, rehearsal spaces - Promoters - Agents - Ticketing companies - Festivals - Utilities companies (when you buy a ticket online, or stream a song, or listen to your MP3 player, you use electricity and or an internet connection) - Artists - Audiences - Who else? Labels, recording and mastering studios, manufacturing plants, equipment manufacturers... everyone, in fact, in the music industry, since any income from any source helps facilitate all other artist activities, and an artist’s rising profile potentially boosts income across all facets of its business SPRINGBOARD - This comment piece was written for the ILMC’s (International Live Music Conference) magazine ‘IQ’. I was asked to write 450 words on a subject of my choosing. After three re-writes to make it appear less confrontational, I submitted it for publication and was told that before it could be published it would have to be ‘approved’ by some of the live industry’s most senior figures, because IQ considered it to be very controversial. -
The Political Economy of Informal Events, 2030
The Political Economy of Informal Events, 2030 Written and edited by James Woudhuysen AAAW_03.19_001-009_Chapter Zero.indd 1 24/04/2019 17:12 The political economy of informal events, 2030 AAAW_03.19_001-009_Chapter Zero.indd 2 24/04/2019 17:12 Written and edited by James Woudhuysen Visiting professor, forecasting & innovation, London South Bank University Foreword by Julian Agostini, Mash Media Alan Miller, Night Time Industries Association Nick Morgan, We Are The Fair Published by Access All Areas, in association with the Night Time Industries Association and We Are The Fair Access All Areas, 2nd Floor Applemarket House, 17 Union Street, Kingston-Upon-Thames KT1 1RR Advisory team Tom Hall and Paul Colston Graphic design Sean Wyatt-Livesley, Emma Hart, Oscar Spinks, Kateryna Smirnova ISBN 2019: 978-0-9576478-7-9 Please note: Except for the Foreword, or when interviewees are quoted, the views in this paper – and the errors – are those of the author alone. He thanks Andy Grimsey, solicitor with Poppleston Allen, for help with the legal intricacies of licensing. © Copyright Mash Media. All material in this publication is copyright and remains the property of the publishers. They neither necessarily agree with the views expressed by interviewees, nor accept any responsibility for any errors of interpretation in the subject matter of this publication. No part of this publication may be copied or reproduced…. by any means….. without the prior, written permission of the publishers. AAAW_03.19_001-009_Chapter Zero.indd 3 24/04/2019 17:12 Chapter -
FACING the MUSIC the Hidden Cost of Festivals
INDUSTRY REPORT FACING THE MUSIC The Hidden Cost of Festivals Author: David Jinks MILT Head of Consumer Research email: [email protected] web: parcelhero.com/festivals THE FAMOUS PYRAMID STAGE AT GLASTONBURY. IN 2014 THE EVENT PULLED IN £37M BUT SAW PROFITS OF JUST £86,000: LESS THAN 50P A TICKET. EXECUTIVE SUMMARY Can you make money from festivals, or do overwhelming logistical demands – plus the British weather – mean most festivals will cease festivities? 1. Coachella, the biggest festival in the world, sells 198,000 tickets and pulls in $84 million for the Californian event. The UK’s largest festival – Glastonbury – has a turnover of £37m but sees profits of just £86,000: less than 50p per ticket. 2. In the wet summer of 2012 57 UK music festivals were cancelled. It’s a tough business: famous events such as The Big Chill, Sonisphere, Oxegen and Cloud 9 have all fallen silent recently. This year Austin’s 3-day Levitation Festival, Manchester’s All Today’s Parties festival and the Forgotten Fields 2016 Festival have already joined their ranks. 3. This year 14 million UK residents plan to attend a festival, (3.5 million music festivals alone). Around 1,000 festivals are planned in the UK for 2016 and, with the average ticket price being over £200 for major events, it’s a £2.3bn industry! www.parcelhero.com Facing the Music: The Hidden Cost of Festivals 2/19 4. The logistics behind a big event are amazing. The five stages at Download weigh 278 tons and require 57 artics to transport them. -
Outdoor Arts Events and Activity in London
2009 research and mapping for London Events Forum (LEF) and for Arts Council England Outdoor arts events and activity in London Final report: May 2010 Arts Council England working in partnership with the London Events Forum commissioned this research and mapping. Freelance event managers and consultants Annie Grundy and Sarah Morton carried it out in consultation with Arts Council England and the steering committee of the London Events Forum, with support from the London Cultural Improvement Programme. Outdoor arts events and activity in London Contents 4 Foreword on behalf of London Events Forum by Paul Cowell 5 Foreword on behalf of Arts Council England by Clive Lyttle 7 Introduction 9 Assessment of themes with recommendations: 9 Outdoor events matter 10 Outdoor arts events and activity 12 Strategies, monitoring and aspirations 14 Funding for outdoor arts events and activity 17 Support for outdoor arts events and activity 17 Processes for outdoor arts events and activity 20 Communications, marketing and partnerships 22 Staffing 23 Conclusion Contents continued page 3 2009 research and mapping for London Events Forum (LEF) CONTENTS 2 Contents continued Appendices 24 Outdoor arts events and outdoor events that include the arts: a list of the events in the London boroughs and in the City of London identified through the research 28 Local authority profile reports plus the City of London Corporation report 28 Barking and Dagenham 34 Barnet 38 Bexley 42 Brent 47 Camden 52 City of London Corporation 57 Croydon 60 Ealing 64 Enfield 69 Greenwich