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NOISE & Whispers
A catalogue to support the exhibition of the same name at GV Art gallery, London 7 November to 14 December 2013 Introduction On the 11th of March 1913 the insightful Futurist Luigi paralleled by the increasing proliferation of Thank you for listening. Russolo wrote a letter to Francesco Balilla Pratella that machinery...” Martin A. Smith became known as “L'arte dei Rumori”, The Art Of And so, the notion of using noise as art was Noises. The letter became a manifesto, calling on London, October 2013 crystallised. Over a hundred years ago, the composer composers to "enlarge and enrich the field of sound", spoke to his friend of reaching out beyond the to create sound as art. confines of traditional instruments to “break at all cost Quotes from L'arte dei Rumori by Luigi Russolo from this restrictive circle of pure sounds and conquer In his letter, Russolo reflected: translated by Robert Filliou the infinite variety of noise-sounds.” “For several centuries, life went on silently, or mutedly. The loudest noises were neither intense, nor prolonged The term “sound art” went on to surface in 1983 in an nor varied. In fact, nature is normally silent, except for exhibition by William Hellerman at The Sculpture storms, hurricanes, avalanches, cascades and some Center in New York. True to Russolo’s vision, the art of exceptional telluric movements. This is why man was noise has been driven forward by human impulsion, thoroughly amazed by the first sounds he obtained out gathering pace in keeping with the heightening speed of a hole in reeds or a stretched string. -
The Music Market in Australia and New Zealand
THE MUSIC MARKET IN AUSTRALIA AND NEW ZEALAND 1 THE MUSIC MARKET IN AUSTRALIA AND NEW ZEALANDLAND ACKNOWLEDGEMENTS Funding for this study was provided by Ontario Media Development Corporation. Any opinions, findings, conclusions or recommendations expressed in this material are those of the author and do not necessarily reflect the views of Ontario Media Development Corporation or the Government of Ontario. The Government of Ontario and its agencies are in no way bound by the recommendations contained in this document. Funding for this study was also provided in part by Foreign Affairs, Trade and Development Canada. Foreign Affairs, Trade and Affaires étrangères, Commerce Development Canada et Développement Canada 2 THE MUSIC MARKET IN AUSTRALIA AND NEW ZEALAND 1. Executive Summary . 4 2. Introduction . .. 5 3. At a Glance . 5 Australia . 5 New Zealand . 7 4. Recorded Music Market . 8 Charts . .. 8 In Numbers . 11 Copyright Infringement and Piracy in Australia . 12 Streaming Services . .. 12 Record Stores . 13 Record Labels and Distributors . 13 General Trends . 16 Interview: Leigh Gruppetta, Cooking Vinyl Australia . .. 16 5. Live Performance Industry . 17 Festivals . 19 Interview: Chloe Goodyear . Woodford Folk Festival . 22 Touring Australia and New Zealand . 23 Venues . 24 Booking Agencies and Promoters . 30 Merch . 31 Illy’s Top Tips for Touring Australia . 31 6. Music Publishing . 34 In Numbers . 34 Synch . 35 Interview: Zoe Coverdale, Mushroom Music Publishing . 36 7. Promotion and Media . 37 Australia (Radio, Print, Television, Online) . 37 Interview: Nick Findlay, triple j . 38 New Zealand (Radio, Print, Online) . 43 Marketing and Advertising . 43 Interview: Pam Thornback, Inertia . 44 8. Business and Showcase Events . -
FACTS 2020 Is the Fourth Edition of Starting 2017]
By the female:pressure Trouble Makers Version Date 1.0 March 8, 2020 Authors The Trouble Makers 1 SUMMARY Background Methods The female:pressure FACTS survey is a Data was provided by the female:pressure continuous project, undertaken by volunteer Trouble Makers, female:pressure members, and members of the female:pressure network, that festival organisers. Gender proportions for each quantifies the gender distribution of artists festival are assessed for female, male, performing at electronic music festivals non-binary, and mixed acts [non-binary for data worldwide. FACTS 2020 is the fourth edition of starting 2017]. The number of acts are counted the survey, which was first published in 2013, per slot of stage time. “Acts” include musical and updated in 2015 and 2017. and visual artists or bands who appear on stage, as they are listed in the festival’s program line-up. Results Conclusion We collected data for 392 festival editions [of We see a steady rise in female acts in 166 different festivals] from 2017 to 2019. electronic music festivals over the past eight Adding this to the previous survey data, years. However, only 25% of all acts are female:pressure has collected data for 675 female in comparison to 65% male acts. festival editions [348 unique festivals in total] from 2012 to 2019 from 46 countries. The proportion of female acts rose from 9.2% in 2012 to 24.6% in 2019. Larger festivals tend to have lower proportions of female acts. Data for 2017 to 2019 show that publicly funded festivals and festivals with female artistic directors have higher proportions of female acts. -
Large Potential Exists for SFXE in EDM Space, Results to Follow
INITIAL REPORT Reverdy Johnson, [email protected] Large Potential Exists for SFXE in EDM Space, Results to Follow Companies: BUD, FB, GOOG, LYV, MSFT, SFXE, TWTR January 22, 2014 Research Question: Will consumer brands find SFX Entertainment’s collection of electronic dance music festivals compelling enough to become significant sponsorship partners? Silo Summaries Summary of Findings 1) Ad Agencies . Thirteen of 15 sources said electronic dance music (EDM) is Five of six sources said EDM festivals scene have room for becoming mainstream, has significant room for growth in the growth and will become an even more attractive United States and worldwide, and is an attractive method for sponsorship opportunity for global consumer brands. EDM consumer brands to reach all-important ever-elusive is quickly becoming mainstream and festivals are the new millennials. music genre, especially for the millennials that brands are so determined to reach. Social and streaming networks . Brand sponsorship opportunities hold vast potential, with have a significant reach for this audience, as pre- and Google Inc.’s (GOOG) Motorola and Anheuser-Busch InBev post-festival productions become destinations for viewers (BUD) recently inking deals. Samsung Electronics Co. Ltd. and and sponsorship dollars. Three sources said revenue for these festivals is increasing year to year. Two others said Microsoft Corp. (MSFT) are sponsorship targets and could global brands are traditionally conservative and deliberate bring significant revenue to the EDM space. in their decision-making process, especially when . Electronic cigarette, gaming, and non-alcoholic beverage considering an untested space which lacks proof of companies are expected newcomers to EDM in 2014, while concept and sophisticated metrics. -
International Cities of Advanced Sound
INTERNATIONAL CITIES OF ADVANCED SOUND INFORMATION BOOKLET AND MEMBER DIRECTORY CREATED APRIL 2014 2 INTERNATIONAL CITIES OF ADVANCED SOUND WHAT IS ICAS? Founded in 2008, ICAS – International Cities of Advanced Sound – is a global network of independent non-profit organizations dedicated to advancing sound cultures, music, and related arts. The ICAS network aims to support its members in building sustain- able infrastructures to support, promote, and encourage experi- mental and critical sound cultures. Using a palette of transdis- ciplinary approaches, ICAS member organizations reflect on the aesthetic and societal agency of contemporary sound creation with regard to transformational processes induced by digital technology, and actively engage in building bridges between art disciplines, cultural fields, scenes, genres, and audiences. Activities within events and festivals organized by ICAS members include concerts, performances, commissioned work, exhibitions, participatory projects, educational workshops, conferences, publi- cations, and the curation of informal spaces for knowledge-sharing within and among fields. ICAS also serves as an interface to intensify dialogue between its members via knowledge exchange, artistic co-productions, mobil- ity of cultural workers, and more. The network also seeks to foster communication with decision makers in cultural, political, and eco- nomic fields, propose alternative criteria for measuring success and regulating exchange, and increase public awareness concern- ing the issues addressed by ICAS and its member organizations. FACT & FIGURES ICAS is comprised of 34 organizations over 4 continents. Over 250 events were presented in 2013. More than 50 co-commissioned works have been produced over the past several years. Support is received from the EU Culture Programme, the Goethe- Institut, the Trust for Mutual Understanding and more. -
Richard Ensures Control Over Most DJ, DAW and Audio Applications
THE STANTON ARTIST & GEAR MAGAZINE > VOLUME 1, 2008 Control Yourself Introducing DaScratch, the revolutionary new touch sensitive controller that will blow your mind. DaScratch features the intuitive StanTouch™ interface, a sizable scratching/control area that combines touch, gestures, and visual feedback, allowing you to easily Control your music. LEDs react in real time to buttons and triggers, and virtual faders glow to indicate their position so you can Control your mix. Rock solid construc- Welcome to tion and compact size ensure that DaScratch travels well from gig to gig, and the included DaRouter software Richard ensures control over most DJ, DAW and audio applications. Seattle A DJ’S GUIDE TO THE EMERALD CITY Control your world with DaScratch. You can trigger samples, set loops, change pitch, scratch, jog, scroll, set volume levels, adjust effects, modify EQs, control plug-ins... Whether you are a DJ, VJ, musician, multimedia artist or producer, you can stimulate your creativity and fuel your performance using DaScratch. Available now for $299 (MSRP). Devine Get your hands on DaScratch, and learn what it means to Control yourself. Get the full story at stantondj.com. > THE HARDEST WORKING DaScratch DJ IN THE GAME. STANTON’S TOUCH-FRIENDLY DJ CONTROLLER www.stantondj.com From the Editor Features Contents WELCOME TO FOR LIFE. This is the premiere issue of > welcome to seattle something we at Stanton DJ have been meaning to create A DJ’S GUIDE to THE EMERALD CITY for a long while. Namely, a hybrid magazine-catalog to bring you the latest in DJ news, artist profiles, BY SEAN Horton useful tips and techniques, and — of course — all the Seattle isn’t technically a “major” market. -
Guevoura Fund Ltd., Et Al. V. SFX Entertainment, Inc., Et Al. 15-CV
Case 1:15-cv-07192-CM Document 61 Filed 12/23/15 Page 1 of 75 UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK GUEVOURA FUND LTD., On Behalf of Itself and All Others Similarly Situated, Case No. 1:15-cv-07192-CM Plaintiff, v. CONSOLIDATED AMENDED CLASS ROBERT F.X. SILLERMAN, D. GEOFFREY ACTION COMPLAINT ARMSTRONG, JOHN MILLER, MICHAEL JOHN MEYER, and SFX ENTERTAINMENT, INC., JURY TRIAL DEMANDED Defendants. Plaintiff Guevoura Fund Ltd. (“Guevoura” or “Plaintiff”) brings this federal securities class action pursuant to §§10(b), and 20(a) of the Securities Exchange Act of 1934 (the “Exchange Act”) and Securities and Exchange Commission (“SEC”) Rule 10b-5 promulgated thereunder on behalf of all investors who purchased or otherwise acquired the common stock of SFX Entertainment, Inc. (“SFX” or the “Company”), between February 25, 2015 and November 17, 2015, inclusive (the “Class Period”). Plaintiff alleges the following upon personal knowledge as to itself and its own acts, and upon information and belief as to all other matters, based upon, inter alia, the investigation conducted by and through Plaintiff’s counsel, which included, among other things, a review and analysis of SEC filings by SFX, press releases, analyst reports and media reports issued by, or about, SFX. NATURE OF THE ACTION 1. Plaintiff brings this action against SFX and certain members of its Board of Directors (the “Board”) engaging in market manipulation and issuing false and misleading statements throughout the Class Period in connection with purported proposals by Robert F.X. Case 1:15-cv-07192-CM Document 61 Filed 12/23/15 Page 2 of 75 Sillerman (“Sillerman”), SFX’s founder, Chief Executive Officer (“CEO”) and largest shareholder, to purchase all of the outstanding common stock he did not already own (the “Merger”), in violation of §§10(b) and 20(a) of the Exchange Act and Rule 10b-5.