2014 Annual Report
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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. -
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). -
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. -
View Annual Report
Full Year 2013 Results - Record Performance • Concert Attendance Up 19% - Total Ticketmaster 400 Million Fans Delivering Over $17 Billion GTV • 900 Million Fans Visit Ticketmaster, Creating User Database of 250 Million Fan Preferences • Revenue Up 11% to $6.5 Billion • AOI Increased 10% to $505 Million • Moved to Profitability in Operating Income off $140 Million • Reported Net Income Improved by $120 Million TO OUR STOCKHOLDERS: 2013 Results We had a record year in 2013 and are well positioned for continued growth in 2014 and beyond. During 2013, we further grew our unmatched concerts global fan base by 10 million fans, attracting almost 60 million fans to our concerts. This tremendous growth fueled our sponsorship and ticketing businesses with Ticketmaster managing nearly 4400 million total tickets in 2013. Combined, we delivered a record year for revenue, AOI and free cash flow. Our results demonstrate the effectiveness of our business model, establishing Live Nation as what we believe to be the number one player in each of our businesses, with concerts driving our flywheel, which is then monetized across our high margin on-site, sponsorship and ticketing businesses. Strong Fan Demand for Live Events We continue to see the tremendous power of live events, with strong global consumer demand. Research shows that live events are a high priority for discretionary spending, and over 80% of our fans surveyed indicate that they plan on attending the same or more events in 2014 as in 2013. Another sign of the strength of our business is that 85% of Live Nation’s fan growth came organically, from our promoting more shows in amphitheaters, arenas and stadiums; from launching new festivals; and from establishing operatioons in new markets. -
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. -
Um Modelo Conceitual De Megaeventos Musicais
CULTUR, ano 09 - nº 02 – Jun/2015 www.uesc.br/revistas/culturaeturismo Licença Copyleft: Atribuição-Uso não Comercial-Vedada a Criação de Obras Derivadas UM MODELO CONCEITUAL DE MEGAEVENTOS MUSICAIS A CONCEPTUAL FRAMEWORK FOR MUSIC MEGA EVENTS Recebido em 13/04/2015 Fabrício Silva Barbosa1 Aprovado em 28/05/2015 1 Doutorando em Engenharia de Produção e Sistemas. Mestre em Turismo e Hotelaria. Coordenador do Curso Superior de Tecnologia em Gestão do Turismo Instituto Federal Farroupilha. RESUMO Os eventos em geral cada vez mais se encontram inseridos no cenário econômico de grandes destinações, sejam elas turísticas ou não. Por meio da implementação da produção e consumo da música, os eventos alavancam a economia local e contribuem significativamente no desenvolvimento das localidades nas quais se encontram inseridos. A presente pesquisa objetivou propor um modelo conceitual a ser utilizado no planejamento estratégico de megaeventos, analisando a sua estrutura desde a concepção, perpassando sua preparação e realização, até o encerramento total das atividades envolvidas. O resultado deste estudo aponta para a elaboração de um modelo conceitual com a finalidade de ilustrar as diferentes fases dos eventos que têm a música como facilitador da indústria do entretenimento. PALAVRAS CHAVE Gestão de Serviços. Evento. Entretenimento. Música. ABSTRACT Events are increasingly embedded in the economic scenario of large allocations, whether tourist or not. Through the implementation of production and consumption of music, events influence the local economy and contribute significantly to the development of the areas in which they are inserted. This research aimed to propose a conceptual model to be used in strategic planning for mega events, based on the supply chain of music, analyzing its structure from conception, passing their preparation and holding until the complete closure of the activities involved. -
Steve Waksman [email protected]
Journal of the International Association for the Study of Popular Music doi:10.5429/2079-3871(2010)v1i1.9en Live Recollections: Uses of the Past in U.S. Concert Life Steve Waksman [email protected] Smith College Abstract As an institution, the concert has long been one of the central mechanisms through which a sense of musical history is constructed and conveyed to a contemporary listening audience. Examining concert programs and critical reviews, this paper will briefly survey U.S. concert life at three distinct moments: in the 1840s, when a conflict arose between virtuoso performance and an emerging classical canon; in the 1910s through 1930s, when early jazz concerts referenced the past to highlight the music’s progress over time; and in the late twentieth century, when rock festivals sought to reclaim a sense of liveness in an increasingly mediatized cultural landscape. keywords: concerts, canons, jazz, rock, virtuosity, history. 1 During the nineteenth century, a conflict arose regarding whether concert repertories should dwell more on the presentation of works from the past, or should concentrate on works of a more contemporary character. The notion that works of the past rather than the present should be the focus of concert life gained hold only gradually over the course of the nineteenth century; as it did, concerts in Europe and the U.S. assumed a more curatorial function, acting almost as a living museum of musical artifacts. While this emphasis on the musical past took hold most sharply in the sphere of “high” or classical music, it has become increasingly common in the popular sphere as well, although whether it fulfills the same function in each realm of musical life remains an open question. -
Jax Anderson About
Jax Anderson about Jax Anderson (previously known as “Flint Eastwood”) is a Detroit-based alt- pop artist who has dominated stages around the world. Anderson’s DIY ethos runs deep, as she writes, records, designs, and directs everything she releases. She heads out on the road this fall on Bishop Briggs’ North American “Champion” Tour with Miya Folick. Previously, Anderson has had two US headlining tours, national tours supporting PVRIS, Misterwives, & Poppy, European and Australian support runs (Foster The People, Sigrid), and has played festivals around the world including Lollapalooza, Bonnaroo, Sasquatch, Summerfest, Falls Fest, Les Escales, and more. 2019 • National US tour with Poppy • Australia fest / headline tour including headlining Night 1 of highlights Gaytimes Festival 2018 • First US Headline Tour - Northeast / Midwest two Anderson has had • Sold Out Indianapolis (450 cap), Chicago (350 cap) US headlining tours, • Direct Support: Bleachers, PVRIS, Misterwives, flor, Now Now national tours • Direct Support to GRiZ at Red Rocks Amp. on 7/13 supporting PVRIS, • Detroit Co-Headline with Princess Nokia on 6/29 (2,300 cap) Misterwives, & Poppy, • Licensing: Ford Mustang GT 500 Relaunch, Biore European and 2017 Australian support • "Queen" #10 most played song on triple J (AUS) runs (Foster The People, • VEVO DSCVR Artist (July) Sigrid), and has played • 1,500 tickets sold in hometown of Detroit, MI (April) festivals around the • Licensing: VICE, Freeform, Fox, ESPN (Wimbledon & US world including Open), Amazon, Bravo • US Direct Support: Walk The Moon, PVRIS, Sigrid, Rostam Lollapalooza, Bonnaroo, (Vampire Weekend), Sylvan Esso, Phantogram Sasquatch, Summerfest, • US Festivals: Bonnaroo, Lollapalooza, VooDoo Falls Fest, Les Escales, • Europe: Les Escales (FR), Champagne (FR) and more. -
Rock in Rio 2015
Intercom – Sociedade Brasileira de Estudos Interdisciplinares da Comunicação XXXIX Congresso Brasileiro de Ciências da Comunicação – São Paulo - SP – 05 a 09/09/2016 Rock in Rio 2015: a performance das marcas dentro e fora dos palcos1 Danilo LIRA2 Eduardo RODRIGUES3 Gabriela LOHANA4 Maíra GOMES5 Paloma DE CASTRO6 Juliana SOUTO7 Universidade Federal de Pernambuco, Recife, PE RESUMO O Rock in Rio é tido como o maior festival de música do mundo e por isso atrai a atenção de grandes marcas que querem, de alguma forma, se associar com o evento e seu público. O que muitas vezes passa despercebido nesta ocasião é que a estratégia de promoção não é uma ferramenta exclusiva das empresas que se associam ao Rock in Rio, mas também dos artistas que fazem parte do seu line-up, uma vez que através das apresentações ao vivo, eles reverberaram algum tipo de impacto performático que acaba por fomentar a sua identidade de marca na dinâmica da indústria cultural (ADORNO; HORKHEIMER, 1997). Portanto, nossa análise consiste em contrapor a desenvoltura de algumas marcas e artistas na edição do Rock in Rio 2015, apontando novos direcionamentos da técnica de promoção de marca (ROBERTS, 2004). PALAVRAS-CHAVE: Rock in Rio; Branded Content; Indústria Cultural, Música, Ação Promocional. INTRODUÇÃO Desde sua primeira edição em 1985, o Rock in Rio já conta com 16 outras edições: seis no Brasil, seis em Portugal, três na Espanha e uma nos Estados Unidos, mesclando na sua programação artistas de estilos musicais que variam do rock, que 1 Trabalho apresentado na Divisão -
Yellow Door Chronicles and the YDC Logo Are Copyright © 2005-2009 by the Sonia Shankman Orthogenic School
Government Heightens Meet Ryan, O’School Most “Green” Claims Rockstar Mayhem Festival Expression on Unfair Tobacco Restrictions Dorm Counselor Unsubstantiated Comes to Chicago Computer Policy Page 4 Page 10 Page 3 Page 17 Page 13 Volume 5 North Korea Threatens U.S. Issue 1 JULY 21, 2009 With Nuclear Weapons By Nick A. North Korea is boast- ing about their weapons of mass destruction. On May 25th 2009, North Korea tested their second nuclear weapon near the Kilchu area. North Korea is also holding a shooting practice in the waters northeast of Wonsan from June 25 to July 9-10, which falls within the date that North Korea said they would fire a nuclear missile at Hawaii: July 4th, Inde- pendence Day. They also told Ja- pan’s coast guard to watch guard of the Wonsan region. U.S. officials say that the A North Korean Soldier North Koreans’ never said Continued on page 3 Lollapalooza 2009 Schedule is Announced By Tommy The lineup for the 2009 Lollapalooza was an- nounced on June 18. The 3-day music festival, which will occur from August 7 to August 9 at Chicago’s Grant Park, will have two headine acts to end each day. The headline acts will per- form at the South Stage and the Budweiser Stage. The six headline acts this year will be Depeche Mode, Kings of Leon, Blue October performs at the 2008 Lollapalooza Continued on page 15 2 What is your opinion on the o’school restructuring? A lot of cool people won’t be able to work here, or will at I don’t agree with it. -
2017 MAJOR EURO Music Festival CALENDAR Sziget Festival / MTI Via AP Balazs Mohai
2017 MAJOR EURO Music Festival CALENDAR Sziget Festival / MTI via AP Balazs Mohai Sziget Festival March 26-April 2 Horizon Festival Arinsal, Andorra Web www.horizonfestival.net Artists Floating Points, Motor City Drum Ensemble, Ben UFO, Oneman, Kink, Mala, AJ Tracey, Midland, Craig Charles, Romare, Mumdance, Yussef Kamaal, OM Unit, Riot Jazz, Icicle, Jasper James, Josey Rebelle, Dan Shake, Avalon Emerson, Rockwell, Channel One, Hybrid Minds, Jam Baxter, Technimatic, Cooly G, Courtesy, Eva Lazarus, Marc Pinol, DJ Fra, Guim Lebowski, Scott Garcia, OR:LA, EL-B, Moony, Wayward, Nick Nikolov, Jamie Rodigan, Bahia Haze, Emerald, Sammy B-Side, Etch, Visionobi, Kristy Harper, Joe Raygun, Itoa, Paul Roca, Sekev, Egres, Ghostchant, Boyson, Hampton, Jess Farley, G-Ha, Pixel82, Night Swimmers, Forbes, Charline, Scar Duggy, Mold Me With Joy, Eric Small, Christer Anderson, Carina Helen, Exswitch, Seamus, Bulu, Ikarus, Rodri Pan, Frnch, DB, Bigman Japan, Crawford, Dephex, 1Thirty, Denzel, Sticky Bandit, Kinno, Tenbagg, My Mate From College, Mr Miyagi, SLB Solden, Austria June 9-July 10 DJ Snare, Ambiont, DLR, Doc Scott, Bailey, Doree, Shifty, Dorian, Skore, March 27-April 2 Web www.electric-mountain-festival.com Jazz Fest Vienna Dossa & Locuzzed, Eksman, Emperor, Artists Nervo, Quintino, Michael Feiner, Full Metal Mountain EMX, Elize, Ernestor, Wastenoize, Etherwood, Askery, Rudy & Shany, AfroJack, Bassjackers, Vienna, Austria Hemagor, Austria F4TR4XX, Rapture,Fava, Fred V & Grafix, Ostblockschlampen, Rafitez Web www.jazzfest.wien Frederic Robinson, -
CQS New City Equity
CQS New City Equity November 2019 November 2019 p C QS New City Equity It is now broadly documented that a few listed equities deliver the bulk of the stock market’s performance. The objective of the CQS New City Global Equity strategy is to identify these exceptional companies and construct a highly concentrated portfolio for the long term. The team implements a forensic research process with a particular focus on strategy, innovation and ESG matters that feed directly into the long term valuation framework. The ambition is to achieve double-digit return over the cycle and embrace the new language for equity investment. Investment Philosophy “We look to invest in a small • We invest in companies that have delivered exceptional products and services that empower their number of corporate stars which customers and generate significant pricing power and economic moat. deliver exceptional products and • Such companies have consistently produced a flow of recurring innovation – and sustainable profits services to their clients. These derived from the intrinsic value the company brings to the customer – not from an opaque value chain or a regulatory window. One dollar of profit is not equal to another. companies have developed a • These innovation compounders, with sufficient growth potential, can only be found in specific industries constant flow of innovation that supported by highly diversified secular tailwinds. Typically, they hold a market leading position. empowers their customers and • To consistently commercialise their innovation, companies must have a clear business mission, generates significant pricing appropriate corporate governance and incentives that specifically encourage innovation from the ground.