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Music Reading Read the Passage, the E-Mail and the Festival Guide. the Glastonbury Festival Is an Unforgettable Sight. for Three
Music Reading Read the passage, the e-mail and the festival guide. The Glastonbury Festival is an unforgettable sight. For three days, 280 hectares of peaceful farm country in the beautiful Somerset Valley become a vast, colourful tent city. The Glastonbury Festival is Britain's largest outdoor rock concert, and it attracts crowds of more than 100,000 people. It has six separate stages for musicians to play on. It has eighteen markets where fans can buy things. It has its own daily newspaper and is even broadcast live on television. It also raises large amounts of money for several charities, including Greenpeace and the Campaign for Nuclear Disarmament. Glastonbury is just one of many events on the international music festival calendar each year. For dance music fans, there's Creamfields, the Essential Festival and Homelands - all in the UK. Rock fans have Roskilde Festival in Denmark, Fuji Rock and Summer Sonic in Japan, and the Livid Festival and the Big Day Out in Australia. And the crowds just keep getting bigger. In fact, the size of some of these festivals is causing problems. Since the deaths of nine people at Roskiide in 2000 and the death of a young woman at the 2001 Big Day Out, festival organisers and local police have been working together to make sure festival-goers stay safe. Despite these tragic events, festivals are more popular than ever. And it's not just about the music. It's about making new friends and partying non-stop for days at a time. It's about dancing till you can't stand up anymore and then crashing in someone else's tent. -
1489596882 BL Festivals Guid
WE’RE FESTIVAL VETERANS Getting value for money from your festival branding activity requires research, planning, creativity, and an appreciation that you’re venturing into an environment where brands can be welcomed, tolerated, ignored or vilified. We have a long history of helping clients win cut through at festivals around the world, these include: R ECOVE FESTIVALS NOT RIGHT F OR YOU? THINK AGAIN With younger festival goers increasingly priced out of the game, today’s festival audience largely comprises Millenials, people in their thirties. This also explains the increasing number of festivals catering for families, cultural, literary and culinary enthusiasts. It also means an opening of the way for brands that previously might have never thought about investing in a festival. And a growing number are realising this is an environment that can yield results; there’s a lot more to festivals than mud, booze, rock and roll. KNOW YOUR FESTIVAL HEDONISTIC Global Gathering, Big Chill, Exit, Tribal Gathering, Tommorowland, Boom Town, 2000Trees MAINSTREAM Glastonbury, V Festival, Big Day Out, Tea in the Park, Oxygen, Isle of Wight, Wireless, Reading & Leeds Festivals FAMILY FRIENDLY/ CULTURAL Secret Garden Party, Sonar, Green Man, WOMAD, Camp Bestival, Big Feastival, Wilderness, Somersault Brands that can work their way into the festival environment in a natural, creative way can engage this audience while they’re in a highly receptive state. To do this, there are a couple of simple principles we employ: 1. IDENTIFY ‘WHY’ Identifying your ‘why’ is all about finding a festival with which your brand can legitimately demonstrate a shared purpose, common ethics and values. -
Canvas 06 Music.Pdf
THE MUSIC ISSUE ALTER I think I have a pretty cool job as and design, but we’ve bridged the editor of an online magazine but gap between the two by including PAGE 3 if I could choose my dream job some of our favourite bands and I’d be in a band. Can’t sing, can’t artists who are both musical and play any musical instrument, bar fashionable and creative. some basic work with a recorder, but it’s still a (pipe) dream of mine We have been very lucky to again DID I STEP ON YOUR TRUMPET? to be a front woman of some sort work with Nick Blair and Jason of pop/rock/indie group. Music is Henley for our editorials, and PAGE 7 important to me. Some of my best welcome contributing writer memories have been guided by a Seema Duggal to the Canvas song, a band, a concert. I team. I met my husband at Livid SHAKE THAT DEVIL Festival while watching Har Mar CATHERINE MCPHEE Superstar. We were recently EDITOR PAGE 13 married and are spending our honeymoon at the Meredith Music Festival. So it’s no surprise that sooner or later we put together a MUSIC issue for Canvas. THE HORRORS This issue’s theme is kind of a departure for us, considering we PAGE 21 tend to concentrate on fashion MISS FITZ PAGE 23 UNCOVERED PAGE 28 CREATIVE DIRECTOR/FOUNDER CONTRIBUTING PHOTOGRAPHERS Catherine McPhee NICK BLAIR JASON HENLEY DESIGNER James Johnston COVER COPYRIGHT & DISCLAIMER EDITORIAL MANAGER PHOTOGRAPHY Nick Blair Reproduction in whole or in part without written permission by Canvas is strictly prohibited. -
EVENTS REPORT – 1 NOVEMBER 2006 to 28 FEBRUARY 2007 Page 1 of 10
Page 1 of 10 MARKETING AND EVENTS COMMITTEE Agenda Item 5.4 REPORT 8 May 2007 EVENTS REPORT – 1 NOVEMBER 2006 TO 28 FEBRUARY 2007 Division Commerce & Marketing Presenter Peter Stewart, Manager Events Melbourne Purpose 1. To inform the Marketing and Events Committee of the events conducted within the City of Melbourne between 1 November 2006 and 28 February 2007. Recommendation from Management 2. That the Marketing and Events Committee accepts the Events Report – 1 November 2006 to 28 February 2007. Comments 3. The events outlined in this report relate to those coordinated through the Events Melbourne Branch of the City of Melbourne. A small number of arts events are coordinated through the Arts & Culture Branch and are not within the scope of this report. Water Restrictions and Events 4. The City of Melbourne has initiated a number of proactive strategies to significantly reduce the water consumption and water usage during events as a result of the current state-wide water restrictions. 5. These strategies involve utilising alternative or modified water-filled traffic management treatments; minimising water usage during vending, food preparation and drinking water fountains; using concrete/sand-filled weights instead of water-filled weights in infrastructure weighting; and utilising Class A recycled water for portable toilet flushing rather than drinking water. 6. As a result of these strategies being implemented, recent events have significantly reduced the level of water usage during events, for example New Year’s Eve 2006 utilised 250,000 litres less water and Moomba Waterfest utilised 300,000 litres less water than in previous years. -
PREVIEW the 2013 OFF the COUCH TRAINING PROGRAM BARRIO SITE VISIT | WEEK 1 with Barrio Team from Adelaide Festival of the Arts P
PREVIEW THE 2013 OFF THE COUCH TRAINING PROGRAM BARRIO SITE VISIT | WEEK 1 with Barrio team from Adelaide Festival of the Arts Thursday 14 March at Barrio, 6pm - 8pm www.adelaidefestival.com.au/2013/club/barrio PUBLICITY | WEEK 2 with journalists, bloggers, promoters and venue bookers Thursday 21 March at Carclew, 6-8pm Sose Fuamoli | The AU Review www.theaureview.com/users/sosefina-fuamoli Sose’s career in the arts began in 2006, when she toured and performed with Darwin-based dance company, Sunameke. Relocating to Adelaide in 2009, Sose graduated with a Bachelor of Arts in English and classics from Adelaide University. Sose has been working as a music journalist and editor for a variety of online and press publications for the past four years. She is currently the South Australian Manager and Head News Editor of Sydney- based music and arts publication, The AU Review. Having worked with a variety of Australian and international artists, showcasing Adelaide’s talent has always remained a priority for Sose. Her work has been published Australia-wide and has more recently been featured by CMJ in New York. Luke Penman | play/pause/play www.playpauseplay.com A few years ago Luke came to the realisation that, despite living in Adelaide, he didn't know any bands from Adelaide. He also realised how much he hated working in dead-end office jobs and vowed to break into the music industry. Fast-forward a few years and Luke has dabbled in artist management and promotions while also running an Adelaide music blog and podcast and hosting Local Noise on Radio Adelaide. -
Events 2010 January
EVENTS 2010 JANUARY Hyundai Hopman Cup XXII 2 - 9 January, Burswood Dome, Perth See Lleyton Hewitt, Samantha Stosur, and Britain’s Andy Murray at one of the biggest tennis events on the international circuit. This prestigious invitational mixed team’s tennis tournament is unique in format and attracts the world’s top players. Lancelin Ocean Classic 7 - 10 January, Lancelin The Lancelin Ocean Classic is Australia’s four day premier windsurfing event attracting the world’s best athletes to the beautiful coastal town of Lancelin that offers some of the best windsurfing conditions in the world. The Doctor – Surf Ski World Cup 16 - 17 January, Perth Witness Australia’s greatest ocean paddling event, incorporating the Surf Ski World Cup, a 23km downwind race from Rottnest Island to Hillary’s Marina and a State of Origin and International Teams Challenge from Fremantle to City Beach. Lancelin Ocean Classic FEBRUARY Busselton Jetty Swim 6 - 7 February, Busselton Take part in the entertainment, activities and family-friendly fun on Saturday and watch over 1,000 swimmers compete in the 3.6km ocean swim along the iconic Busselton Jetty on Sunday. Boyup Brook Country Music Festival 18 - 21 February, Boyup Brook Experience Western Australia’s premier Country Music Festival, featuring live music, WA’s biggest bush poet’s breakfast, street carnival, WA Country Music Awards, workshops and the Boyup Ute and Truck Muster. Geographe Bay Race Week 19 - 26 February, Geographe Bay, Busselton Busselton Jetty Swim Head to Busselton for Western Australia’s largest annual yachting regatta. Over 100 yachts compete in this week long event that also features live entertainment, twilight sailing, a picnic race day and big band performances. -
The Hives & Kingswood Confirmed As Special Guests on Ac/Dc's Rock Or Bust Australian Tour
THE HIVES & KINGSWOOD CONFIRMED AS SPECIAL GUESTS ON AC/DC’S ROCK OR BUST AUSTRALIAN TOUR Promoter Garry Van Egmond announced today that critically acclaimed Swedish rock band The Hives and Australia’s own Kingswood will join AC/DC’s ROCK OR BUST Australia Tour as special guests in one of the most coveted guest spots in the country. Following on from the release of their worldwide Number One album ‘Rock Or Bust’, AC/DC will play Australian stadium shows in November and December. AC/DC NATIONAL TOUR DATES: PERTH – Friday 27 and Sunday 29 November at Domain Stadium, www.ticketmaster.com.au MELBOURNE – Sunday 6 and Tuesday 8 December at Etihad Stadium, www.ticketmaster.com.au Tickets *$99 to *$159.90 New Oval tickets *$99.00 Australian audiences require no introduction to The Hives. The five-piece Swedish rock n' roll force are returning to Australia after captivating audiences at last year’s Big Day Out. The Hives – Nicholaus Arson, Chris Dangerous, Dr. Matt Destruction, Vigilante Carlstroem and Howlin’ Pelle Almqvist shot to superstardom in 2000 with their second album, Veni Vidi Vicious, featuring top selling singles 'Main Offender' and ‘Hate to Say I Told You So’. Their fourth album The Black & White Album introduced now fan-favourite 'Tick Tick Boom'. Their latest offering, Lex Hives, was self-produced and mixed by Grammy Award winner Andrew Scheps (Red Hot Chili Peppers, Adele), and bonus tracks recorded and produced by Queens of the Stone Age’s Josh Homme. The Hives are currently at work on their sixth studio album. The Hives commented, "When we were 6 years old in Fagersta, Sweden we were struck for the first time by the lightning that is Rock n Roll. -
Think of the Children! the Decline of Big Day out and Mega Festivals
This may be the author’s version of a work that was submitted/accepted for publication in the following source: Willsteed, John (2014) Think of the children! The decline of Big Day Out and mega festivals. The Conversation, June, 2014. [Article] This file was downloaded from: https://eprints.qut.edu.au/74838/ c Consult author(s) regarding copyright matters This work is covered by copyright. Unless the document is being made available under a Creative Commons Licence, you must assume that re-use is limited to personal use and that permission from the copyright owner must be obtained for all other uses. If the docu- ment is available under a Creative Commons License (or other specified license) then refer to the Licence for details of permitted re-use. It is a condition of access that users recog- nise and abide by the legal requirements associated with these rights. If you believe that this work infringes copyright please provide details by email to [email protected] Notice: Please note that this document may not be the Version of Record (i.e. published version) of the work. Author manuscript versions (as Sub- mitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear- ance. If there is any doubt, please refer to the published source. https:// theconversation.com/ think-of-the-children-the-decline-of-big-day-out-and-mega-festivals-28498 “Won’t Somebody, Please, Think of The Children?” The Decline of Big Day Out and The Mega-festivals John Willsteed 26/6/2014 There will be no Big Day Out in 2015. -
Live Performance Industry in Australia 2013 Ticket Attendance and Revenue Survey Live Performance Australia
Live Performance Industry in Australia 2013 Ticket Attendance and Revenue Survey Live Performance Australia 29 July 2014 Ernst & Young Tel: +61 3 9288 8000 8 Exhibition Street Fax: +61 3 8650 7777 Melbourne VIC 3000 Australia ey.com/au GPO Box 67 Melbourne VIC 3001 Mrs Evelyn Richardson 29 July 2014 Chief Executive Live Performance Australia Level 1, 15-17 Queen Street Melbourne, Victoria 3000 Private and confidential Dear Evelyn Live Performance Industry in Australia: Ticket attendance and revenue survey Further to the agreement between Ernst & Young (EY) and Live Performance Australia, we are pleased to present you with the final report for the 2013 Ticket Attendance and Revenue Survey Report (the “report”). We understand that the information contained within the report is to be used by Live Performance Australia as part of its own annual publication. Restrictions on the report use The report may be relied upon by Live Performance Australia for the purpose of publishing the Ticket Attendance and Revenue Survey Report only. It should not be relied upon for any other purpose. EY disclaims all liability to any party for all costs, loss, damage and liability that the third party may suffer or incur arising from or relating to or in any way connected with the provision of the deliverables to the third party without our prior written consent. Any commercial decisions taken by Live Performance Australia are not within the scope of our duty of care and in making such decisions you should take into account the limitations of the scope of our work and other factors, commercial and otherwise, of which you should be aware of from the sources other than our work. -
Doctor of Philosophy
A thesis submitted in total fulfilment of the requirements for the degree of Doctor of Philosophy School of Social Sciences University of Western Sydney March 2007 ii CONTENTS LIST OF TABLES........................................................................................ VIII LIST OF FIGURES ...................................................................................... VIII LIST OF PHOTOGRAPHS ............................................................................ IX ACKNOWLEDGMENTS................................................................................. X STATEMENT OF AUTHORSHIP .................................................................. XI PRESENTATION OF RESEARCH............................................................... XII SUMMARY ..................................................................................................XIV CHAPTER 1 INTRODUCING MUSIC FESTIVALS AS POSTMODERN SITES OF CONSUMPTION.............................................................................1 1.1 The Aim of the Research ................................................................................................................. 6 1.2 Consumer Society............................................................................................................................. 8 1.3 Consuming ‘Youth’........................................................................................................................ 10 1.4 Defining Youth .............................................................................................................................. -
Cv Tim Bruniges
TIM BRUNIGES Email | [email protected] Website | www.timbruniges.com Phone | + 61 (0) 414 896 658 SELECTED EXHIBITIONS 2018 Durational performance, 4x4, in collaboration with Locust Jones, Art Gallery of New South Wales, Sydney Australia 2018 Group show, Close Encounters, Usfin Atelier, Sydney Australia 2018 GREY NOISE, Grey Noise, Dubai UAE 2018 Room 220, NYU, New York USA 2017 Terrace/Block, Museum of Contemporary Art, Sydney Australia 2017 MIRRORS Aalst, Netwerk center for contemporary art, Aalst Belgium 2017 Group show, Art Without Agency, Workshop Arts Centre, Willoughby Australia 2017 Group show, A Broken Link, Golden Age Cinema, Sydney Australia 2017 Group show, A Broken Link, Central Saint Martins, London England 2016 Group show, Monumentalism, Kudos gallery, Sydney Australia 2016 NSW Visual Artists Fellowship Finalist, Artspace, Sydney Australia 2016 Volumetric, collaboration with Boris Bagattini, Brooke Stamp, Verge Gallery, Sydney Australia 2016 Sydney Contemporary Video Art Exhibition, Sydney Film Festival Australia 2016 Static + Silence, Lock-up contemporary art space, Newcastle Australia 2016 DRONES, Galerie pompom, Sydney Australia 2015 Group show, John Fries Award, UNSW Galleries, Sydney Australia (Finalist) 2015 Group show, Anxious Spaces II, Knockdown Center, New York USA, curated by Alanna Heiss & Joe Ahearn, Clocktower 2015 Group show, Everything & Nothing, Sarah Cottier Gallery, Sydney Australia 2015 Sprechstimme, UTS Lecture series, Sydney Australia 2015 Group show, Sound+Vision, MOP Projects, Sydney Australia -
San Cisco Awkward Download Free San Cisco
san cisco awkward download free San Cisco. San Cisco is an Australian indie pop band formed in Fremantle in 2009 under the name King George . In November 2011, the band initially signed a contract with Albert Productions , but ultimately released their debut album on Fat Possum Records . contents. history. founding. The San Cisco members attended the same high school in Fremantle. Singer and guitarist Davieson and drummer Stevens had known each other since early childhood and were former members of the rock groups "The Real Life Animators" and "The Flairz"; Biondillo and Davieson shared a common interest in skateboarding and music. Stevens is the daughter of Phil Stevens, who founded the Jarrah Records label with John Butler Trio and The Waifs, two bands also managed by Phil Stevens . Biondillo stated that he started playing guitar in high school when he was around eight or nine years old, but played mostly by himself in his room until he met Davieson. In late 2009, Davieson, Stevens and Biondillo began playing music together; later the bassist Gardner also joined them. The band changed their original name "King George" to "San Cisco" on the advice of friends and fans. According to the band, there is no connection between the city of San Francisco and its name. They have chosen the name "San Cisco" because it means nothing and offers them a wide range of design options with regard to their content. San Cisco - Awkward. Space to play or pause, M to mute, left and right arrows to seek, up and down arrows for volume.