The POWER of LIVE
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August Highlights at the Grant Park Music Festival
FOR IMMEDIATE RELEASE Contact: Jill Hurwitz,312.744.9179 [email protected] AUGUST HIGHLIGHTS AT THE GRANT PARK MUSIC FESTIVAL A world premiere by Aaron Jay Kernis, an evening of mariachi, a night of Spanish guitar and Beethoven’s Ninth Symphony on closing weekend of the 2017 season CHICAGO (July 19, 2017) — Summer in Chicago wraps up in August with the final weeks of the 83rd season of the Grant Park Music Festival, led by Artistic Director and Principal Conductor Carlos Kalmar with Chorus Director Christopher Bell and the award-winning Grant Park Orchestra and Chorus at the Jay Pritzker Pavilion in Millennium Park. Highlights of the season include Legacy, a world premiere commission by the Pulitzer Prize- winning American composer, Aaron Jay Kernis on August 11 and 12, and Beethoven’s Symphony No. 9 with the Grant Park Orchestra and Chorus and acclaimed guest soloists on closing weekend, August 18 and 19. All concerts take place on Wednesday and Friday evenings at 6:30 p.m., and Saturday evenings at 7:30 p.m. (Concerts on August 4 and 5 move indoors to the Harris Theater during Lollapolooza). The August program schedule is below and available at www.gpmf.org. Patrons can order One Night Membership Passes for reserved seats, starting at $25, by calling 312.742.7647 or going online at gpmf.org and selecting their own seat down front in the member section of the Jay Pritzker Pavilion. Membership support helps to keep the Grant Park Music Festival free for all. For every Festival concert, there are seats that are free and open to the public in Millennium Park’s Seating Bowl and on the Great Lawn, available on a first-come, first-served basis. -
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. -
Canal Convergence Events
Item 23 CITY COUNCIl REPORT Meeting Date: June 27, 2017 General Plan Element: Economic Vitality General Plan Goal: Sustain Scottsdale as a tourist destination ACTION Adopt Resolution No. 10821 authorizing a FY 2017/18 Tourism Development Fund operating contingency transfer in the amount of $650,000 to the Tourism and Events Department operating budget for use in supporting the 2018 Canal Convergence events. BACKGROUND It started as an idea, a conversation, a meeting and grew into a partnership between the City of Scottsdale, Scottsdale Public Art and Salt River Project. Many others have since joined, all of whom share in the belief that Public Space conceived upon the nature of what supports us, what keeps us here, what inspires our creativity and enables our growth is the reflection of all that is important for sustaining life in this desert city. Canal Convergence is this idea. Since 2012 it has been a place of engagement, a place where international and local artists come together to celebrate a one of a kind community environment and immersive art experience for all, and a new point of pride for Scottsdale residents and businesses. As Canal Convergence began taking shape, the Tourism Strategic Plan adopted by City Council in 2013 outlined the importance of creating a destination event during the tourism industry's shoulder season (May through December). Through the Council appointed Tourism Advisory Task Force (TATF) and Request for Proposal (RFP) process, the city contracted with Webb Management Services to complete a three-phased destination event study. The goal of the study (Webb Report) was to identify events that would: 1. -
Sponsorship Effects on Music Festival Participants
Copenhagen Business School 2014 MSoc.Sc.Service Management MASTER’S THESIS Sponsorship Effects on Music Festival Participants Victor Guedon David Gramm Kristensen February, 5th, 2014 Supervisor Helle Haurum 111 Pages / 267.755 Characters Abstract While worldwide investments in sole sponsorship fees were expected to reach $53.3 billion in 2013, findings from the academic research on sponsorships’ ability to impact customers’ perception of a sponsor are inconsistent; ranging from positive, small or ambiguous effects to negative or no effects at all. Thus, the objective of the current research was to contribute by researching if participation in a music festival, NorthSide 2013, would influence festival participants’ perception of the main sponsor Royal Beer. To do so, the chosen research design was a pre-post event quasi experimental design with independent samples. It was crucial to have both pre and post event measurements of event participants to investigate a potential change. Moreover, the quasi-experimental strategy was deemed relevant since it features the use of a control group to identify the source of an effect. Identified as one of the reasons for the inconsistent academic findings, the aim was to avoid conscious processing of the respondents by eliciting sponsorships or the two entities together, so that answers collected would account for the effects rather than respondents’ opinions about how this sponsorship affected them. In pursuance of this research several practical steps have been undertaken: a thorough literature review, a face-to-face interview of the Royal Beer brand manager, creation of a beer brand personality scale fitted to the Danish setting, a focus group to translate the brand personality facets and most importantly; the design and data collection of three distinct questionnaires that resulted in a total of 950 valid responses. -
Neotrance and the Psychedelic Festival DC
Neotrance and the Psychedelic Festival GRAHAM ST JOHN UNIVERSITY OF REGINA, UNIVERSITY OF QUEENSLAND Abstract !is article explores the religio-spiritual characteristics of psytrance (psychedelic trance), attending speci"cally to the characteristics of what I call neotrance apparent within the contemporary trance event, the countercultural inheritance of the “tribal” psytrance festival, and the dramatizing of participants’ “ultimate concerns” within the festival framework. An exploration of the psychedelic festival offers insights on ecstatic (self- transcendent), performative (self-expressive) and re!exive (conscious alternative) trajectories within psytrance music culture. I address this dynamic with reference to Portugal’s Boom Festival. Keywords psytrance, neotrance, psychedelic festival, trance states, religion, new spirituality, liminality, neotribe Figure 1: Main Floor, Boom Festival 2008, Portugal – Photo by jakob kolar www.jacomedia.net As electronic dance music cultures (EDMCs) flourish in the global present, their relig- ious and/or spiritual character have become common subjects of exploration for scholars of religion, music and culture.1 This article addresses the religio-spiritual Dancecult: Journal of Electronic Dance Music Culture 1(1) 2009, 35-64 + Dancecult ISSN 1947-5403 ©2009 Dancecult http://www.dancecult.net/ DC Journal of Electronic Dance Music Culture – DOI 10.12801/1947-5403.2009.01.01.03 + D DC –C 36 Dancecult: Journal of Electronic Dance Music Culture • vol 1 no 1 characteristics of psytrance (psychedelic trance), attending specifically to the charac- teristics of the contemporary trance event which I call neotrance, the countercultural inheritance of the “tribal” psytrance festival, and the dramatizing of participants’ “ul- timate concerns” within the framework of the “visionary” music festival. -
Thehard DATA Summer 2015 A.D
FFREE.REE. TheHARD DATA Summer 2015 A.D. EEDCDC LLASAS VEGASVEGAS BASSCONBASSCON & AAMERICANMERICAN GGABBERFESTABBERFEST REPORTSREPORTS NNOIZEOIZE SUPPRESSORSUPPRESSOR INTERVIEWINTERVIEW TTHEHE VISUALVISUAL ARTART OFOF TRAUMA!TRAUMA! DDARKMATTERARKMATTER 1414 YEARYEAR BASHBASH hhttp://theharddata.comttp://theharddata.com HARDSTYLE & HARDCORE TRACK REVIEWS, EVENT CALENDAR1 & MORE! EDITORIAL Contents Tales of Distro... page 3 Last issue’s feature on Los Angeles Hardcore American Gabberfest 2015 Report... page 4 stirred a lot of feelings, good and bad. Th ere were several reasons for hardcore’s comatose period Basscon Wasteland Report...page 5 which were out of the scene’s control. But two DigiTrack Reviews... page 6 factors stood out to me that were in its control, Noize Suppressor Interview... page 8 “elitism” and “moshing.” Th e Visual Art of Trauma... page 9 Some hardcore afi cionados in the 1990’s Q&A w/ CIK, CAP, YOKE1... page 10 would denounce things as “not hardcore enough,” Darkmatter 14 Years... page 12 “soft ,” etc. Th is sort of elitism was 100% anti- thetical to the rave idea that generated hardcore. Event Calendar... page 15 Hardcore and its sub-genres were born from the PHOTO CREDITS rave. Hardcore was made by combining several Cover, pages 5,8,11,12: Joel Bevacqua music scenes and genres. Unfortunately, a few Pages 4, 14, 15: Austin Jimenez hardcore heads forgot (or didn’t know) they came Page 9: Sid Zuber from a tradition of acceptance and unity. Granted, other scenes disrespected hardcore, but two The THD DISTRO TEAM wrongs don’t make a right. It messes up the scene Distro Co-ordinator: D.Bene for everyone and creativity and fun are the fi rst Arcid - Archon - Brandon Adams - Cap - Colby X. -
Preventing Drug-Related Deaths at Music Festivals: Why the "Rave" Act Should Be Amended to Provide an Exception for Harm Reduction Services
Chicago-Kent Law Review Volume 93 Issue 3 Comparative and Cross-Border Issues in Article 12 Bankruptcy and Insolvency Law 9-18-2018 Preventing Drug-Related Deaths at Music Festivals: Why the "Rave" Act Should be Amended to Provide an Exception for Harm Reduction Services Robin Mohr Chicago-Kent College of Law Follow this and additional works at: https://scholarship.kentlaw.iit.edu/cklawreview Part of the Criminal Law Commons, Entertainment, Arts, and Sports Law Commons, Food and Drug Law Commons, and the Legislation Commons Recommended Citation Robin Mohr, Preventing Drug-Related Deaths at Music Festivals: Why the "Rave" Act Should be Amended to Provide an Exception for Harm Reduction Services, 93 Chi.-Kent L. Rev. 943 (2018). Available at: https://scholarship.kentlaw.iit.edu/cklawreview/vol93/iss3/12 This Notes is brought to you for free and open access by Scholarly Commons @ IIT Chicago-Kent College of Law. It has been accepted for inclusion in Chicago-Kent Law Review by an authorized editor of Scholarly Commons @ IIT Chicago-Kent College of Law. For more information, please contact [email protected], [email protected]. PREVENTING DRUG-RELATED DEATHS AT MUSIC FESTIVALS: WHY THE “RAVE” ACT SHOULD BE AMENDED TO PROVIDE AN EXCEPTION FOR HARM REDUCTION SERVICES ROBIN MOHR INTRODUCTION Amid flashing lights and pulsing beats, nearly 100,000 electronic dance music fans attended Electric Zoo on New York’s Randall’s Island in August 2013.1 Unfortunately the party was cut short. Following the deaths of two young fans, the final day of the three-day music festival was can- celed at the request of city authorities.2 In separate incidents, Olivia Ro- tondo, a twenty-year-old University of New Hampshire student, and Jeffrey Russ, a twenty-three-year-old Syracuse University graduate,3 died after collapsing at Electric Zoo with high body temperatures.4 Toxicology results revealed that Ms. -
ISSUE B SS 2020 Your Personal White Space (Aaaahh Breathing Room...)
ART + CULT ISSUE B SS 2020 your personal white space (aaaahh breathing room...) verbose və:’bəʊs adj. using or expressed in more words than are needed. 2 the_verbose issue b : bipolar spring 2020 the_verbose On the eve of this release, the world was forced to shelter in place. As I clicked “publish” and closed my laptop, little did I know what awaited me in the morning: a global crisis that would soon reveal itself as the harbinger for existential crisis (I know), and social and political movements as businesses and communities simultaneously dismantled to come together. The bipolarity of this fueled the hyper connectivity between physical and digital space which was the core of this second issue back in early 2019 as I set out to map global intersections through art. In a quest to identify the common threads in vastly different mediums, messages, cultures and geographies, we can now reflect on the creative intelligence breeding change and elevating the human spirit in an uncertain and transient world. This second issue, b, represents bipolar. Through travel and serendipitous encounters, I’ve been documenting creativity to build a narrative around the visible confluence of human interaction from polar opposite worlds. wuuuut? The result: a curation of art + culture that collectively guide us out of emotional cues and robotic reactions, adrenaline and apathy lacing swipes and likes, and towards stories inviting us to look beyond the pictures, and respond with questions, and with intention. My interviews get personal in effort to decrease the distance between people and the pages, print or pixel. -
Do Ticketmaster's Exclusive Agreements with Concert Venues Violate Federal Antitrust Law?
Journal of Civil Rights and Economic Development Volume 10 Issue 2 Volume 10, Spring 1995, Issue 2 Article 7 "Not for You"; Only for Ticketmaster: Do Ticketmaster's Exclusive Agreements with Concert Venues Violate Federal Antitrust Law? Matthew K. Finkelstein Colleen Lagan Follow this and additional works at: https://scholarship.law.stjohns.edu/jcred This Note is brought to you for free and open access by the Journals at St. John's Law Scholarship Repository. It has been accepted for inclusion in Journal of Civil Rights and Economic Development by an authorized editor of St. John's Law Scholarship Repository. For more information, please contact [email protected]. "NOT FOR YOU";, ONLY FOR TICKETMASTER: DO TICKETMASTER'S EXCLUSIVE AGREEMENTS WITH CONCERT VENUES VIOLATE FEDERAL ANTITRUST LAW? America's antitrust laws are premised upon the belief that com- petition fosters the best allocation of resources within a given in- dustry.2 Lower prices, higher output, and better product quality that result from vigorous competition 3 are desirable from both so- cial and economic perspectives.4 The inherent conflict in applying antitrust law is that an effi- cient or innovative company may drive competitors out of busi- ness.5 A question then arises as to whether the dominant firm may have violated antitrust law simply because, through effi- 1 PEARL JAm, Not For You, on VrrALOGy (Sony Records 1994). 2 See National Soc'y of Professional Eng'rs v. United States, 435 U.S. 679, 695 (1978). In Professional Eng'rs, the Court stated that "[t]he Sherman Act reflects a legislative judg- ment that ultimately competition will produce lower prices, but better goods and services." Id.; see also Northern Pac. -
47 Report to Planning Committee Date 10 May 2018 by Director Of
Agenda Item Agenda Item 10 Report PC28/18 Report to Planning Committee Date 10 May 2018 By Director of Planning Local Authority Winchester City Council Application Number SDNP/18/00939/CND Applicant Mr Peveril Bruce Applications Variation of Conditions 2, 9, 10 and 11 on Planning Consent SDNP/15/06486/FUL Address The Matterley Estate, Alresford Road, Ovington Hampshire SO24 0HU Recommendation: 1. That temporary planning approval be granted subject to a deed of variation to the Section 106 Agreement being completed to incorporate the application details and subject to the conditions set out in Paragraph 10.1 of this report, and; 2. That authority be delegated to the Director of Planning to refuse the application with appropriate reasons if the Section 106 Agreement is not completed within 2 months of the 10 May 2018 Planning Committee meeting. Executive Summary Temporary planning approval was granted in 2016 to allow one music festival and one sports endurance event to be held each year on the Matterley Estate. The temporary approval was for a limited period expiring on 31 December 2019 to allow the impact of the additional number of attendees to the music festival event on the amenities of the area and the special qualities and enjoyment of the National Park to be reviewed. Currently the permission allows for two more festivals to take place until the permission expires. The applicant now seeks a variation to a number of conditions on the planning permission. In summary the main variations proposed are: An increase in the number of attendees from 59,999 to 64,999 (plus an additional 1,000 on Sunday tickets for local residents) (Condition 2). -
Ticketmaster L.L.C
AL/DMP:CRH/ICR F. #2020R01158 UNITED STATES DISTRICT COURT EASTERN DISTRICT OF NEW YORK - - - - - - - - - - - - - - - - - - - - - - - - - - - - - X UNITED STATES OF AMERICA DEFERRED PROSECUTION AGREEMENT - against - Cr. No. 20-563 (MKB) TICKETMASTER L.L.C., Defendant. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - X DEFERRED PROSECUTION AGREEMENT Defendant Ticketmaster L.L.C. (the “Company”), pursuant to authority granted by the Company’s Board of Directors, reflected in Attachment B, and the United States Attorney’s Office for the Eastern District of New York (the “Office”), enter into this deferred prosecution agreement (the “Agreement”). Criminal Information and Acceptance of Responsibility 1. The Company acknowledges and agrees that the Office will file the attached criminal information (the “Information”) in the United States District Court for the Eastern District of New York charging the Company with: (i) one count of conspiracy to commit offenses against the United States, in violation of Title 18, United States Code, Section 371, that is, to violate provisions of the Computer Fraud and Abuse Act (“CFAA”) as amended, see Title 18, United States Code, Sections 1030(a)(2)(C) and 1030(a)(4); (ii) one substantive count of computer intrusion for commercial advantage or private financial gain, in violation of Title 18, United States Code, Section 1030(a)(2)(C); (iii) one substantive count of computer intrusion in furtherance of 1 fraud, in violation of Title 18, United States Code, Section 1030(a)(4); (iv) one count of conspiracy to commit wire fraud, in violation of Title 18, United States Code, Section 1349; and (v) one substantive count of wire fraud, in violation of Title 18, United States Code, Section 1343. -
Boom Festival | Rehearsing the Future
Boom festival | Rehearsing the Future Music and the Prefiguration of Change by Saul Roosendaal 5930057 Master’s thesis Musicology August 2016 supervised by dr. Barbara Titus University of Amsterdam Boom festival | Rehearsing the future Contents Foreword .................................................................................................................................... 3 Introduction ................................................................................................................................ 4 1. A Transformational Festival ................................................................................................. 9 1.1 Psytrance and Celebration ........................................................................................... 9 1.2 Music and Culture ..................................................................................................... 12 1.3 Dance and Musical Embodiment .............................................................................. 15 1.4 Art, Aesthetics and Spirituality ................................................................................. 18 1.5 Summary ................................................................................................................... 21 2. Music and Power: Prefigurating Change ........................................................................... 23 2.1 Education: The Liminal Village as Forum ................................................................ 25 2.1.1 Drugs and Policies .........................................................................................