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Live Music Matters Scottish Music Review
Live Music Matters Simon Frith Tovey Professor of Music, University of Edinburgh Scottish Music Review Abstract Economists and sociologists of music have long argued that the live music sector must lose out in the competition for leisure expenditure with the ever increasing variety of mediated musical goods and experiences. In the last decade, though, there is evidence that live music in the UK is one of the most buoyant parts of the music economy. In examining why this should be so this paper is divided into two parts. In the first I describe why and how live music remains an essential part of the music industry’s money making strategies. In the second I speculate about the social functions of performance by examining three examples of performance as entertainment: karaoke, tribute bands and the Pop Idol phenomenon. These are, I suggest, examples of secondary performance, which illuminate the social role of the musical performer in contemporary society. 1. The Economics of Performance Introduction It has long been an academic commonplace that the rise of mediated music (on record, radio and the film soundtrack) meant the decline of live music (in concert hall, music hall and the domestic parlour). For much of the last 50 years the UK’s live music sector, for example, has been analysed as a sector in decline. Two kinds of reason are adduced for this. On the one hand, economists, following the lead of Baumol and Bowen (1966), have assumed that live music can achieve neither the economies of scale nor the reduction of labour costs to compete with mass entertainment media. -
LIVE NATION, INC. (Exact Name of Registrant As Specified in Its Charter) Delaware 20-3247759 (State of Incorporation) (I.R.S
20072007 ANNUALANNUAL REPORTREPORREPO T TO OUR SHAREHOLDERS We continued to demonstrate success in 2007 in executing our strategic plan. We took multiple steps to transform Live Nation into a vertically integrated live music company that directly unites artists, fans and sponsors across all revenue generating products. We are moving ahead to capitalize on our global concert platform as artists look for expanded and new business partners. Reaching an agreement in principle with U2 for a 12-year exclusive partnership is another signifi cant validation that Live Nation is the most attractive option for the biggest artists in the world. Madonna, and now U2, believe in Live Nation and our promising future as a highly innovative music company that is responding quickly to changes in the music business landscape. As a result, we believe Live Nation is a signifi cantly stronger organization, strategically and fi nancially, than only one year ago. Over the next year, we will continue to build on our three core strategies: • Grow our global concert platform internally • Prepare to launch our global ticketing, online business in 2009 • Continue to enter relationships with touring artists for longer and wider product lines centered around our core concert business When we launched Live Nation in December 2005, the company had been declining in overall profi tability for the previous few years. We set out to stop the decline and turn Live Nation into a growth company by running our core business better and by expanding into new revenue streams. In 2007, we set out to do four main things, all of which we achieved – to improve our North American Music operations, grow our International Music platform, launch the Live Nation Artist division and defi ne our Ticketing/ Online future. -
Mintel Reports Brochure
Music Concerts and Festivals - UK - August 2015 The above prices are correct at the time of publication, but are subject to Report Price: £1750.00 | $2834.04 | €2223.04 change due to currency fluctuations. "The UK live music industry has continued to grow during the past five years, despite the tough prevailing economic environment. Despite steadily rising prices, consumers have demonstrated that they are still prepared to pay ‘top dollar’ to see the most popular acts, while festivals continue to draw the crowds, although perhaps not all are enjoying the same sort of attendances they did before the financial crash of 2008." This report looks at the following areas: BUY THIS • Tech innovation in reselling threatens the established players REPORT NOW • Could subscription services revive the mid-market? Live Nation has maintained its position as the dominant player in the market, with an extensive VISIT: network of subsidiaries and cross-shareholdings covering all sectors of the market, particularly the store.mintel.com festivals sector. Although other companies such as AEG and Deutsche Entertainment have sought to make inroads into Live Nation’s market share, to date they have barely dented it, although AEG has secured a strong position in the London market, which it can use as a platform for further expansion. CALL: EMEA Many consumers remain unhappy about issues with ticketing, particularly in relation to the resale of +44 (0) 20 7606 4533 tickets by secondary resellers, although a good number have used their services in the past year as there are very few realistic alternatives if consumers want to locate a sought-after ticket. -
Versão Pública Ccent. 38/2012 Arena Atlântida/Pavilhão Atlântico*Atlântico
Versão Pública Ccent. 38/2012 Arena Atlântida/Pavilhão Atlântico*Atlântico Decisão da Autoridade da Concorrência de Não Oposição com Condições e Obrigações [alínea a) do n.º 1 e n.º 3 do artigo 53.º da Lei n.º 19/2012, de 8 de maio] 21/03/2013 Versão Pública DECISÃO DA AUTORIDADE DA CONCORRÊNCIA DE NÃO OPOSIÇÃO COM CONDIÇÕES E OBRIGAÇÕES Processo Ccent. 38/2012 – Arena Atlântida/Pavilhão Atlântico*Atlântico 1. OPERAÇÃO NOTIFICADA 1. Em 17 de agosto de 2012, foi notificada à Autoridade da Concorrência, nos termos dos artigos 37.º e 44.º da Lei n.º 19/2012, de 8 de maio (doravante “Lei da Concorrência”), uma operação de concentração, que consiste na aquisição, pela Arena Atlântida – Gestão de Recintos de Espetáculos, S.A. (doravante “Arena Atlântida”), do controlo exclusivo do Pavilhão Atlântico e da Atlântico – Pavilhão Multiusos de Lisboa, S.A. (doravante “Atlântico”). 2. A operação notificada configura uma concentração de empresas na acepção da alínea b) do n.º 1 do artigo 36.º da Lei da Concorrência, conjugada com as alíneas a) e b) do n.º 3 do mesmo artigo, encontrando-se sujeita à obrigatoriedade de notificação prévia, por preencher as condições enunciadas no n.º 1 do artigo 37.º do mesmo diploma. 2. AS PARTES 2.1. Empresa Adquirente 3. A Arena Atlântida é uma sociedade-veículo, constituída em 2 de agosto de 2012 com vista à aquisição do Pavilhão Atlântico e da Atlântico, presentemente controlada conjuntamente1 por Luís Manuel de Sá Montez (“Luís Montez”)2, pela Ritmos & Blues – 1 A minuta de Acordo Parassocial a celebrar entre Luís -
Online Company Credit Reports. Speedy, Reliable and Competitively Priced!
Online company credit reports. Speedy, reliable and competitively priced! Paul Robert Latham 910364790 Director Information Title Mr Honours Name Paul Robert Latham Number 910364790 Postcode SK1 4HE Address 136 Hall Street Stockport England Date of birth September 1960 Nationality British Total current 52 directorships List of Current Directorships Company Name Number Company Status App. Date Res. Date Position DIGNITY18 CONSULTANCY LIMITED 13128538 Active - Accounts Filed 12/01/2021 Director SECRET VENTURES LIMITED 07888223 Company is dissolved 15/09/2016 Director WILDERNESS VENTURES LIMITED 07884578 Company is dissolved 11/02/2016 Director WILDERNESS FESTIVALS LIMITED 07585957 Company is dissolved 11/02/2016 Director JUNO NEWCO LIMITED 08249914 Company is dissolved 06/08/2015 Director MEAN FIDDLER GROUP LIMITED 06719532 Company is dissolved 06/08/2015 Director LOVEBOX FESTIVALS LIMITED 06676172 Company is dissolved 06/08/2015 Director BIG CHILL REPUBLIC LIMITED 07014929 Company is dissolved 26/11/2012 Director GLASTONBURY FESTIVAL EVENTS 04348175 Active - Accounts Filed 01/10/2012 Director LIMITED LIVE CONNECTION MUSIC LIMITED 07672876 Company is dissolved 16/06/2011 Director THE NATIONAL SKILLS ACADEMY 07553811 Company is dissolved 07/03/2011 Director FOR CREATIVE & CULTURAL ANTHILL TRADING (OVERSEAS) 03859662 Company is dissolved 17/10/2008 Director LIMITED NEWCBEAT LIMITED 05416233 Company is dissolved 30/06/2008 Director BRUMBEAT LIMITED 03982570 Company is dissolved 30/06/2008 Director ISLINGTONBEAT LIMITED 04411157 Company is -
LIVE NATION ENTERTAINMENT, INC. (Exact Name of Registrant As Specified in Its Charter)
UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 __________________________________________ Form 10-K x ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended December 31, 2017 , or ¨ TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from to Commission File Number 001-32601 ____________________________________ LIVE NATION ENTERTAINMENT, INC. (Exact name of registrant as specified in its charter) Delaware 20-3247759 (State of Incorporation) (I.R.S. Employer Identification No.) 9348 Civic Center Drive Beverly Hills, CA 90210 (Address of principal executive offices, including zip code) (310) 867-7000 (Registrant’s telephone number, including area code) ____________________________________ Securities registered pursuant to Section 12(b) of the Act: Title of Each Class Name of Each Exchange on which Registered Common Stock, $.01 Par Value per Share; Preferred Stock Purchase Rights New York Stock Exchange Securities registered pursuant to Section 12(g) of the Act: None _____________________ Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. x Yes ¨ No Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Act. ¨ Yes x No Indicate by check mark whether the registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Securities Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days. -
Live Nation Modern Slavery Act Statement 2019 This Statement Is Made Pursuant to Section 54 of the Modern Slavery Act 2015 and S
7/16/2019 Live Nation UK CONCERTS & EVENTS FESTIVALS LNTV LNSOURCE VIP TICKETS MERCHANDISE BEST OF THE FEST ON TOUR Live Nation Modern Slavery Act Statement 2019 This statement is made pursuant to section 54 of the Modern Slavery Act 2015 and sets out the steps taken by Live Nation (Music) UK Limited, and its subsidiaries including (but not limited to) Academy Music Group Ltd, D F Concerts Ltd and Festival Republic Limited, to ensure that slavery and human trafficking are not taking place in any part of our business or supply chains. Still to this day, slavery and human trafficking are a scourge on our society and can affect anyone, regardless of age, gender, race or nationality. We, at Live Nation, do not believe that there is a place for such practices in today’s world and we recognise our responsibility, as a global company, to tackle such risks. We are committed to working ethically and with integrity in our business dealings to ensure that all individuals are treated with dignity and respect. Our aim is to continue to scrutinise and enhance the policies that we have in place to, one day, eradicate such practices altogether. Our business Live Nation (Music) UK Limited is a private limited company registered in England and Wales with registered offices at 2nd Floor, Regent Arcade House, 19-25 Argyll Street, London, W1F 7TS. We are part of a group of companies that make up Live Nation Entertainment, Inc, which has over 20,000 employees globally and operates in 41 different countries. Live Nation Entertainment is the world’s leading live entertainment company comprised of global market leaders: Ticketmaster, Live Nation Concerts and Live Nation Media & Sponsorship. -
THE CULTURAL VALUE of LIVE MUSIC from the PUB to the STADIUM: GETTING BEYOND the NUMBERS by Dr Adam Behr, Dr Matt Brennan & Professor Martin Cloonan
THE CULTURAL VALUE OF LIVE MUSIC FROM THE PUB TO THE STADIUM: GETTING BEYOND THE NUMBERS By Dr Adam Behr, Dr Matt Brennan & Professor Martin Cloonan Research by The University of Edinburgh and The University of Glasgow Part of the Arts & Humanities Research Council’s Cultural Value Project The Cultural Value of Live Music from the Pub to the Stadium Acknowledgements Key Findings The authors are grateful to the Arts • The weakest point of the live music ecology at present is and Humanities Research Council’s the small to medium independent venues. Cultural Value project team for providing the funding which made • Policymakers need to pay more heed to the economic this research possible. We would and cultural contribution of smaller venues. Local regimes also like to thank UK Music, the often focus their attention on major developments whose Musicians’ Union and PRS for Music for their assistance and co-operation key beneficiaries are larger businesses. in carrying out the work. • Greater harmonisation of regulatory regimes and their We extend thanks to all the members implementation across the UK will benefit independent of the advisory board for their ideas and assistance and, particularly, all of the and major operators alike. people who took time out from their busy • The need for a more ‘joined up’ approach across council schedules to be interviewed. The qualitative nature of this research means that we services is widely acknowledged but not always fully needed the perspectives of a multitude of implemented. different stakeholders in British live music and their willingness to speak to us was • Competition between cities drives investment in invaluable to this project. -
VIPNEWSPREMIUM > VOLUME 176 > FEBRUARY 2015
3 14 6 13 VIPNEWS PREMIUM > VOLUME 176 > FEBRUARY 2015 16 4 7 14 11 2 VIPNEWS > FEBRUARY 2015 McGowan’s Musings I know I should have been at home in and the answer in this particular case, was, magazines. It’s hard for a print magazine Brighton on Valentine’s day coping with in the well appointed venues of Norrköping, to not be just replicating the news that can the sacks full of cards which the Royal Mail a very attractive city. Considering that the be found so easily on-line, the New Musical struggled to bring to my door (OK – a slight country has an undoubted track record Express to give it it’s full title now sells less exaggeration, but I’m sure you Ladies of the of producing music for the international than 14.000 copies per issue. Old chaps like live music industry meant to send them? markets, from the days of ABBA, to EDM me, particularly ones who have a stab at No? Oh well I can dream!), and arranging super band Swedish House Mafia, and any writing the odd article, will be sad if NME candlelit suppers etc, but I wasn’t, I was in number of highly talented producers and and others do disappear completely, but, Sweden. Actually Peter Briggs and I were writers, it’s surprising that it’s taken this apparently - that’s progress! attending the very first edition of ‘Where’s long for there to be a showcase/conference the Music?’ A good question, you might say, event – everywhere else has one, or in some Whilst talking of Awards, I see that another cases two! It’s also interesting that the of the legendary, yet still working, managers, instigators and producers of ‘Where’s the is to be honoured at this year’s Artist & Music’ are FKP Scorpio, a German based Manager Awards on March 26th, organised company, with a Dutch founder, and now an by The Music Managers Forum. -
Print & Digital
MEDIA PACK 2021 PRINT & DIGITAL 01 About IQ 02 What we do 04 Our audience 05 Why advertise 06 Rates and specifications 10 Contact us ABOUT IQ IQ is a leading information resource for the international live music business. IQ operates across multiple platforms including IQ-mag.net, our daily Index newsletter, IQ Magazine and a number of annual reports, including the International Ticketing Yearbook. IQ has a monthly reach of over 100,000 highly-engaged professionals working in the global concert and festival businesses. Our daily newsletter, Index, now boats over 13,000 subscribers An extension of the International Live Music Conference (ILMC), IQ’s readership includes the leading innovators and operators in concert and show promotion, including concert promoters, booking agents, festival organisers and venue operators. We set the agenda for the live music industry through compelling content – news, comment, features, analysis and in-depth reports – that our audience wants to read, share, and contribute to. IQ is a title for the industry, by the industry. 1 WHAT WE DO IQ MAGAZINE | IQ-MAG.NET | IQ INDEX Associations Covid Kit Essentials_FeatureIn Brief Resorts World Arena_Feature ASSOCIATION OF ASSOCIATION OF FESTIVAL ORGANISERS (UK) INDEPENDENT FESTIVALS (UK) s buildings, venues and public spaces start to tentatively reopen The Association of Festival Organisers (AFO) was formed in 1987 The Association of Independent Festivals (AIF) is one of the following months of lockdown, when just six organisers came together to exchange ideas, discuss the UK’s leading festival representative bodies. Founded in 2008, growing festival calendar and offer support to each other. -
Ticketmaster and Live Nation
Ticketmaster and Live Nation A report on the anticipated merger between Ticketmaster Entertainment, Inc and Live Nation, Inc 22 December 2009 © Competition Commission 2009 Website: www.competition-commission.org.uk Members of the Competition Commission who conducted this inquiry Christopher Clarke (Chairman of the Group) John Longworth Jeremy Peat Richard Taylor Chief Executive and Secretary of the Competition Commission David Saunders The Competition Commission has excluded from this published version of the final report information which the inquiry group considers should be excluded having regard to the three considerations set out in section 244 of the Enterprise Act 2002 (specified information: considerations relevant to disclosure). The omissions are indicated by []. iii Anticipated merger between Ticketmaster and Live Nation Contents Page Summary .............................................................................................................................. 3 Findings ................................................................................................................................ 9 1. The reference .................................................................................................................. 9 2. The industry and the companies ..................................................................................... 9 Live music industry .......................................................................................................... 9 Supply chain .............................................................................................................. -
Ticketmaster and Live Nation
Ticketmaster and Live Nation A report on the completed merger between Ticketmaster Entertainment, Inc and Live Nation, Inc 7 May 2010 © Competition Commission 2010 Website: www.competition-commission.org.uk Members of the Competition Commission who conducted this inquiry Christopher Clarke (Chairman of the Group) John Longworth Jeremy Peat Richard Taylor Chief Executive and Secretary of the Competition Commission David Saunders The Competition Commission has excluded from this published version of the final report information which the inquiry group considers should be excluded having regard to the three considerations set out in section 244 of the Enterprise Act 2002 (specified information: considerations relevant to disclosure). The omissions are indicated by []. iii Completed merger between Ticketmaster and Live Nation Contents Page Summary .............................................................................................................................. 3 Findings .............................................................................................................................. 10 1. The reference ................................................................................................................ 10 2. The industry and the companies ................................................................................... 10 Live music industry ........................................................................................................ 10 Supply chain ............................................................................................................