Mortality at Music Festivals: an Update for 2016-2017 – Academic and Grey Literature for Case Finding
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LÚR Festival
Háskóli Íslands Hugvísindasvið Hagnýt menningarmiðlun LÚR festival Greinagerð um menningarviðburðinn LÚR festival: Listahátíð Lengst Útí Rassgati Greinagerð til MA-prófs í Hagnýtri menningarmiðlun Ólöf Dómhildur Jóhannsdóttir Kt.: 170281-4119 Leiðbeinandi: Sigurjón B. Hafsteinsson September 2015 ÁGRIP Greinargerð þessi er hluti af af lokaverkefni mínu í hagnýtri menningarmiðlun við Háskóla Íslands og fjallar um vinnsluferli miðlunarhluta verkefnisins og fræðilegra þátta. Miðlunarleiðin sem valin var er listahátíð sem ber nafnið „LÚR-festival“ með undirtitilinn „Listahátíð lengst útí rassgati“. Hátíðin er menningarhátíð ungmenna haldin í fyrsta sinn sumarið 2014 og í annað sinn sumarið 2015. Undirbúningur hátíðarinnar er stór hluti verkefnisins og er greint frá vinnuferlinu frá upphafi til enda og eru bæði verklegir og fræðilegir þættir teknir fyrir. Ég vil tileinka verkefnið öllum þeim ungmennum sem hafa áhuga á listum og menningu sem nær út fyrir hátíðarhöld sautjánda júní og annarra hefðbundinna hátíða. 1 Efnisyfirlit 1 Inngangur .................................................................................................................... 4 2 Farvegur lista og menningar ......................................................................................... 5 3 Samhengið ................................................................................................................... 7 3.1 Hvað er hátíð? .................................................................................................................. 7 3.2 Fyrir -
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. -
University of Southern Queensland Behavioural Risk At
University of Southern Queensland Behavioural risk at outdoor music festivals Aldo Salvatore Raineri Doctoral Thesis Submitted in partial fulfilment of the requirements for the Degree of Doctor of Professional Studies at the University of Southern Queensland Volume I April 2015 Supervisor: Prof Glen Postle ii Certification of Dissertation I certify that the ideas, experimental work, results, analyses and conclusions reported in this dissertation are entirely my own effort, except where otherwise acknowledged. I also certify that the work is original and has not been previously submitted for any other award, except where otherwise acknowledged. …………………………………………………. ………………….. Signature of candidate Date Endorsement ………………………………………………….. …………………… Signature of Supervisor Date iii Acknowledgements “One’s destination is never a place, but a new way of seeing things.” Henry Miller (1891 – 1980) An outcome such as this dissertation is never the sole result of individual endeavour, but is rather accomplished through the cumulative influences of many experiences and colleagues, acquaintances and individuals who pass through our lives. While these are too numerous to list (or even remember for that matter) in this instance, I would nonetheless like to acknowledge and thank everyone who has traversed my life path over the years, for without them I would not be who I am today. There are, however, a number of people who deserve singling out for special mention. Firstly I would like to thank Dr Malcolm Cathcart. It was Malcolm who suggested I embark on doctoral study and introduced me to the Professional Studies Program at the University of Southern Queensland. It was also Malcolm’s encouragement that “sold” me on my ability to undertake doctoral work. -
Section a Concept and Management
Section A Concept and Management 01-Raj-Ch-01-Section A.indd 1 24/01/2013 5:33:02 PM 01-Raj-Ch-01-Section A.indd 2 24/01/2013 5:33:02 PM Introduction to Events 1 Management In this chapter you will cover: x the historical development of events; x technical definitions of events management; x size of events within the sector; x an events industry; x value of areas of the events industry; x different types of events; x local authorities’ events strategies; x corporate events strategies; x community festivals; x charity events; x summary; x discussion questions; x case studies; x further reading. This chapter provides an historical overview of the events and festivals industry, and how it has developed over time. The core theme for this chapter is to establish a dialogue between event managers and event spe- cialists who need to have a consistent working relationship. Each strand of the chapter will be linked to industry best practice where appropriate. In addition, this chapter discusses the different types of events that exist within the events management industry. Specifically, the chapter will analyse and discuss a range of events and their implications for the events industry, including the creation of opportunities for community orientated events and festivals. 01-Raj-Ch-01-Section A.indd 3 24/01/2013 5:33:02 PM 4 SECTION A: CONCEPT AND MANAGEMENT The historical development of events Events, in the form of organised acts and performances, have their origins in ancient history. Events and festivals are well documented in the historical period before the fall of the Western Roman Empire (AD 476). -
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. -
Visualization of Crowd Trajectory, Geospatial Sets, and Audience Prediction at Roskilde Festival 2018 Benjamin Flesch
Association for Information Systems AIS Electronic Library (AISeL) Special Interest Group on Geographic Information ICIS 2018 Pre-Conference Workshop Proceedings Systems 2018 Visualization of Crowd Trajectory, Geospatial Sets, and Audience Prediction at Roskilde Festival 2018 Benjamin Flesch Ravi Vatrapu Raghava Mukkamala Rene Madsen Follow this and additional works at: https://aisel.aisnet.org/siggis2018 This material is brought to you by the Special Interest Group on Geographic Information Systems at AIS Electronic Library (AISeL). It has been accepted for inclusion in ICIS 2018 Pre-Conference Workshop Proceedings by an authorized administrator of AIS Electronic Library (AISeL). For more information, please contact [email protected]. Geospatial Big Data Analytics at Roskilde Festival 2018 Visualization of Crowd Trajectory, Geospatial Sets, and Audience Prediction at Roskilde Festival 2018 Case Study for SIGGIS 2018 pre-ICIS Workshop Location Analytics and Location of Things: Connectedness and Collaboration Benjamin Flesch, Ravi Vatrapu, Raghava Rao Mukkamala, René Madsen Centre for Business Data Analytics (CBDA) Department for Digitalization Copenhagen Business School {bf,rv,rrm,rema}[email protected] Abstract We present a large-scale study on Geospatial Big Data Analytics in a festival management and crowd safety scenario based on our volunteer work at the largest music festival in Northern Europe, the 2017 and 2018 Roskilde music festival. As large crowds move between concerts, campsites, private parties and public viewing of the FIFA world cup soccer matches across the vast festival area, previously available visualization solutions for the crowd safety staff at Roskilde Festival lack a real-time visualization of crowd trajectory for monitoring of previously known chokepoints and the discovery of potential future chokepoints. -
Big Scottish Pop Quiz Questions
Rip It Up THE BIG SCOTTISH POP QUIZ ROUND 1: Same Letter Round All the answers start with the same letter – 2 points per correct answer 1 Which Scottish pop band’s biggest hits include ‘Let There Be Love’, ‘She’s a River’ and ‘Belfast Child’? 2 What is the only ABBA song which mentions Glasgow in the lyrics? 3 What was the name of the duo comprised of Jill Bryson and Rose McDowall who had a top ten hit in 1984 called ‘Since Yesterday’? 4 What was the name of the Glasgow venue on Jamaica Street which hosted club night ‘Optimo’ for most of its 13-year run through the 90s and 00s? 5 Which Scottish singer was listed by Time magazine in 2010 as the seventh most influential person in the world? ROUND 1: ANSWERS 1 Simple Minds 2 Super Trouper (1st line of 1st verse is “I was sick and tired of everything/ When I called you last night from Glasgow”) 3 Strawberry Switchblade 4 Sub Club (address is 22 Jamaica Street. After the fire in 1999, Optimo was temporarily based at Planet Peach and, for a while, Mas) 5 Susan Boyle (She was ranked 14 places above Barack Obama!) ROUND 6: Double or Bust 4 points per correct answer, but if you get one wrong, you get zero points for the round! 1 Which Scottish New Town was the birthplace of Indie band The Jesus and Mary Chain? a) East Kilbride b) Glenrothes c) Livingston 2 When Runrig singer Donnie Munro left the band to stand for Parliament in the late 1990s, what political party did he represent? a) Labour b) Liberal Democrat c) SNP 3 During which month of the year did T in the Park music festival usually take -
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. -
Celebrating 20 Years As the T in T in the Park: Tennent's
CELEBRATING 20 YEARS AS THE T IN T IN THE PARK: TENNENT’S LAGER’S JOURNEY AS FOUNDING PARTNER OF SCOTLAND’S BIGGEST FESTIVAL Marketing Society Scotland Star Awards 2014 Category 3.7: PR Tennent’s Lager - T in the Park 2013 Material_UK PRECIS In 2013, T in the Park celebrated 20 years as Scotland’s biggest festival, and Scotland’s favourite pint Tennent’s Lager celebrated 20 years as its founding partner. The milestone represented a major PR opportunity to tell the story of Tennent’s’ 20-year journey as the T in T in the Park, and revitalise the sponsorship’s relevance to its target market by positioning the brand at the heart of the festivities. A creative and high profile campaign generated a nationwide buzz for the 20th year of T in the Park, successfully engaging consumers and media in the celebrations and delivering strong AVE and brand cut- through. Marketing Society Scotland Star Awards 2014 Category 3.7: PR Tennent’s Lager - T in the Park 2013 Material_UK BACKGROUND – A 20 YEAR JOURNEY Over the past two decades, Tennent’s Lager has cultivated a strong emotional connection with over 2.5million festival-goers through its iconic and ground-breaking title sponsorship of T in the Park (TITP). The brand has been at the heart of the TITP experience for generations of music fans since the festival’s inception in 1994, which has enabled it to build brand relevance within its target market and develop an increased share of their lager consumption. More than just a sponsor, Tennent’s are cofounders of the festival, and together with the country’s leading live music promoter DF Concerts, they have shaped its evolution into a landmark event on Scotland’s cultural landscape, one which attracts a daily crowd of 85,000 music fans as well as the biggest artists in the world to Balado every July. -
Music Festivals
Core units: Exemplars – Year 9 Illustration 3: Where is the music? Where is the music? An inquiry approach Activity 1 This is a directed Internet research inquiry, to be completed as individuals, in pairs or in small groups. 1. Name some of Australia's and the World's Music Festivals. For example, Woodstock, Glastonbury, Pyramid, Falls, Sunbury, Meredith, Kangaroo Island Surf Music. 2. Where are these music festivals held? 3. Which ones are based around a town or a small village? Which ones are city based? 4. When are they held? 5. Which time of the year? Possible or actual dates. 6. Why are they held at this time? 7. What type of environment is popular for these festivals? 8. How long do they go for? 9. How popular are they? How many people attend? 10. What facilities are required for these festivals to cope with the large numbers who attend? Permanent or temporary? 11. What other requirements might there be? 12. Who is involved? 13. What potential conflicts are there with local people and festival goers? 14. What are some of the problems or issues that might be created by music festivals? 15. What provisions should be made by organisers to help manage the environment? 16. Which towns are nearby some of these festivals? 17. What might the impact be on the local community and businesses? 18. Create a table which looks at the advantages and disadvantages of music festivals for local communities. 19. How might the organisers ensure the physical environment is left in a pristine state after the event? 20. -
Civil Defense and Chemical Warfare in Great Britain, 1915-1945 Jordan I
Florida International University FIU Digital Commons FIU Electronic Theses and Dissertations University Graduate School 3-7-2018 Britain Can Take It: Civil Defense and Chemical Warfare in Great Britain, 1915-1945 Jordan I. Malfoy [email protected] DOI: 10.25148/etd.FIDC006585 Follow this and additional works at: https://digitalcommons.fiu.edu/etd Part of the European History Commons, History of Science, Technology, and Medicine Commons, Military History Commons, Political History Commons, and the Social History Commons Recommended Citation Malfoy, Jordan I., "Britain Can Take It: Civil Defense and Chemical Warfare in Great Britain, 1915-1945" (2018). FIU Electronic Theses and Dissertations. 3639. https://digitalcommons.fiu.edu/etd/3639 This work is brought to you for free and open access by the University Graduate School at FIU Digital Commons. It has been accepted for inclusion in FIU Electronic Theses and Dissertations by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. FLORIDA INTERNATIONAL UNIVERSITY Miami, Florida BRITAIN CAN TAKE IT: CHEMICAL WARFARE AND THE ORIGINS OF CIVIL DEFENSE IN GREAT BRITAIN, 1915 - 1945 A dissertation submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in HISTORY by Jordan Malfoy 2018 To: Dean John F. Stack, Jr. choose the name of dean of your college/school Green School of International and Public Affairs choose the name of your college/school This disserta tion, writte n by Jordan Malfoy, and entitled Britain Can Take It: Chemical Warfare and the Ori gins of Civil D efense i n Great Britain, 1915-1945, having been approved in respect to style and intellectual content, is referred to you for judgment.