DOCSLIB.ORG

Does Data Have a Price, Finally? by Denis Doeland and Pim Van Berkel

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Does Data Have a Price, Finally? by Denis Doeland and Pim Van Berkel ! Does data have a price, finally? By Denis Doeland and Pim van Berkel Much has been written about the currently fashionable term ‘Big Data’. The value of data is also frequently ‘discussed’ online. But what is a reasonable value? Has data recently been given an actual price with the acquisition of ID&T by SFX? Does data have a price, finally? Much has been written about the currently fashionable term ‘Big Data’ . The value of data is also frequently ‘discussed’ online. But what is a reasonable value? Has data recently been given an actual price? The acquisition by American SFX Entertainment of the Dutch company ID&T, in their own words the organiser of events and festivals within the ‘Electronic Music Culture’ i.e. Dance events and festivals, appears to give an insight into the actual value of data. ID&T is primarily recognized for events such as Sensation, Mysteryland and Tomorrowland. The company was founded in 1992 and is currently active in more than 22 countries in Europe, Asia, Australia, South America and North America. ID&T is dedicated to achieving a leading role in North America, where dance culture is growing at an explosive rate. But their ambitions are the same for the whole world. The press release published on Perssupport.nl on 21 March 2013 stated that SFX Entertainment purchased three-quarters of the shares in ID&T for an amount of approximately 100 million dollars. For this transaction ID&T was valued at over 130 million dollars, roughly 100 million euros. Paper: ‘Does data now have a price?’ 1 What are the standard methods of valuation? The current and originally applied methods of valuation for companies essentially give the following results: 1. Intrinsic value: Brief explanation: Valuation based on the visible equity value of a company, possibly adjusted with hidden reserves, if any. In 2011, ID&T revealed an equity value of 6.4 million euro1. When using this method of valuation, SFX Entertainment makes a 'goodwill' payment of 93.6 million euros. (100 million -/- 6.4 million). 2. Market multiples and comparables: Brief explanation: When using market multiples the value of the company is based on the indication the stock market is willing to pay for comparable companies2. Often the Earnings Before Interest, Tax, Depreciations and Amortization (EBITDA) is multiplied by an industry or market standard. Strictly speaking this EBITDA number should be reduced with the available net debt within the organisation. But for convenience sake we will leave this out of our hypothesis. The EBITDA of ID&T was 2.2 million, 4.2 million and 2.1 million for the years 2009, 2010 and 2011 respectively. Meaning an average EBITDA of 2.8 million euro over three years. With the assumption comparable companies are sold for 7 times this annual profit, the valuation of ID&T would be 19.6 million euro (7 * 2.8 million). An overvalue or 'goodwill' of 80.4 million. 3. Discounted Cash Flow (DCF method): Brief explanation: This is a valuation, whereby the future cash flows are turned into cash against the so-called ‘weighted average costs of capital’, abbreviated WACC. Paper: ‘Does data now have a price?’ 2 The future cash flows of ID&T are unknown to us and hasn’t been revealed. However, it is possible to make careful predictions based upon past results. ID&T shows an average ‘bankers cash flow3’ of 3.2 million euro. With the acquisition of ID&T, so-called synergy effects are likely to occur. Future cash flows are assumed to increase. Let’s assume a future cash flow of 5 million per year with a continuing cash flow of 20 million against the same discount rate after the 5th year. The discount rate, similar to the Weighted Average Costs of Capital (WACC), consists of a required return of investment for the shareholders and the average costs of interest bearing loans and other debts. With the assumption shareholders demand a return of 20% of their investment, a company value of 21 million euros is calculated for ID&T. With this valuation method there is once again a considerable 'goodwill' paid of over 79 million euro. With these well-known and classic valuation methods the value of ID&T appears to be around 10 and 20 million euro. However, with all three valuation methods one can clearly determine a significant amount of ‘Goodwill’ has been paid by SFX Entertainment in the acquisition price of ID&T. Why does SFX Entertainment pay this enormous price for ID&T? Apparently the existing and current valuation methods give an entirely different value than the price which SFX Entertainment has paid. It is possible SFX Entertainment has valued ID&T’s future cash flows higher than anyone expects. It is also more than possible SFX Entertainment in its purchasing price speculates about a following exit after a certain period. In that case, SFX Entertainment has to increase the value of the ID&T brands in the meantime. But how? The important other question, which is related to this transaction, is: ‘Can it be determined the value of the underlying data has significantly influenced the selling price?’ The value of data from social media and the potential profit is generally not visible in financial annual statements. Traditional valuation methods do not adequately consider the underlying data. However, here there is enormous potential to increase future cash flows. Paper: ‘Does data now have a price?’ 3 As Duncan Stutterheim has indicated during the presentation for the launch of Kroodle: ‘The social media figures of ID&T are interesting for various companies who wish to be exposed to a large audience’. With more than 6.5 million Facebook fans, YouTube viewers and Twitter followers, it has become attractive to be visible as a brand within the ID&T groups. This has already occurred offline for many years at ID&T, with brands such as Vodafone, Heineken, Budweiser, Bols and other brands being visible at ID&T festivals and events. Nowadays, a larger section of the fans can be found in the own online domain and the own social media channels. With incidental commercials on television generally lower viewing figures are reported. A glance at the data development of a number of brands within the ID&T organisation shows a number of important aspects. (figure 1 - Facebook fans & Twitter followers Tomorrowland) Tomorrowland is remarkable. This is an annual festival in Belgium. In a country smaller than the Netherlands, an enormous absolute ‘worldwide’ growth in the number of Facebook friends and Twitter followers can be seen. An increase of 61.2% (+750,000 followers) in a period of only six months. With a few careful assumptions of the valuation of the underlying data, including potential earning models, ID&T can be valued at a value of 24 million euros based on its status in March 2013. The table below includes the 13 most important ID&T brands. Paper: ‘Does data now have a price?’ 4 ID&T Input Basic Additional Total (13 brands) (connections) value value value Facebook, Twitter, 6,500,000 YouTube Churn rate / Overlap % 15% / 23% € 1,- € 5 € 6 Unique followers / fans 4,000,000 4,000,000 4,000,000 4,000,000 Total € 4,000,000 € 20,000,000 € 24,000,000* (* = on the basis of valuation method as used by DDMCA and P.I.M. on The Voice) What happens with the valuation of these potential future cash flows, when the increase of fans and followers from Tomorrowland maintains the same trend in the second half of 2013? The graphic below shows the continuation of the current value as of March 2013 for the coming years and compares this with the purchasing price paid by SFX Entertainment. (figure 2 - Value increase on the basis of social media growth, ID&T selling price, Value from Social Media Data) Paper: ‘Does data now have a price?’ 5 Bearing in mind the reasons for the acquisition of ID&T by SFX Entertainment, there is a much larger growth pattern to be developed in data, followers and therefore the company value. In the press release concerning the acquisition it states that ID&T strives towards a ‘leading role in North America’. SFX Entertainment wants to grow in the USA with a total population of 300 million citizens. A successful debut edition of Sensation in New York in October 2012 is a fact. With SFX Entertainment ID&T can now enjoy access to multiple locations in (the rest of) America. More Sensation events can be held there with the operational support of SFX Entertainment. Stutterheim stated, in the aforementioned presentation, that he wants to break through in India with ID&T, where currently 1.3 billion people reside. China has also shown significant interest in such highly-professional events. What will happen with the cash flows from new earning models or agreements with brands when the same growth is made by Sensation or Mysteryland in both the USA as in India and China? With a positive and healthy approach to the area of social media, unique followers can be found on Facebook, Twitter, Youtube, Pinterest, etc for setting up additional earning models. For example, by making agreements with brands, as was already visible offline in recent years with Vodafone, Heineken, Samsung or Bols for example. Now SFX Entertainment have an interest, this can be achieved with a much larger reach and ease. (figure 3 - Value increase on the basis of social media growth, ID&T selling price, Value from Social Media Data) Paper: ‘Does data now have a price?’ 6 How can additional cash flow be generated to add more value to the current organisation? Brand integrations will occur in the networks of the various labels within ID&T.
Load more

Recommended publications
  • In the United States Bankruptcy Court for the District of Delaware
    Case 16-10238-MFW Doc 10 Filed 02/01/16 Page 1 of 15 IN THE UNITED STATES BANKRUPTCY COURT FOR THE DISTRICT OF DELAWARE In re: Chapter 11 SFX ENTERTAINMENT, INC., et al.,1 Case No. 16-10238 ( ) Debtors. (Joint Administration Requested) MOTION OF THE DEBTORS FOR ENTRY OF AN ORDER AUTHORIZING THE DEBTORS TO HONOR CERTAIN PREPETITION TICKET OBLIGATIONS TO CUSTOMERS AND TO OTHERWISE CONTINUE CERTAIN PREPETITION CUSTOMER PRACTICES IN THE ORDINARY COURSE OF BUSINESS The above-captioned debtors and debtors-in-possession (collectively, the “Debtors”) hereby move the Court (the “Motion”) pursuant to sections 105(a), 363, 507, 1107 and 1108 of title 11 of the United States Code, 11 U.S.C. §§ 101, et seq. (the “Bankruptcy Code”) and Rules 6003 and 6004(h) of the Federal Rules of Bankruptcy Procedure (the “Bankruptcy Rules”) for entry of an order authorizing, but not directing, the Debtors, in their sole discretion, to honor certain prepetition obligations to customers and to otherwise continue certain prepetition customer practices offered in the ordinary course of their prepetition operations. In support of this Motion, the Debtors respectfully state as follows: 1 The Debtors in these Chapter 11 Cases, along with the last four (4) digits of each Debtor’s federal tax identification number, if applicable, are: 430R Acquisition LLC (7350); Beatport, LLC (1024); Core Productions LLC (3613); EZ Festivals, LLC (2693); Flavorus, Inc. (7119); ID&T/SFX Mysteryland LLC (6459); ID&T/SFX North America LLC (5154); ID&T/SFX Q-Dance LLC (6298); ID&T/SFX Sensation LLC (6460); ID&T/SFX TomorrowWorld LLC (7238); LETMA Acquisition LLC (0452); Made Event, LLC (1127); Michigan JJ Holdings LLC (n/a); SFX Acquisition, LLC (1063); SFX Brazil LLC (0047); SFX Canada Inc.
    [Show full text]
  • Satan's Trance Media & Magic Final Exam Colleen Viana 12
    SATAN’S TRANCE MEDIA & MAGIC FINAL EXAM https://vimeo.com/55339082 COLLEEN VIANA 12/11/12 Sensation can be defined as the mediation of body and world. It enforces and impacts a premonition of what our bodies experience upon some type of contact. Thus, it allows the body to be opened up to other forces and becomings that affirm in and as the future. This concept, posed by Elizabeth Grosz in Chaos, Territory, Art: Deleuze and the Framing of the Earth, is quite eminent in the subject of magic. The quandry of it as the mediation of object and experience, or science and religion, is what drew me to this video experimentation of the mediations created by media in occult and horror film. While sensation is, perhaps, the only state of consciousness that is impossible to scientifically measure, as are the limits of magic, I find it more valuable to visually see how it can be created/manipulated. The juxtaposition of horror film/television clips, and electronic music (with cosmological and haunting characteristics), and documentary footage from raves/electronic music festivals (that possess qualities of the occult) is experimented in this project. The latter adds an extra layer to this research, paralleling a cultural music phenomenon with the magical representations and rites defined by Mauss. With these media devices combined, I hope to embody this sensory experience that Grosz explains “as the contraction of vibrations...the forces of becoming-other” (Grosz, 80-1). Essentially, how can we experience Hollywood-defined magic and the magic associated with music and rave culture differently? In this video montage, I aim to highlight the three components of magic presented in Mauss’ A General Theory of Magic, in relation to the electronic dance music (EDM) culture.
    [Show full text]
  • Privacy Statement Id&T Id&T
    PRIVACY STATEMENT ID&T ID&T (also referred to as: “we”, “our” and “us”) takes your privacy very seriously and treats all your personal information with great care. This document sets out the types of data that ID&T collects and for which purposes these data are processed. By using our websites or registering for an account with us, you accept the terms of this Privacy Statement. ID&T therefore recommends you to read this Privacy Statement carefully. 1. Who is ID&T? ID&T consists of a number of separate entities that fall within the ID&T network. The following entities fall within the ID&T network: • ID&T e-Commerce B.V. • ID&T Merchandise B.V. • ID&T Travel B.V. • ID&T Club B.V. • ID&T Trance Energy B.V. • ID&T Management B.V. • ID&T Enterprise B.V. • ID&T Participations Holding B.V. • ID&T Events B.V. • Sensation Holding B.V. • Sensation Netherlands B.V. • Sensation International B.V. • Sensation North America B.V. • Mysteryland Holding B.V. • Mysteryland Netherlands B.V. • Mysteryland International B.V. • Welcome to the Future B.V. • Thunderdome B.V. • Air Festival Holding B.V. • Amsterdam Open Air B.V. Personal data processed by one of these entities are also processed on behalf of the other entities within the ID&T network. The entities within the ID&T network may provide their services through different websites. This Privacy Statement applies to the following websites within the ID&T network: • ID&T.com; • Welcometothefuture.nl • Mysteryland.com • Mysteryland.nl • Sensation.com • Thunderdome.com • Amsterdamopenair.nl • Buitenwesten.am • Valhallafestival.nl • Milkshakefestival.com • Campmoonrise.nl • Festivalmacumba.nl (hereinafter together also referred to as: “Website”).
    [Show full text]
  • 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.
    [Show full text]
  • Stageco Netherlands Chooses Bricscad® to Assure the Organizers of Big Musical Tours and Festivals That the Show Will Go On, On
    Stageco Netherlands chooses BricsCAD® to assure the organizers of big musical tours and festivals that the Bricsys Customer Story show will go on, on time and on budget Focus on Stageco Netherlands Industry: Staging and Structures Engineering Headquarters: Aalsvoort 14, 7241MA Lochem, The Netherlands Number of employees: 30 For more information www.stageco.com Rockin’ the globe with BricsCAD Stageco may not be a household name, but you’ve almost certainly seen their work: stunning indoor and outdoor stages for some of the world’s most famous musicians, such as Bon Jovi, U2, the Rolling Stones. Stageco has offices worldwide, including the Netherlands. For the technical drawings of their structures and platforms, Stageco Netherlands relies on BricsCAD Pro and supports renowned European events like Lowlands Festival, Tomorrowland, Sensation, and Mysteryland. OPEN STRUCTURE Stageco makes use of a lot of custom 3rd party applications, Paul Schijfsma is a Senior Engineer and Head of R&D so it’s important to them to have control of their software. Paul department of Stageco Netherlands. He believes “it is very Schijfsma is a fan of the Communicator for BricsCAD, which important for a company like ours to own our software and CAD allows Stageco to export to a wide range of file formats. licenses because literally everything relies on the drawings - and “Another distinctive advantage of BricsCAD is that it has an therefore, on our CAD system - from the first basic sketches to the ‘open’ structure. We can run other applications on the software, load list, or the designs and plans for the people who are going to customizing BricsCAD to our own specific needs.” says Paul.
    [Show full text]
  • Sourcing Sustainable Energy at Music Festivals
    Sourcing Sustainable Energy at Music Festivals Item Type text; poster; thesis Authors Esparza, Jordan Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the College of Architecture, Planning and Landscape Architecture, and the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 26/09/2021 01:27:16 Link to Item http://hdl.handle.net/10150/636389 Sourcing Sustainable Energy at Music Festivals Jordan Esparza Abstract Concern for carbon emissions is growing and every day that the world uses fossil fuels pushes us closer to irreparable damage. This paper focuses on the impact of outdoor music festivals, their carbon footprints, where they source energy from, and how to make it more environmentally friendly. Thousands of large music events take places around the globe each year, and with a growing population, this issue will only get worse. Working with Relentless Beats of Arizona, this paper uses Decadence Arizona as a case study. Decadence Arizona is an annual 2-day music festivals taking place on New Year’s Eve and New Years Day, in Chandler, Arizona. This paper will determine how, and what resources are needed to power Decadence through solar panels alone. All costs calculated are based on averages of the Phoenix metropolitan area at the time of review. Table of Contents Abstract ........................................................................................................................................................
    [Show full text]
  • Tomorrowland Presents Garden of Madness
    Tomorrowland Presents Garden Of Madness disqualifiableMartially hydrochloric, enough? Royce winced retroaction and craved Leighton. Costa dike upsides. Armigerous and tawie Prentiss elect: which Eddie is Good sign about Joseph Capriati! Did this answer your question? Those guys on the dancefloor really mean the world to us. Garden Of Madness concept. Garden of madness or any event concepts, venues and quintino. We use cookies to shave you record the birth experience building our website. Competition Gran Coupés as their tour vehicles as part off a promotional endeavour with world car company. Martin garrix shares photo of tomorrowland presents dimitri and. Set a loopy weekend has proved himself as the madness festival comes the beat of tomorrowland garden of him and michael thivaios are working on tixel is the other acts performing arts, you rate your services? And yet, in Ibiza, all things are possible. Sounds of madness promises to us by top of tomorrowland presents: garden of tomorrowland presents garden of madness. Have flash player enabled or conditions of tomorrowland presents garden of madness. Time to Fonk Things Up! Ben nicky who has not use eventful to tomorrowland presents garden of madness at a dj show. Dj Sets and Live Mixes. Please enter your comment! Tomorrowland presents dimitri vegas and reinvestment in three words, do not have dinner with tomorrowland and receive their garden of madness event with a browser that. The Website Push ID. Sounds of madness tickets for an extra special place you want to? Thanks for your feedback! How safe has Tomorrowland been present your career? Our professional video crew can understand you increase engagement, interaction and seat by presenting your business put a text audience member a creative, exciting promotional video for use even multiple online channels.
    [Show full text]
  • Sensation White Booklet
    07/05/14 Dressed in White Together We Unite Become apart of the global dance phenomemon and join us for a night filled with peace, love, and dance music. Prepare to have your senses amazed with an experience unlike anything else. ID&T along with Product (Red) presents Sensation at the Staples Center. Dressed in all white, thousands of partygoers will not only have fun, but will do good by having fun. A portion of Sensation’s ticket and merchandise sales will go to benefit Product (Red), to help combat HIV/AIDS throughout Africa. Dress in White for (Red). Dance for Life. Kaskade The Carl Cox Tiesto DJs Armin van Buuren Paul van Dyk Benny Benassi 01 01 02 02 Kaskade Carl Cox Already one of America’s biggest house A legend in his own right, Carl Cox DJs, Kaskade’s career isn’t letting continues to be one the world’s up anytime soon. His melodic and leading techno DJs with a career that soothing beats accompanied by light spands nearly three decades. From and airy vocals create his signature headlining several major dance events sound, and it’s no wonder that he has ranging from Mayday, Sensation, become one of the most well-liked Ultra, and Tomorrowworld, Carl and succesful DJs in the U.S. In 2012 continues to bring the best in techno. he had a succesful residency at the Marquee nigh club in Las Vegas, and in 2013 returned to the city for another succesful run at the XS nightclub. Genre: House Genre: Techno 03 04 Tiesto Armin van Buuren A trance legend who now dabbles in Ranked as the #1 DJ in the world five several genres of dance music, Tiesto times in DJ Mag, Armin continues to remains a revered figure in the global bring uplifting and melodic trance tunes dance scene.
    [Show full text]
  • How Sensation Took a New Event from Zero Followers to Sold out in 5
    How Sensation Took a New Event from Zero Followers to Sold Out in 5 Months Are you looking for ways to grow your fan base and sell more tickets to your event? Are you frustrated by the amount of time it takes to implement a comprehensive social media marketing strategy? Neither of these things needs to be complicated or lengthy. Using the right marketing technology and techniques, you can easily build a strong social media presence for your brand, and achieve strong sales figures. This case study will present an example of how ID&T, one of the world’s largest dance entertainment organisers, did exactly that. Read on to discover how ID&T launched Sensation in Australia and sold out their event, despite starting with brand new social profiles and zero followers. The Basics TYPE OF EVENT Electronic music festival LOCATION Sydney, NSW Sensation is an electronic music festival Australia originating from the Netherlands as a part of the ID&T group. ATTENDEES With a slogan of “Be Part of the Night - 50,000 Dress in White”, the festival boasts over 45,000 attendees at it’s annual event in FEATURES USED Amsterdam, as well as significant Pre-Sale Pages attendance numbers at each edition held Post Purchase Referrals around the world. Website Tools Audience Intelligence In 2017, Sensation announce they would be bringing their ‘Celebrate Life’ event to Australia for the first time. Held at Spotless Stadium within Sydney Olympic Park, a venue capable of holding 50,000 people, the festival needed to build a strong marketing campaign in order to reach the required number of fans.
    [Show full text]
  • Isaac Onesheet
    About DJ Isaac is at the forefront of harder dance music; a position he now holds for over 20 years. Always sticking his head out for new revolutions in sound. Roel Schutrups is one of the founders of Hardstyle. This background and his continuing efforts in the studio make him a regular headliner at the world’s biggest dance festivals and events like Tomorrowland, Electric Daisy Carnival, Defqon.1 Festival, Qlimax and Decibel Outdoor). Besides that he also runs one of the best known and longest existing podcasts within the genre called "Isaac's Hardstyle Sessions". Still Isaac’s own focus has always been an international career which ultimately brought him everywhere in the world. Furthermore he is responsible for big hits like ’DJ, Ease My Mind’, ‘B*tches, ‘power hour‘, 'Burn’ and remixes for Martin Garrix, Dash Berlin, Yellow Claw & Showtek. Still coming up this year are another World tour, exciting productions and much more. A bright future for an artist who has created his own world. Music streams worldwide 25 Million+ Monthly streams 2.2 Million Monthly listeners 530K+ Remixes FOR Martin Garrix, Showtek, Yellow Claw & Dash berlin Collaborations with D-Block & S-Te-fan, TNT, Sound Rush & Wildstylez Isaac’s hardstyle sessions Monthly episodes for over a decade Live Social Electric Daisy Festival Facebook 293k+ Tomorrowland Instagram 53k+ Defqon. 1 Festival Spotify 40k+ Qlimax YouTube 87k+ Decibel Outdoor Soundcloud 73k+ Contact Bookings [email protected] Social links *picture on the left is interactive.
    [Show full text]
  • The Underrepresentation of Female Personalities in EDM
    The Underrepresentation of Female Personalities in EDM A Closer Look into the “Boys Only”-Genre DANIEL LUND HANSEN SUPERVISOR Daniel Nordgård University of Agder, 2017 Faculty of Fine Art Department of Popular Music There’s no language for us to describe women’s experiences in electronic music because there’s so little experience to base it on. - Frankie Hutchinson, 2016. ABSTRACT EDM, or Electronic Dance Music for short, has become a big and lucrative genre. The once nerdy and uncool phenomenon has become quite the profitable business. Superstars along the lines of Calvin Harris, David Guetta, Avicii, and Tiësto have become the rock stars of today, and for many, the role models for tomorrow. This is though not the case for females. The British magazine DJ Mag has an annual contest, where listeners and fans of EDM can vote for their favorite DJs. In 2016, the top 100-list only featured three women; Australian twin duo NERVO and Ukrainian hardcore DJ Miss K8. Nor is it easy to find female DJs and acts on the big electronic festival-lineups like EDC, Tomorrowland, and the Ultra Music Festival, thus being heavily outnumbered by the go-go dancers on stage. Furthermore, the commercial music released are almost always by the male demographic, creating the myth of EDM being an industry by, and for, men. Also, controversies on the new phenomenon of ghost production are heavily rumored among female EDM producers. It has become quite clear that the EDM industry has a big problem with the gender imbalance. Based on past and current events and in-depth interviews with several DJs, both female and male, this paper discusses the ongoing problems women in EDM face.
    [Show full text]
  • Inquest Into the Death of Six Patrons of NSW Music Festivals, Hoang Nathan Tran Diana Nguyen Joseph Pham Callum Brosnan Joshua Tam Alexandra Ross-King
    STATE CORONER’S COURT OF NEW SOUTH WALES Inquest: Inquest into the death of six patrons of NSW music festivals, Hoang Nathan Tran Diana Nguyen Joseph Pham Callum Brosnan Joshua Tam Alexandra Ross-King Hearing dates: 8 – 19 July 2019, 10 – 13 September 2019, 19 – 20 September 2019 Date of findings: 8 November 2019 Place of findings: NSW State Coroner’s Court, Lidcombe Findings of: Magistrate Harriet Grahame, Deputy State Coroner Catchwords: CORONIAL LAW – Manner of death, death at music festival, MDMA toxicity, harm minimisation strategies, policing of music festivals, drug checking, drug monitoring schemes, drug education, File numbers: 2018/283593; 2017/381497; 2018/400324; 2019/12787; 2018/283652; 2018/378893; 2018/378893. Representation: Counsel Assisting Dr Peggy Dwyer instructed by Peita Ava-Jones of NSW Department of Communities and Justice Legal Gail Furness SC instructed by Jacinta Smith of McCabe Curwood for NSW Ministry of Health, Ambulance NSW and Western Sydney Local Health District Adam Casselden SC and James Emmett instructed by Nicholas Regener and Louise Jackson of Makinson D’Apice for the Commissioner of Police and four involved Police Officers Simon Glascott of Counsel instructed by Fiona McGinley of Mills Oakley for Medical Response Australia Pty Ltd and Dr Sean Wing Patrick Barry of Counsel instructed in part by Erica Elliot of K & L Gates for the Australian Festivals Association (AFA) Jake Harris of Counsel instructed by Tony Mineo of Avant Law for Dr Christopher Cheeseman and Dr Andrew Beshara Ben Fogarty of Counsel for Simon Beckingham Peter Aitken of Counsel instructed by Summer Dow of DLA Piper for EMS Event Medical and Michael Hammond Laura Thomas of Counsel instructed by Melissa McGrath of Mills Oakley for HSU Events Pty Ltd and Peter Finley Michael Sullivan of Norton Rose Fullbright for FOMO Festival Pty Ltd Andrew Stewart of Stewart & Associates for Q-Dance Australia Pty Ltd Non-publication orders: This document can be published in its current redacted form.
    [Show full text]