U2 Taylor Swift Kenny Chesney Lady Gaga Bon Jovi Elton John Sade

Total Page:16

File Type:pdf, Size:1020Kb

U2 Taylor Swift Kenny Chesney Lady Gaga Bon Jovi Elton John Sade Gross Average Average Total Average Cities Rank Millions Artist Ticket Price Tickets Tickets Gross Shows Agency 1 156.0 U2 91.67 81,023 1,701,486 7,427,631 21/25 Live Nation Global Touring 2 97.7 Taylor Swift 71.54 23,146 1,365,618 1,655,979 59/80 The Messina Group / WMEE 3 84.6 Kenny Chesney 72.78 22,788 1,162,210 1,658,597 51/55 Dale Morris & Associates 4 63.7 Lady Gaga 96.77 17,796 658,446 1,722,078 37/39 William Morris Endeavor Entertainment 5 57.1 Bon Jovi 99.63 21,231 573,224 2,115,092 27/34 Creative Artists Agency 6 51.8 Elton John 111.14 11,368 466,078 1,263,415 41/58 The Howard Rose Agency 7 48.6 Sade 91.49 11,301 531,156 1,033,917 47/54 Live Nation 8 48.3 Kanye West / Jay-Z 121.34 14,216 398,055 1,725,000 28/35 William Morris Endeavor Ent. / Roc Nation 9 44.4 Lil Wayne 79.79 7,949 556,460 634,286 70/71 Al Haymon / Live Nation 10 41.2 Celine Dion 166.71 4,336 247,135 722,807 1/57 United Talent Agency 11 40.7 New Kids On The Block / Backstreet Boys 67.41 12,582 603,935 848,206 48/52 CAA / William Morris Endeavor Ent. 12 40.3 Cirque du Soleil - “Dralion” 66.04 13,265 610,202 876,085 46/299 Cirque du Soleil 13 38.4 Bob Seger & The Silver Bullet Band 71.67 11,900 535,508 852,938 45/48 United Talent Agency 14 38.3 Britney Spears 90.54 9,196 423,017 832,609 46/47 William Morris Endeavor Entertainment 15 37.4 Journey 53.39 12,065 699,789 644,174 58/58 William Morris Endeavor Entertainment 16 34.0 Cirque du Soleil - “Michael Jackson: The Immortal” 116.04 15,421 293,002 1,789,474 19/51 Cirque du Soleil 17 32.9 Luis Miguel 94.29 11,256 348,923 1,061,290 31/70 William Morris Endeavor Entertainment 18 32.4 Trans-Siberian Orchestra 49.37 6,191 656,268 305,660 106/129 William Morris Endeavor Entertainment 19 30.9 Cirque du Soleil - “Quidam” 67.96 13,000 454,999 883,495 35/272 Cirque du Soleil 20 30.9 Paul McCartney 126.57 40,689 244,133 5,150,000 6/9 MPL Communications 21 30.0 Dave Matthews Band Caravan (Estimate) 125.00 48,000 240,000 6,000,000 5/13 Paradigm 22 28.5 Phish 53.95 24,012 528,266 1,295,455 22/38 Paradigm 23 28.4 Katy Perry 42.93 11,810 661,368 506,952 56/60 Creative Artists Agency 24 28.3 Jason Aldean 34.63 13,181 817,210 456,452 62/62 Buddy Lee Attractions 25 28.0 Prince 100.73 10,295 277,970 1,037,037 27/45 Live Nation 26 27.5 Cirque du Soleil - “Alegria” 62.99 16,198 437,333 1,020,291 27/210 Cirque du Soleil 27 27.3 Keith Urban 57.96 8,551 470,325 495,678 55/57 Creative Artists Agency 28 27.1 “Glee Live! In Concert!” 82.25 17,350 329,651 1,427,020 19/28 Creative Artists Agency 29 25.5 Toby Keith 39.74 13,654 641,751 542,603 47/47 Paradigm 30 24.0 Jeff Dunham 47.92 5,218 500,957 250,063 96/103 Creative Artists Agency 31 23.9 Tim McGraw 43.09 10,854 553,572 467,704 51/51 Creative Artists Agency 32 23.4 Enrique Iglesias 70.57 10,701 331,741 755,152 31/34 Creative Artists Agency 33 22.7 Sugarland 47.28 8,905 480,848 421,028 54/56 Creative Artists Agency 34 22.5 Rihanna 69.76 11,511 322,316 803,049 28/31 William Morris Endeavor Entertainment 35 22.1 Rod Stewart / Stevie Nicks 106.60 12,195 207,317 1,300,000 17/18 Artist Group Int’l / The Howard Rose Agency 36 22.1 Jimmy Buffett 87.59 9,704 252,311 850,000 26/27 The Howard Rose Agency 37 22.0 Rascal Flatts 41.02 12,783 536,885 524,422 42/42 William Morris Endeavor Entertainment 38 22.0 “American Idols Live” 54.52 8,971 403,695 489,071 45/47 Creative Artists Agency 39 22.0 Kid Rock 49.21 5,322 447,063 261,905 84/86 Creative Artists Agency 40 21.2 Rain - A Tribute To The Beatles 59.15 3,695 358,410 218,557 97/364 The Road Company 41 21.1 Mötley Crüe 55.93 7,397 377,257 413,725 51/51 Artist Group International 42 20.6 Brad Paisley 42.27 13,926 487,398 588,569 35/35 William Morris Endeavor Entertainment 43 20.0 Foo Fighters 48.89 11,679 408,761 570,978 35/36 William Morris Endeavor Entertainment 44 19.7 Janet Jackson 93.21 5,303 212,134 494,336 40/53 William Morris Endeavor Entertainment 45 19.7 Maná 74.94 16,430 262,876 1,231,250 16/25 Angelo Medina & Ulises Calleros / Music Tours 46 19.4 Tiësto 58.14 4,171 333,677 242,500 80/86 AM Only 47 19.2 Def Leppard / Heart 51.07 8,364 376,396 427,140 45/45 Artist Group International / Creative Artists Agency 48 19.0 Ricky Martin 69.69 8,520 272,635 593,750 32/40 Creative Artists Agency 49 19.0 George Strait / Reba / Lee Ann Womack 76.97 13,691 246,435 1,053,755 18/18 The Erv Woolsey Agency / WMEE 50 18.5 Furthur 51.91 7,273 356,386 377,551 49/71 Paradigm The annual POLLSTAR ranking of the concert industry’s top performing artists is tabulated for all North American shows worked between January 1 and December 31, 2011. All ticket sales figures are calculated in U.S. dollars and are based on reported information and extensive research by POLLSTAR™. Copyright 2012. 14 JANUARY 16, 2012 | Gross Average Average Total Average Cities Rank Millions Artist Ticket Price Tickets Tickets Gross Shows Agency 51 18.3 Rush 75.02 9,757 243,934 732,000 25/26 Artist Group Int’l / S.L. Feldman & Associates 52 17.9 Zac Brown Band 43.69 10,782 409,704 471,053 38/40 Creative Artists Agency 53 17.4 “Riverdance” 56.33 3,715 308,380 209,286 83/199 William Morris Endeavor Entertainment 54 17.0 Train / Maroon 5 41.97 10,954 405,310 459,749 37/37 Creative Artists Agency 55 17.0 Josh Groban 76.31 3,776 222,775 288,136 59/59 William Morris Endeavor Entertainment 56 16.8 Andrea Bocelli 180.22 9,322 93,219 1,680,000 10/10 Pentagon Music Management 57 16.6 “Honda Civic Tour” / Blink-182 37.19 11,181 447,249 415,811 40/41 Creative Artists Agency 58 16.5 Usher 68.05 11,554 242,629 786,264 21/21 William Morris Endeavor Entertainment 59 15.6 Chayanne 71.38 12,892 219,168 920,254 17/28 Chaf Enterprises 60 15.5 Steely Dan 69.48 5,705 222,481 396,357 39/52 Creative Artists Agency 61 15.4 Selena Gomez & The Scene 39.42 8,701 391,551 342,991 45/45 Creative Artists Agency 62 14.7 Michael Bublé 73.98 7,948 198,702 588,000 25/27 Beaver Productions / S.L. Feldman & Assoc. 63 14.4 Blue Man Group 50.71 6,042 283,967 306,383 47/224 Blue Man Productions 64 14.0 Linkin Park 59.48 9,807 235,373 583,333 24/24 Artist Group International 65 13.5 Santana 81.51 5,711 165,623 465,517 29/44 Creative Artists Agency 66 12.6 Paul Simon 78.15 2,879 161,228 225,000 56/58 Creative Artists Agency 67 12.4 Shakira 68.23 22,630 181,039 1,543,980 8/10 Creative Artists Agency 68 12.3 Pearl Jam 66.26 18,578 185,775 1,230,876 10/11 William Morris Endeavor Entertainment 69 12.3 Jerry Seinfeld 77.27 2,793 159,182 215,789 57/72 United Talent Agency 70 11.7 Marc Anthony 84.14 10,696 139,053 900,000 13/15 Cardenas Marketing Network 71 11.6 Rod Stewart 133.47 4,574 86,910 610,526 4/19 Artist Group International 72 11.6 Barry Manilow 97.51 4,561 118,581 444,712 26/80 William Morris Endeavor Entertainment 73 11.2 Guns N’ Roses 52.65 6,446 212,725 339,394 33/35 Paradigm 74 11.0 Vicente Fernández 94.93 5,518 115,874 523,810 21/21 Ralph Hauser Promotions 75 10.9 Avenged Sevenfold 35.44 5,803 307,562 205,660 53/53 Creative Artists Agency 76 10.7 James Taylor 65.80 4,395 162,613 289,189 37/44 Creative Artists Agency 77 10.7 Jeff Foxworthy / Bill Engvall / Larry The Cable Guy 62.11 7,178 172,274 445,833 24/24 Paradigm 78 10.3 John Mellencamp 95.11 2,462 108,340 234,184 44/49 Creative Artists Agency 79 10.3 Chris Brown 62.80 5,467 164,012 343,333 30/30 Creative Artists Agency 80 10.2 Yanni 67.16 2,978 151,876 200,000 51/54 William Morris Endeavor Entertainment 81 10.1 Deadmau5 44.63 6,118 226,384 273,082 37/59 William Morris Endeavor Entertainment 82 10.0 Wiz Khalifa 28.86 4,386 346,500 126,582 79/84 The Agency Group 83 10.0 Miranda Lambert 40.39 4,344 247,586 175,439 57/57 William Morris Endeavor Entertainment 84 9.9 Sting 92.43 5,100 107,108 471,429 21/33 Creative Artists Agency 85 9.8 Chicago 54.03 2,451 181,380 132,432 74/79 Creative Artists Agency 86 9.4 Cher 148.23 3,955 63,278 586,228 1/16 Lindsay Scott Management 87 9.2 Widespread Panic 38.41 4,990 239,520 191,667 48/70 Progressive Global Agency 88 9.1 Earth, Wind & Fire 53.19 3,888 171,084 206,818 44/47 Creative Artists Agency 89 9.1 Lady Antebellum 44.67 5,820 203,716 260,000 35/35 Creative Artists Agency 90 9.1 Alison Krauss + Union Station feat.
Recommended publications
  • Download (2399Kb)
    A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/ 84893 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications Culture is a Weapon: Popular Music, Protest and Opposition to Apartheid in Britain David Toulson A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in History University of Warwick Department of History January 2016 Table of Contents Acknowledgements………………………………………………………………...iv Declaration………………………………………………………………………….v Abstract…………………………………………………………………………….vi Introduction………………………………………………………………………..1 ‘A rock concert with a cause’……………………………………………………….1 Come Together……………………………………………………………………...7 Methodology………………………………………………………………………13 Research Questions and Structure…………………………………………………22 1)“Culture is a weapon that we can use against the apartheid regime”……...25 The Cultural Boycott and the Anti-Apartheid Movement…………………………25 ‘The Times They Are A Changing’………………………………………………..34 ‘Culture is a weapon of struggle’………………………………………………….47 Rock Against Racism……………………………………………………………...54 ‘We need less airy fairy freedom music and more action.’………………………..72 2) ‘The Myth
    [Show full text]
  • A Conversation with Brandi Carlile by Frank Goodman (7/2007
    A Conversation with Brandi Carlile by Frank Goodman (7/2007. Puremusic.com) Raw talent vs. expensive packaging is always a pleasant surprise in the entertainment business. Brandi Carlile is the very rare exception to the rule; she and her band made their own EP, piece by piece with their own money, and Columbia ended up buying it and putting it out. Rolling Stone chose her as one of the 10 Artists to Watch in 2005. The subsequent Columbia full length debut CD contained new versions of a number of the songs from the EP. Relentless gigging leading up to the EP and through the debut had already moved her through various styles with her running twin partners, the Hanseroth Brothers. Tim and Phil had had a hard rock band called The Fighting Machinists, and they bring that honed edge to the BC sound. She is not only a vocalist that can literally do it all, the band itself moves fluidly and convincingly from flat out country right through edgy pop radio rock. She's the only artist you can see on CMT whose main cited influences are Elton John, k.d. lang, Jeff Buckley, and Radiohead. One hears all the time now about how acts getting tunes on Grey's Anatomy can practically launch their career, but in BC's case, there was a Grey's episode that actually debuted a version of the video for Brandi's big song "The Story." Overall, no less than four of her songs have been used in the show. She's hot, super talented, and a driven workaholic.
    [Show full text]
  • CTBA Band Scramble at Threadgill's North
    Volume 37, No. 7 Copyright © Central Texas Bluegrass Association July 2015 Sunday, July 5: CTBA Band Scramble at Threadgill’s North By Eddie Collins up. It’s that time again. It’s the CTBA’s 19th annual garage sale and band scramble, Sun- Y day, July 5, 2-6 PM at Threadgill’s North, 6416 N. Lamar. The garage sale portion of the event will be where the buffet is usually set up. We’ll have CDs, instructional materials and other music related items, and T-shirts (didn’t make it out to the RayFest? Here’s your second chance to get a RayFest T-shirt at a bargain price). The second part of the event is the band scramble, where up to 40 area (continued on page 3) The weather in Texas is as changeable as a chameleon on a rain gauge. One year it’s a drought, next year it’s monsoon season. But don’t let that stop you from scrambling out to Threadgill’s on July 5. If you miss it, you’ll be green with envy. Photo by K. Brown. Jamming at the 2012 CTBA band scramble; Waterloo Ice House, June 1, 2012. Left to right: Jeff Robertson, Jacob Roberts, Matt Downing. Photo by K. Brown. July birthdays: Jeff Autry, Byron Berline, Ronnie Bowman, Sidney Cox, Dave Evans, Bela Fleck, Jimmy Gaudreau, Bobby Hicks, Jim Hurst, Alison Krauss, Andy Leftwich, Everett Lilly, Larry McPeak, Jesse McReynolds, Charlie Monroe, Scott Nygaard, Molly O’Day, Peter Rowan, Allan Shelton, Valerie Smith, Bobby Thompson, Jake Tullock, Rhonda Vincent, Keith Whitley… oh, and also the United States.
    [Show full text]
  • Tenor Saxophone Mouthpiece When
    MAY 2014 U.K. £3.50 DOWNBEAT.COM MAY 2014 VOLUME 81 / NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editors Ed Enright Kathleen Costanza Art Director LoriAnne Nelson Contributing Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter,
    [Show full text]
  • Songs by Artist
    Reil Entertainment Songs by Artist Karaoke by Artist Title Title &, Caitlin Will 12 Gauge Address In The Stars Dunkie Butt 10 Cc 12 Stones Donna We Are One Dreadlock Holiday 19 Somethin' Im Mandy Fly Me Mark Wills I'm Not In Love 1910 Fruitgum Co Rubber Bullets 1, 2, 3 Redlight Things We Do For Love Simon Says Wall Street Shuffle 1910 Fruitgum Co. 10 Years 1,2,3 Redlight Through The Iris Simon Says Wasteland 1975 10, 000 Maniacs Chocolate These Are The Days City 10,000 Maniacs Love Me Because Of The Night Sex... Because The Night Sex.... More Than This Sound These Are The Days The Sound Trouble Me UGH! 10,000 Maniacs Wvocal 1975, The Because The Night Chocolate 100 Proof Aged In Soul Sex Somebody's Been Sleeping The City 10Cc 1Barenaked Ladies Dreadlock Holiday Be My Yoko Ono I'm Not In Love Brian Wilson (2000 Version) We Do For Love Call And Answer 11) Enid OS Get In Line (Duet Version) 112 Get In Line (Solo Version) Come See Me It's All Been Done Cupid Jane Dance With Me Never Is Enough It's Over Now Old Apartment, The Only You One Week Peaches & Cream Shoe Box Peaches And Cream Straw Hat U Already Know What A Good Boy Song List Generator® Printed 11/21/2017 Page 1 of 486 Licensed to Greg Reil Reil Entertainment Songs by Artist Karaoke by Artist Title Title 1Barenaked Ladies 20 Fingers When I Fall Short Dick Man 1Beatles, The 2AM Club Come Together Not Your Boyfriend Day Tripper 2Pac Good Day Sunshine California Love (Original Version) Help! 3 Degrees I Saw Her Standing There When Will I See You Again Love Me Do Woman In Love Nowhere Man 3 Dog Night P.S.
    [Show full text]
  • Road Notez 100 Monkeys June 29 Murat Egyptian Room Indianapolis a “Day-Long Celebration of the Motor City.” ? & the Mysterians W/Joey O Band Aug
    --------------- Calendar • On The Road --------------- Kid Rock is playing another hometown gig .38 Special w/Southside Johnny & The Asbury Jukes July 30 Fraze Pavilion Kettering, OH in Detroit’s Comerica Park on August 12. 10 Years ($12 adv., $15 d.o.s.) Aug. 12 Piere’s Fort Wayne The show will headline what is being called Road Notez 100 Monkeys June 29 Murat Egyptian Room Indianapolis a “day-long celebration of the Motor City.” ? & The Mysterians w/Joey O Band Aug. 13 DeKalb Outdoor Theatre Auburn Sammy Hagar and the Wabos will open CHRIS HUPE The Afters w/This Fire’s Embrace, Everyday Sunday & Spoken Sept. 10 Rochester City Park Rochester for Kid Rock, and tickets go on sale June Air Supply ($25) Aug. 6 Foellinger Theatre Fort Wayne 11 at 10 a.m. Incidentally, Rock recently donated $50,000 to Detroit charities, making Alice Cooper w/Ace Frehley Aug. 27 DTE Energy Music Theatre Clarkston, MI Alison Krauss & Union Station feat. Jerry Douglas June 9 White River State Park Indianapolis good on a promise he made in response to criticism he recently received for displaying a Alison Krauss & Union Station feat. Jerry Douglas June 10 Fraze Pavilion Kettering, OH Confederate flag onstage during performances. Alison Krauss & Union Station feat. Jerry Douglas ($29.50-$49.50) Sept. 8 Fox Theatre Detroit The first Inked Magazine Tour will feature The Damned Things as the headliner and will All Time Low w/Cartel, The Cab & We Are The In Crowd Aug. 25 Murat Egyptian Room Indianapolis Ambrosia July 14 C2G Music Hall Fort Wayne hit stages in Chicago, Detroit, Cincinnati and Cleveland in late August.
    [Show full text]
  • Organization of a Large Scale Music Event: Planning and Production
    Organization of a large scale music event: planning and production Tatiana Caciur Thesis MUBBA 2012 Abstract 17.1.2012 MUBBA Author or authors Group or year of Tatiana Caciur entry 2008 Title of report Number of Organization of a large scale music event: planning and pages and production. appendices 54 + 4 Teacher/s or supervisor/s Heta-Liisa Malkavaara Live entertainment is currently one of the few vital components of the music industry as it struggles to survive in the XXI century and conform to the drastic changes on the music market. Music events occur in great amount on a daily basis and it is important to plan and produce them in the right manner in order to stay relevant and secure one‟s place on the market. This report introduces various crucial matters that require attention during event organization process, such as marketing and strategic planning, communication and promotion, risk management, event programming and capacity management, to name a few. The 5-phase project management model is applied as the base on which this thesis is built. The research is conducted by comparing the theoretical and practical approach used in the music event business. The practical approach is based on examinations and interviews with the world market leader in live entertainment – Live Nation. An additional analysis of practices used in other large and successful music events in Europe and USA is also conducted. As this thesis shows, the practical approach is often easier and less rigorous than the theory. Some of the steps in this process may be simply omitted due to being considered of little relevance by the management team, many other are outsourced to professional agencies depending on requirements (security, catering).
    [Show full text]
  • Building Cold War Warriors: Socialization of the Final Cold War Generation
    BUILDING COLD WAR WARRIORS: SOCIALIZATION OF THE FINAL COLD WAR GENERATION Steven Robert Bellavia A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2018 Committee: Andrew M. Schocket, Advisor Karen B. Guzzo Graduate Faculty Representative Benjamin P. Greene Rebecca J. Mancuso © 2018 Steven Robert Bellavia All Rights Reserved iii ABSTRACT Andrew Schocket, Advisor This dissertation examines the experiences of the final Cold War generation. I define this cohort as a subset of Generation X born between 1965 and 1971. The primary focus of this dissertation is to study the ways this cohort interacted with the three messages found embedded within the Cold War us vs. them binary. These messages included an emphasis on American exceptionalism, a manufactured and heightened fear of World War III, as well as the othering of the Soviet Union and its people. I begin the dissertation in the 1970s, - during the period of détente- where I examine the cohort’s experiences in elementary school. There they learned who was important within the American mythos and the rituals associated with being an American. This is followed by an examination of 1976’s bicentennial celebration, which focuses on not only the planning for the celebration but also specific events designed to fulfill the two prime directives of the celebration. As the 1980s came around not only did the Cold War change but also the cohort entered high school. Within this stage of this cohorts education, where I focus on the textbooks used by the cohort and the ways these textbooks reinforced notions of patriotism and being an American citizen.
    [Show full text]
  • Aarhus Convention 122 Absurdocene 146 Accountability 7, 12, 16
    Index Aarhus Convention 122 Annan, Kofi 85 Absurdocene 146 Antarctica 38–9, 250–251 accountability 7, 12, 16–17, 23, 30, 44, Anthropocene 93–5, 145–8, 185, 186, 245 201 prosecutorial 42 avoiding Faustian 150–151 speciesism 235 humanity and technology in 148–50 activism, shallow 101 anthropocentrism 92, 96–7, 98, 136, 158, Acton, Lord 88 164, 165, 186–7, 235–6, 238, 242, Adams, J.L. 203, 259 245 Addams, Jane 258 Appiah, K.A. 61, 62 advertising 185, 269 Aquinas, Thomas 193, 195 Africa 87, 88, 220 Arab Charter on Humans Rights 122 African Charter on Human and Arab Spring 119 People’s Rights 122 Arctic Council 112 see also individual countries Arendt, H. 6, 26, 95, 96, 203, 205, 206, Agenda 21 39, 110, 111 212, 259 Agenda 2030 281 Argow, W. 255 Alley, R. 74 Aristotelianism 165, 191–2 Amnesty International 101 Aristotle 193, 247 Angus, I. 93–4 artificial intelligence (AI) 145, 148, 251 animals 82–3, 85, 87, 88, 91, 231–4, Asia 88 250–251 see also individual countries commodity value 170 assembly, freedom of 68 Earth systems science 94 assent/consent combination 162, 165, ecocentrism 97, 234–6 166 alternatives to axiological Aung Sang Suu Kyi 6 236–8 austerity 133, 218 human diet 188 Australia 150, 239 intrinsic value of 225, 236, 237, 240, authoritarianism 12, 209 241, 243, 244, 245 authority, exchange and persuasion remaking our covenant with 242–5 systems 130–132, 135, 139 rewilding with compassion 238–41 autocratic governments 118, 247, 248 rights of 15, 25, 230, 238, 243–4 Avatar 223 welfare 243–4 293 Peter Burdon, Klaus Bosselmann and Kirsten Engel - 9781786430878 Downloaded from Elgar Online at 09/26/2021 12:17:04PM via free access 294 The crisis in global ethics and the future of global governance Bacon, Francis 183, 188 Cambodia 192 Bakken, P.
    [Show full text]
  • KWLC Fall Semester 2011
    KWLC Fall Semester 2011 The Fall 2011 schedule is here! From Rock, to Dubstep, Classical to Jazz, KWLC is serving up a bit of everything on the platter of commercial-free radio broadcasting this semester. Shows marked with an asterisk are web-only and stream online at luther.edu/kwlc. Monday Wednesday Friday 8–9 PM: Mike Jungbluth (Rock)* 8 – 9P: Travis Houle (Rock)* *8 – 9P: Peter Jarzyna (Rock) 9-10 PM: Logan Langley and 9 – 10P: Erik Sand and Sam Zook *9 – 10P: Dylan Hinton (Rock) Andrew Meland (Variety Hour)* (Rock/Folk Rock)* 10 – 11P: Josh Bacon and Jamison 10-11 PM: Bianca Lutchen (Rock) 10 – 11P: Joe Thor (Rock) Ash (Rock) 11-12 AM: Cate Anderson (Rock) 11 – 12A: Kelsey Simpkins (Rock) 11 – 12A: Michaela Peterson 12-1 AM: Rahul Patle and Perran 12 – 1A: Carl Sorenson (Rock) (Rock) Wetzel (House/Dubstep) 12 – 1A: Marissa Schuh (Rock) Tuesday Thursday 9–10 PM: Kenza Sahir (Acoustic *9 – 10P: Ryan Castelaz (Rock) Rock)* 10 – 11P: Seth Duin (Rock) 10–11 PM: Quincy Voris (Rock) 11 – 12A: Katherine Mohr (Rock) 11–12 AM: Gunnar Halseth (Rock) 12 – 1A: Michael Crowe (Loud 12–1 AM: Georgia Windhorst Rock) (Rock) The AM | October 7th, 2011 2 KWLC Fall Semester 2011, cont. Saturday Sunday 7 – 8A: Lilli Petsch-Horvath (Classical) 7A – 12P: Sunday Services 8 – 9A: Hannah Strack (Broadway) 12 – 1P: Maren Quanbeck (Classical) 9 – 10A: Thando May (Afro-Pop) 1 – 2P: Alex Robinson (Classical) 10 – 11A: Marin Nycklemoe (Blues) 2 – 3P: Matt Lind (Classical) 11 – 12P: Noah Lange (Bluegrass/Folk) 3 – 4P: Michael Peterson (Classical) 12 – 12:50P: Margaret Yapp (Folk) 4 – 5P: Leif Larson (Jazz) 12:50 – 4:30P: Fall Football Coverage 5 – 6P: Kevin Coughenour (Jazz) 4:30 – 5P: Kyle Holder (Rock) 6 – 7P: Ted Olsen (Jazz) 5 – 6P: Cole Matteson (Folk/Bluegrass) 7 – 8P: Fred Burdine (Jazz) 6 – 7P: Ashley Urspringer (Rock) 8 – 9P: David Clair (Jazz) 7 – 8P: Rose Weselmann (Rock) 9 – 10P: Carl Cooley (Jazz/Rock) 8 – 9P: Gene Halverson (Rock) 10 – 11P: Emily Cochrane (Rock) 9 – 10P: Imsouchivy Suos (World) 11 – 12A: Matt Dickinson (Rock) 10 – 11P: Megan Creasey (Elec.
    [Show full text]
  • BEST of 2011 – OUR FAVOURITE ALBUMS of the YEAR 1317 Commercial Drive Vancouver, BC Tel: 604-251-6964 Email: [email protected] Web: Highlifeworld.Com
    HIGHLIFE Donec Egestas Scelerisque WORLD dolor: MUSIC BEST OF 2011 – OUR FAVOURITE ALBUMS OF THE YEAR 1317 Commercial Drive Vancouver, BC tel: 604-251-6964 email: [email protected] web: highlifeworld.com BEST OF 2011 BOMBINO Agadez Niger From the Saharan sands of Niger comes this recording by the brilliant guitarist/vocalist Bombino, who manages to create a distinctive desert blues style with echoes of both Ali Farka Toure and Tinariwen. An essential recording! TOM WAITS Bad As Me USA Gravelly-voiced poet and musical maverick Tom Waits returns with this strong batch of rocking blues stompers and tender ballads, joined by the likes of Keith Richards, Marc Ribot and David Hidalgo. Beginning with a train journey north to Chicago and ending in a bar on New Year’s eve (singing ‘Auld Lang Syne’ no less) this is a trip worth taking. Highly recommended! KIRAN AHLUWALIA Aam Zameen: Common Ground Canada Indo-Canadian vocalist Kiran Ahluwalia, known for her beautifully updated Ghazal music, this time does some continent hopping as she collaborates with desert blues sensations Tinariwen and Terakaft. From the opening take on Nusrat Fateh Ali Khan’s classic ‘Mustt Mustt’, propelled by handclaps and call and response vocals, we are in for an exciting cross-cultural musical feast. WILCO The Whole Love USA The 8th release by Jeff Tweedy and cohorts impressively reprises the various musical inclinations of this effortlessly creative group. From the off-kilter whirlwind of the opener to the epic beauty of the 12 minute closer, this is an album by a band at the top of their game.
    [Show full text]
  • Album Review: Bon Iver's 22, a Million
    Album Review: Bon Iver’s 22, a Million 22, a Million, the newest album by American indie folk band Bon Iver, leaves the listener with an overarching question: Is there any border left between acoustic and electronic music? Although ambiguous as to which category it falls into, Bon Iver manages to respect both genres with a rich, homogenous mixture of experimental and traditional instrumentation. However, the album is a motley of songs that—both individually and as a group—build to nowhere, like a fleeting thought that crosses the mind at one point, but leaves no lasting impression. Founded in 2007 by singer/songwriter Justin Vernon, Bon Iver has been the vanguard of the indie folk/experimental genre. Vernon—a Wisconsin native with deep ties to the American wilderness—is undeniably influenced by a guitar-and-voice acoustic sound that is reminiscent of childhood campfires, roasting s’mores, and long silences between experienced fishermen. Tracks like “29 #Strafford APTS” and “00000 Million” have obvious connections to the folk genre: banjo, acoustic guitar, three and four-part vocal harmonizing, and chatter and laughter among musicians before the start of the song. These elements anchor the album, preventing it from straying too far from the group’s previous releases. During the five-year gap between the album Bon Iver and 22, a Million, Bon Iver evidently delved into the uncharted territory of experimental music. The use of synthesizers, vocal filtration, extensive sampling, and static-ridden beats establishes a distinctive atmosphere of digital haziness, a complementary frame for Vernon’s midwestern accent-tinged voice.
    [Show full text]