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The Political Economy of Informal Events, 2030
The Political Economy Of Informal Events, The Political 2030 Economy of Informal Events, 2030 Written and edited by James Woudhuysen AAAW_03.19_001_Cover.indd All Pages 17/05/2019 11:29 The Political Economy Of Informal Events, 2030 AAAW_03.19_002-009_Chapter Zero.indd 2 17/05/2019 11:21 Written and edited by James Woudhuysen Visiting professor, forecasting & innovation, London South Bank University Foreword by Julian Agostini, Mash Media Alan Miller, Night Time Industries Association Nick Morgan, We Are The Fair Published by Access All Areas, in association with the Night Time Industries Association and We Are The Fair Access All Areas, 2nd Floor Applemarket House, 17 Union Street, Kingston-Upon-Thames KT1 1RR Advisory team Tom Hall and Paul Colston Graphic design Sean Wyatt-Livesley, Emma Hart, Oscar Spinks, Kateryna Smirnova ISBN 2019: 978-0-9576478-7-9 Please note: Except for the Foreword, and where individuals are quoted at length, the views in this paper – and the errors – are those of the author alone. He thanks everyone who is quoted; Andy Grimsey, solicitor with Poppleston Allen, for help with the legal intricacies of licensing, and Michael Kill, CEO of the NTIA, for work on how the music festival season and particular music festivals relate to UK recorded crime, both national and local. © Copyright Mash Media. All material in this publication is copyright and remains the property of the publishers. They neither necessarily agree with the views expressed by interviewees, nor accept any responsibility for any errors of interpretation in the subject matter of this publication. No part of this publication may be copied or reproduced, stored in a retrieval system, or be transmitted in any form by any means – electronic, mechanical, photocopying, recording or otherwise – without the prior permission of the publishers. -
Mpowerissue4resizedc.Pdf
- Action methods - Film production with young people - Interactive workshops -Issue based Theatre in Edu- cation Recent clients include Nor- wich Playhouse UK, Anti-Bul- lying Alliance (ABA), Govern- ment Departments, (eg DFES, DOE)British Council, Regional and Borough Councils, Kyoto University, the Dawn Center Japan, University of London, Whitechapel Hospital, The Norwegian Institute of Dram- atherapy, Belmarsh prison, Exeter University, schools & Actionwork We don’t just talk we do youth centres across the UK. Actionwork comes to you. We Theatre - Film - Education travel the length and breadth of the country and to many destinations abroad. Please Action = The causation of just sit around chatting about contact us for further details. change by the exertion of a topic, actually get in to it. power Live your topic, document it, We want to hear from you. draw inspiration from it, feel Work = Accomplishment the vibes of it, tune in to it. Actionwork, PO Box 433, through action activities Take your thoughts and ideas WSM, BS24 0WY, England UK on to a new level. Find new Actionwork makes films and angles of experience and ex- Tel: 01934 815163 produces theatre. Also check pression. Feel the force! Website: out our creative workshops & other educational sessions. Make a film, learn how to use www.actionwork.com a camera, direct actors or act Actionwork specialises in yourself. Create music and tackling bullying, racism, and drama. Play games! Produce sexism through the power of a play, make masks, design a multimedia and action. Arts set or manage a stage. Have fusion, ritual, celebration, fun and create action. -
Ricky Martin
B63C:B7;/B35C723B=5/G:=<2=< 3 4@3 @719G;/@B7< :/B7<AC>3@AB/@5/G2/2 7<A72323>CBG;/G=@@716/@20/@<3A;=23@<4/;7:G 83@3;G8=A3>6B636C;/<:3/5C3:=D30=F A13<3B@/<<GA6/195CBB3@A:CB 3/AB3@>/@B73A EEE=Cb;/51=C9 7AAC3474BGBE=" =CbT`]\b PAGE 20 PAGE 38 RICKY MARTIN FOOD EDITORIAL// Coq D’Argent reviewed ADVERTISING PAGE 41 MOVING ON Editor Healing a broken heart David Hudson [email protected] PAGE 43 +44 (0)20 7258 1943 OUT THERE Design Concept Upcoming scene Boutique Marketing highlights for April, www.boutiquemarketing.co.uk plus coverage of Graphic Designer Trannyshack and the Ryan Beal launch of Pulse Sub Editor Chance Delgado PAGE 63 Contributors OUTREACH Richard Bevan, Stuart Why LGBT charity PACE Brumfi tt, Adrian Foster, needs your help, and Daniel Fry, Simon Gage, community listings Anthony Gordon, Nick Levine, Paul Murphy, John PAGE 66 O‘Ceallaigh, George Prior, Lily OUTNEWS Rogers, Justin Swift, Richard All the gay news from Tonks, Michael Turnbull, Josh CONTENTS home and abroad Winning Photographer Chris Jepson PAGE 04 Publishers LETTERS Sarah Garrett//Linda Riley Send your ISDN: 1473-6039 correspondence to Head of Advertising editorial@outmag. Rob Harkavy co.uk PHOTO CHRIS © JEPSON [email protected] + 44 (0)20-7258 1777 PAGE 06 Head of Business MY LONDON Development HUDSON’S LETTER DJ Ariel gives us his Lyndsey Porter capital highlights… PAGE 48 [email protected] Gay parenting stories have Increasingly, adoption and SUPERMARTXÉ AT PULSE + 44 (0)20-7258 1777 been featuring more in fostering agencies across PAGE 08 Advertising Manager the news recently. -
2017 MAJOR EURO Music Festival CALENDAR Sziget Festival / MTI Via AP Balazs Mohai
2017 MAJOR EURO Music Festival CALENDAR Sziget Festival / MTI via AP Balazs Mohai Sziget Festival March 26-April 2 Horizon Festival Arinsal, Andorra Web www.horizonfestival.net Artists Floating Points, Motor City Drum Ensemble, Ben UFO, Oneman, Kink, Mala, AJ Tracey, Midland, Craig Charles, Romare, Mumdance, Yussef Kamaal, OM Unit, Riot Jazz, Icicle, Jasper James, Josey Rebelle, Dan Shake, Avalon Emerson, Rockwell, Channel One, Hybrid Minds, Jam Baxter, Technimatic, Cooly G, Courtesy, Eva Lazarus, Marc Pinol, DJ Fra, Guim Lebowski, Scott Garcia, OR:LA, EL-B, Moony, Wayward, Nick Nikolov, Jamie Rodigan, Bahia Haze, Emerald, Sammy B-Side, Etch, Visionobi, Kristy Harper, Joe Raygun, Itoa, Paul Roca, Sekev, Egres, Ghostchant, Boyson, Hampton, Jess Farley, G-Ha, Pixel82, Night Swimmers, Forbes, Charline, Scar Duggy, Mold Me With Joy, Eric Small, Christer Anderson, Carina Helen, Exswitch, Seamus, Bulu, Ikarus, Rodri Pan, Frnch, DB, Bigman Japan, Crawford, Dephex, 1Thirty, Denzel, Sticky Bandit, Kinno, Tenbagg, My Mate From College, Mr Miyagi, SLB Solden, Austria June 9-July 10 DJ Snare, Ambiont, DLR, Doc Scott, Bailey, Doree, Shifty, Dorian, Skore, March 27-April 2 Web www.electric-mountain-festival.com Jazz Fest Vienna Dossa & Locuzzed, Eksman, Emperor, Artists Nervo, Quintino, Michael Feiner, Full Metal Mountain EMX, Elize, Ernestor, Wastenoize, Etherwood, Askery, Rudy & Shany, AfroJack, Bassjackers, Vienna, Austria Hemagor, Austria F4TR4XX, Rapture,Fava, Fred V & Grafix, Ostblockschlampen, Rafitez Web www.jazzfest.wien Frederic Robinson, -
No Longer Just the Ticket No Longer Just the Ticket
16 | No longer just the ticket No longer just the ticket Charged wristbands are becoming more popular The days of box offices selling physical tickets to fans queuing around the block are all but forgotten. Almost all tickets are now sold online and today’s agents are multi-service operators able to garner unprecedented insight into a festival-goer’s behaviour and interests, reports Christopher Barrett he use of social media, mobile Owned by Live Nation Entertainment, is able to sell thousands of tickets a min- platforms and radio-frequency and a sister subsidiary to multi-event ute without any issues. identification (RFID) is not only promoter Festival Republic (FR), Ticket- The company operates a full ticket revolutionising the festival cus- master UK (TM) has worked with festi- management service for Cornbury tomerT experience, but helping organis- vals including FR’s Reading (90,000) and (15,000), including access control. The ers streamline their operations, develop Leeds (80,000), Creamfields (30,000) and vast majority of its festival tickets are highly targeted marketing strategies SW4 (20,000). sold online, with nine per cent through and generate improved revenues. TM offers white-label festival platform a call centre and 14 per cent through a Festivals have long been more than Front Gate Tickets, which includes quick physical box office. a multi-day, multi-artiste music show check-out options, VIP experience up- Its collectable, glossy, colour paper – they are multi-entertainment experi- sells, group bookings, data analytics and FanTicket format is also a popular ences, brands in their own right, capa- access control. -
Roundhouse Annual Review 2012/13
TICKETS 0844 482 8008 ROUNDHOUSE WWW.ROUNDHOUSE.ORG.UK ANNUAL REVIEW 2012/13 ROUNDHOUSE CHALK FARM ROAD LONDON NW1 8EH ENERGY, ENTHUSIASM & INVENTIVENESS Christopher Satterthwaite Chairman, the Roundhouse Trust Nothing has inspired me more during my time at the Ron Arad, Anthony Gormley, Alan Bennett and Roundhouse than our work with young people and Sebastian Coe, among others. the way that work runs through everything we do. Since taking my seat around the Board table at the end From our very own Street Circus troupe performing at of 2010, I’ve been continually impressed by the energy, CircusFest, to the Broadcast Crew live-streaming bands enthusiasm and inventiveness of Roundhouse staff, from the Main Space, and 15 teenagers creating and especially in these challenging economic times. And, performing The Dark Side of Love as part of the World led by Marcus, they’ve shown that they possess the Shakespeare Festival, the participation of young people skills, experience and ambition to keep developing this is an essential element of the Roundhouse experience. wonderful organisation. Every year we work with thousands of 11–25 year-olds It only remains for me to thank everyone who, in one – many of whom have been excluded, marginalised or way or another, enables the Roundhouse to keep doing disadvantaged by society – offering them a chance to such extraordinary work and reaching out to so many discover the sheer joy of participating in the arts, find young people: Arts Council England for their continued their way back into education, gain confidence or, in funding; the many companies, trusts, foundations and some cases, truly transform their lives. -
Jim Griffiths FIOA Noise - Premises Licence, Victoria Park
Jim Griffiths FIOA Noise - Premises Licence, Victoria Park Experience 1. I confirm that I am a company director of Vanguardia Limited, a company specialising in the field of leisure and entertainment. I have over 35 years experience as a consultant in the field of acoustics. I am a Fellow of the Institute of Acoustics, Chairman of the London Branch of the Institute and was awarded the Institutes Tyndall Medal for my contribution to entertainment acoustics. I have a wide range of experience in all technical aspects related to acoustics, noise and vibration and have project managed numerous innovative projects as well as presenting evidence at legal proceedings, public inquiries and at several House of Commons Select Committees. I have presented over 30 technical papers nationally and internationally on noise and acoustics mainly dealing with noise management from entertainment. Over the last 25 years I have had direct personal and overall management responsibility for advising local authorities, venue owners, event organisers and private individuals on the setting of noise limits; and the monitoring and management of noise impact for pop concerts at more than 1000 such events. 2. I sat on the Noise Council Working Party for the Code of Practice on Environmental Noise Control at Concerts (1995) (The Pop Code) and my research papers were used to develop the noise guidelines presented in this publication. 3. I have more recently been appointed to new working parties which has been formed to refresh the Pop Code and assess noise from other licensed premises. Instruction 4. I have been instructed by AEG Presents Limited to provide independent acoustic advice in respect of the Licence application for the All Points East events planned for Victoria Park in 2018. -
Festival Industry and Funding Models
Festival Industry and Funding Models This research report focussed on providing an insight into the music festival industry and in particular associated business models. Industry Overview UK Music estimates that 3.9 million people attended a festival in the year 20161. There are no official counts of how many music festivals are held in the UK, however they have become increasingly popular and estimates sit at well over 500 (see further sources). As there are many different forms of music festival such as single day festivals and bi-annual ones, it can be quite difficult to measure. One website tracking UK music festivals identifies there are 116 music festivals in the period of June 2018-2019 in the South West alone2. Due to the many music festivals in operation at present, one challenge that those in the industry face is market saturation. This has several potential consequences attached, primarily making it more difficult to sell tickets. Additionally, the associated costs such as hiring musicians, venues and catering also become higher as competition increases3. One of the ways the success of a music festival can be measured is through music tourism; non-local people travelling to attend a festival. Money is both injected into the festival and local economy from attendees that would otherwise not have been in the location. Music tourists contribute to the local economy both directly, through purchasing tickets and spending money at the festival, and indirectly such as through travel, accommodation and spending in the local economy. This value is distributed differently around the UK, with hubs like the South East and the South West having a greater share of music tourists than areas like the North East. -
Bare Facts, Issue No. 890, 08.11.1996
4 The Issue University of No. 890 Surrey's Student Magazine 8th November 1996 £15 Photocopy Bargain Revealed few weeks ago, it was design or architecture courses stu- lege buildings, and with few books revealed that hidden dents will pay out around £800 per left in libraries. Fees will be the nail course fees of £15 were year on extra course costs. Hidden in the coffin of access to éducation, A Course Costs, the NUS research but who would pay for such a dev- being charged to Surrey Economies Students for report to be published later this astated éducation system? We are photocopies and other course month draws on the results of a aheady paying out enough. We are material. However, compared to country-wide survey of university subsidismg the universities to the departments last summer. tuneof£171 million per year. Ifthe average hidden course costs in top up fees are introduced this will other universities, this is a real Yesterday, students across the coimtry demonstrated for National mean students and their parents bargain. The findings of a NUS paying out a further £300 million." survey, to be published later this No Fees Day in protest at threat- month, show that Britain's ened top-up fees and up to £1000 300,000 undergraduates are a year registration by university aiready forced to pay up over £ 171 heads. NUS announced the results of a ballot of student unions, million a year in hidden course showing unanimous support of the costs. The news comes as students Higher Education Shutdown by across the country join National the teaching trade unions, who No Fees Day (November 5th) to will announce the result of their protest against a possible £1,000 ballot on Friday 8th November. -
VIPNEWSPREMIUM > VOLUME 170 > AUGUST 2014
3 17 6 14 VIPNEWS PREMIUM > VOLUME 170 > AUGUST 2014 4 7 20 24 9 2 VIPNEWS > AUGUST 2014 McGowan’s Musings Well I hope you haven’t missed us too much heavy downpours (Thanks for the rain jacket outdoor gatherings. He added that insurance over our seasonal break, and that you’ve all Luger!), as did Sziget in Budapest, Hungary, premiums had also increased. “Lloyd’s of had good summers (so far…) from both (when did I last see a taxi queue that long!) London will sell it to you, but it’s so expensive professional and personal points of view. however all three continued in good spirits it’s not worthwhile. There’s always a Russian and were definitely successful. I had a great roulette element to concert promotion, but The Festivals have had mixed fortunes, the time at these events and would like to thank this is like playing with two bullets.” Perhaps sun shone on many, but the rain also chose everyone for faultless and very thoughtful the analogy is not the best with rockets, to drop in in many cases. I attended EXIT in hospitality! However, not everyone was so missiles and real bullets taking a dreadful toll Novi Sad, Serbia, which was rained on for lucky, although water was an important of lives every day in Gaza, Israel and Iraq, Syria, the first time in many years, Way Out West in part of proceedings at the surfing themed Ukraine etc. Gothenburg, Sweden which had some pretty Boardmasters 2014, there was too much, particularly when accompanied by high While all this goes on, I suppose those of winds; organisers of the festival at Watergate us that are fortunately not located in these near Newquay, in Cornwall U.K., said the trouble spots can do little more than count “magnitude of the conditions is too severe ourselves lucky, exercise caution, perhaps offer for the arena site to be opened. -
Association of Independent Festivals Six-Year Report 2014
Association of Independent Festivals Six-Year Repor t 2014 Dr Emma Webster Live Music Exchange [email protected] Executive Summary ............................................................................................ 1 Introduction ...................................................................................................... 4 The festival ‘ecology’ ....................................................................................... 6 The Association of Independent Festivals ............................................................... 6 A brief history of festivals .................................................................................... 8 Risk factors for the festival sector and examples of cancelled festivals ...................... 11 The festival market in context ............................................................................ 12 Festivals and the state – austerity and secondary ticketing ....................................... 12 Consumer confidence ................................................................................... 13 Is PRS for Music getting tough on festival promoters? .............................................. 14 Festivals and the broader music industries .......................................................... 14 The ‘Glastonbury effect’ ............................................................................... 15 Competition in and outside of the UK ................................................................ 16 Technology – social media, RFID -
Bulletin Gives You the Opportunity to Make AAH2014 Call for Papers 31 Copyright Clearance, Conferences Yourself Heard
www.aah.org.uk ISSUE 113 JUNE 2013 Raising issues of concern on your behalf My predecessor as Chair, Evelyn Welch, stated in her May Art History as a ‘useful’ subject 2010 report that the Association would have to maintain The April Board of Trustees meeting was concerned to hear from Caroline Osborne, Chair of the AAH Schools group, that, two ‘a very powerful voice in articulating the importance that art years after the initial launch of the Russell Group online publication history and other humanities disciplines holds within the UK ‘Informed Choices’, there continues to be no mention of A Level and, indeed, at an international level’. This continues to be Art History as a ‘useful’ subject as part of the pathway to study of Art History or other related subjects at degree level. The Trustees the case, with a range of emergent issues that have long-term decided to challenge this omission by sending a letter to the Russell implications for the subject and for our membership, across Group. This had 37 signatories to the letter: alongside the AAH all special interest groups. Officers and Trustees were Heads and representatives of institutes, departments and subject areas in UK Universities. We maintain ► Open Access One key area highlighted in my last report is that of Open Access where, as you will see from the CEO’s report, we continue to make headway in responding to RCUK and HEFCE consultations. At the AAH2013 Conference, Sabine Wieber led a special interest group meeting on the significant implications of Open Access for art-historical research in relation to image leasing and copyright.