DOCSLIB.ORG

A Sheffield Hallam University Thesis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Sheffield Hallam University Thesis A phenomenological exploration of music festival experience MOSS, Jonathan Matthew Henderson Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/21509/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/21509/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. March 16, 2018 A PHENOMENOLOGICAL EXPLORATION OF MUSIC FESTIVAL EXPERIENCE A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Doctor of Philosophy JONATHAN MOSS SHEFFIELD HALLAM UNIVERSITY Copyright Statement This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and due acknowledgement must always be made of the use of any of the material contained in, or derived from, this thesis. ABSTRACT The study provides an in-depth exploration of music festival experience. The research was positioned in the field of experience and this provided the research with a phenomenological lens. Reflecting on the theories of phenomenological anthropology (Jackson, 1996; Andrews 2006, 2009) and the anthropology of experience (Bruner, 1986, Turner, 1986) this research justified a contrasting epistemic perspective and phenomenological psychology was used to investigate the ideographic experiences of the attendees. This enabled an understanding of how music festival experience effected the lifeworld of the individuals involved. The research is grounded in the philosophy of existential phenomenology and its conceptualisation of experience. The exploration used the philosophical work of Husserl (1936/1999) as its phenomenological foundation. Developing this position, and contrastingly from the phenomenological research of Jackson (2014), the research argues for the interpretative phenomenological (Heidegger, 1927/1962; Merleau-Ponty, 1962) perspective to further understand music festival experience. This is because, by engaging with the phenomenological psychology of Smith, Harre & Van Langenhove, (1995a, 1995b) and Ashworth (2006, 2015), it becomes possible to understand the contribution that the music festival experience has to an individual’s Lifeworld. Smith’s et al (1995b; Smith & Osborn’s, 2015b) Interpretative Phenomenological Analysis (IPA) provides a robust framework for understanding the idiographic music festival experience. The Descriptive Experience Sampling (Hurlburt & Heavey, 2001) approach was used to gather data about the experiences of 9 participants before, during and after the Green Man Music festival (a 5-day period), and then later explored in detail during individual phenomenological interviews. These interviews were carried out between 24-48 hours after the festival. Using Smith’s IPA approach (2009; Smith & Osborn, 2015b) the interviews generated rich data as the interviewer and each participant discussed the information recorded during the ‘capture’ process. This provided 9 deeply idiographic accounts of music festivals experience. Analysis showed 'Universals' (Ashworth, 2015) emerged which provided both a detailed picture of music festival experience and how the lifeworld of the individual was affected. These universals were then used to develop the Ideographic Map of Music Festival Experience. This is an illustrative conceptualisation of the shared, yet subjective, journeys taken by the participants during the Green Man Festival and provides an understanding of music festival experience which is in line with theories that articulate the need for experiences to be understood within the context of the individual’s everyday life (Uriely, 2005), and as a development of their lifeworld (Flowers, Larkin & Smith, 2009) and life story (Guignon, 2012). The findings also provided further idiographic perspectives about theories of experience including: flow (Csikszentmihályi, 1990), liminality and communitas (Turner, 1969, 1974, 1979), and existential authenticity (Cohen, 2007, 2010). The Descriptive Experience Sampling method and Interpretative Phenomenological Analysis were also able to provide findings that contribute to Krueger’s (2014a, 2014b) Hypothesis of Individual Extended Emotions and his Hypothesis of Collective Extended Emotions. Moreover, the analysis showed evidence of how this theory combined and contributed to existing theories within experience research. Through this ideographic investigation, music festival experience was shown to be fluctuating, dynamic and oscillating. It was also found that while negative emotions were present, these still formed an important part of the participant’s Page | i experience. Past models of music festival experience, due to their managerial prerogatives, have tended to ignore these negative emotions (Lee & Kyle, 2013; Getz, 2012; Morgan, 2008), but this research argues that they should be acknowledged so that meaning, or insights can be derived from them (Jackson, 2014; Ziakas & Boukas, 2014) and therefore a richer understanding of the effect upon the individuals’ lifeworld can be developed. In doing so, the method’s applicability and adaptability were enhanced to justify using them for future studies. Page | ii List of contents List of figures viii List of tables viii Acknowledgements ix Chapter 1: Introduction 1.1 History and development 1 1.2 Theoretical context 3 1.3 Researching experience and music festivals 4 1.4 The critical and cultural turn 5 1.5 Positivism to phenomenology 7 1.6 Repositioning music festival experience research 9 1.7 The field of ‘experience’ research 10 1.8 The researcher’s perspective 11 1.9 Green Man festival 13 1.10 Research question 14 1.11 Aims and objectives 15 1.12 Structure of the thesis 16 1.13 Concluding overview of the introduction 17 Chapter 2: Festivals 2.1 Introduction 18 2.2 Festival development 18 2.3 Music development 19 2.4 Festival theory 21 2.5 Festivalisation and festivalscape 21 2.6 Characteristics of music festivals 23 2.7 Music festival as a planned event 23 2.8 Motivations to attendance 26 2.9 The consumption of experience 30 Page | iii Chapter 3: Experience 3.1 Introduction 34 3.2 Contextualising leisure and tourism research and music festival experience 37 3.3 The field of experience 39 3.4 Erfahrung and erlebnis 40 3.5 Embodiment of experiences 44 3.6 Anthropology of experience 44 3.7 Perspectives about lifeworld 45 3.8 Experience within tourism research 47 3.9 Inter-experience 48 3.10 Liminality 49 3.11 Liminoid spaces 50 3.12 Communitas 51 3.13 Flow and optimal experience 53 3.14 Authenticity 56 3.15 Music festivals and phenomenological research 58 3.16 Conclusion 61 Chapter 4: Methodology 4.1 Introduction 62 4.2 Ontology 63 4.3 Critical realism 64 4.4 Emergence theory 65 4.5 False beliefs 66 4.6 Epistemology 66 4.7 The phenomenological philosophy 67 4.7.1 Origins of phenomenological philosophy 67 4.7.2 The five assumptions of phenomenological psychology 71 4.7.3 Emotions and phenomenological psychology 73 4.8 Denzin’s assumptions of emotion and experience 74 Page | iv 4.9 Music festival experience and the development of the individuals’ lifeworld 77 4.10 Existential phenomenology and interpretative phenomenological analysis 78 4.11 Contributions to the lifeworld 79 4.12 Neurophenomenology, descriptive experience sampling and music festival experience research 80 4.12.1 Theoretical perspective of neurophenomenology 80 4.12.2 Krueger’s hypothesis of individual extended emotions 82 4.12.3 Krueger’s hypothesis of collective extended emotions 85 4.12.4 The contribution to neurophenomenology 88 4.13 Descriptive experience sampling (DES) 88 4.13.1 Justification of method 89 4.13.2 Experience sampling and researching the everyday experience 89 4.13.3 Experience sampling in music and emotion research 90 4.14 Limitations of approach 91 4.15 Design and implementation 93 4.15.1 Choosing cases 93 4.15.2 Recruitment 94 4.15.3 Participant incentives 94 4.15.4 Research site: Green Man, 2014 95 4.16. Equipment 95 4.16.1 Pre-briefing 96 4.16.2 Participant details and researcher’s background 97 4.16.3 Design and implementation 98 4.16.4 Cases, time, durations, location 99 4.16.5 Structure, recording, reporting 99 4.17 Interpretative phenomenological analysis (IPA) 100 4.17.1 IPA - History and development 100 4.17.2 Analysis of the data 101 4.17.3 Case by case 102 Page | v 4.17.4 Analysis of the transcripts 102 4.18 Validity, reflexivity and ethics 106 4.18.1 Validity 106 4.18.2 Validity framework 107 4.18.3 Reflexivity 107 4.18.4 Personal position 108 4.18.5 Ethics 109 4.18.6 Conclusion 109 Chapter 5: Findings 5.1 Introduction 110 5.2 The neuro-physical territory 110 5.2.1 Physical relaxation and sleep 110 5.2.2 Physical responses to external stimuli: live music, weather, climate, landscape 111 5.2.3 Corporeal imperative: fatigue, body temperature, physical exhaustion, sustenance, washing, expelling 114 5.2.4 Temporary abandonment of corporeal norms: corporeal hedonism, bodily routines and rituals 119 5.3 The psychological territory– the internal elements 121 5.3.1 Anticipation: pre-festival anticipation, experiential Inequality 121 5.3.2 Past experiences 127 5.3.3 Identity:
Load more

Recommended publications
  • Birmingham Cover
    Online Worcester Cover.qxp_Worcestershire 30/04/2015 09:35 Page 1 WORCESTERSHIRE WHAT’S WORCESTERSHIRE ON WHAT’S THE MIDLANDS ULTIMATE ENTERTAINMENT GUIDE WORCESTERSHIRE ISSUE 353 MAY 2015 MAY www.whatsonlive.co.uk ISSUE 353 MAY 2015 MARK BENTON INTERVIEW INSIDE INSIDE PART OF MIDLANDS WHAT’S ON MAGAZINE GROUP PUBLICATIONS GROUP MAGAZINE ON WHAT’S MIDLANDS OF PART Vicky Entwistle leaves the cobbled stones of Coronation Street behind her... interview inside Joshua Jenkins on playing the lead in The Curious Incident of The Dog In The Night-Time interview inside INSIDE: @WHATSONWORCS WWW.WHATSONLIVE.CO.UK @WHATSONWORCS FILM COMEDY MARK THEATRE LIVE MUSIC VISUAL ARTS ROCK LEGEND AT GENTING ARENA EVENTS KNOPFLER FOOD & DRINK & MUCH MORE! The Drum F/P May 15.qxp_Layout 1 27/04/2015 20:45 Page 1 Contents May Region 1.qxp_Layout 1 27/04/2015 19:20 Page 1 May 2015 Editor: Davina Evans INSIDE: [email protected] 01743 281708 Editorial Assistants: Mark Benton Brian O’Faolain [email protected] talks crime on the French 01743 281701 Riviera p6 Lauren Foster [email protected] 01743 281707 Adrian Parker [email protected] 01743 281714 Jamie Ryan [email protected] 01743 281720 Sales & Marketing: Lei Woodhouse [email protected] 01743 281703 Chris Horton [email protected] 01743 281704 The Rise And Fall Subscriptions: Adrian Parker Of Little Voice [email protected] 01743 281714 Vicky Entwistle and Chris Managing Director: Gascoyne in Brum p31 Paul Oliver [email protected] 01743 281711 Publisher and CEO: Martin Monahan [email protected] 01743 281710 Graphic Designers: Lisa Wassell Joshua Jenkins talks about playing the lead in the National Theatre’s Chris Atherton The Curious Incident Of The Dog In The Night-Time.
    [Show full text]
  • 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).
    [Show full text]
  • Autobituary: the Life And/As Death of David Bowie & the Specters From
    Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 17 | 2018 Paysages et héritages de David Bowie Autobituary: the Life and/as Death of David Bowie & the Specters from Mourning Jake Cowan Electronic version URL: http://journals.openedition.org/miranda/13374 DOI: 10.4000/miranda.13374 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Jake Cowan, “Autobituary: the Life and/as Death of David Bowie & the Specters from Mourning”, Miranda [Online], 17 | 2018, Online since 20 September 2018, connection on 16 February 2021. URL: http://journals.openedition.org/miranda/13374 ; DOI: https://doi.org/10.4000/miranda.13374 This text was automatically generated on 16 February 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Autobituary: the Life and/as Death of David Bowie & the Specters from Mournin... 1 Autobituary: the Life and/as Death of David Bowie & the Specters from Mourning Jake Cowan La mort m’attend dans un grand lit Tendu aux toiles de l’oubli Pour mieux fermer le temps qui passé — Jacques Brel, « La Mort » 1 For all his otherworldly strangeness and space-aged shimmer, the co(s)mic grandeur and alien figure(s) with which he was identified, there was nothing more constant in David Bowie’s half-century of song than death, that most and least familiar of subjects. From “Please Mr. Gravedigger,” the theatrical closing number on his 1967 self-titled debut album, to virtually every track on his final record nearly 50 years later, the protean musician mused perpetually on all matters of mortality: the loss of loved ones (“Jump They Say,” about his brother’s suicide), the apocalyptic end of the world (“Five Years”), his own impending passing.
    [Show full text]
  • 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.
    [Show full text]
  • The Marches Evidence Base for VES 2019
    THE MARCHES EVIDENCE BASE APRIL 2019 BLUE SAIL THE MARCHES EVIDENCE BASE APRIL 2019 CONTENTS 1 ABOUT THIS PAPER .................................................................................. 3 2 VOLUME & VALUE ................................................................................... 4 3 THE ACCOMMODATION OFFER ................................................................ 9 4 VISITOR ATTRACTIONS ........................................................................... 15 5 FESTIVALS AND EVENTS ......................................................................... 17 6 CULTURAL OFFER ................................................................................... 22 7 ACTIVITIES ............................................................................................. 29 2 BLUE SAIL THE MARCHES EVIDENCE BASE APRIL 2019 1 ABOUT THIS PAPER This paper sets out the key data and information used to inform the Visitor Economy Strategy. It looks at the information provided to us by the client group and additional desk research undertaken by Blue Sail. This paper is a snapshot in time. The Marches needs to separately establish and maintain a base of core data and information to benchmark performance. Where data collected by different local authorities uses different methodologies and/or relates to different years, we’ve looked at third party sources, e.g. Visit Britain, to enable us to provide a Marches-wide picture, to compare like with like and to illustrate how the Marches compares. 3 BLUE SAIL THE MARCHES EVIDENCE
    [Show full text]
  • Using Green Man Festival As a Case Study
    An Investigation to identify how festivals promotional techniques have developed over the years – using Green Man Festival as a case study Victoria Curran BA (hons) Events Management Cardiff Metropolitan University April 2018 i Declaration “I declare that this Dissertation has not already been accepted in substance for any degree and is not concurrently submitted in candidature for any degree. It is the result of my own independent research except where otherwise stated.” Name: Victoria Curran Signed: ii Abstract This research study was carried out in order to explore the different methods of marketing that Green Man Festival utilises, to discover how successful they are, and whether they have changed and developed throughout the years. The study intended to critically review the literature surrounding festivals and festival marketing theories, in order to provide conclusions supported by theory when evaluating the effectiveness of the promotional strategies. It aimed to discover how modern or digital marketing affected Green Man’s promotional techniques, to assess any identified promotional techniques and identify any connections with marketing theory, to investigate how they promote the festival towards their target market, and to finally provide recommendations for futuristic methods of promotion. The dissertation was presented coherently, consisting of five chapters. The first chapter was the introduction, providing a basic insight into the topics involved. The second contains a critical literature review where key themes were identified; the third chapter discussed the methodology used whilst the fourth chapter presents the results that were discovered, providing an analysis and discussion. The final chapter summarises the study, giving recommendations and identifying any limitations of the study.
    [Show full text]
  • Sponsorship Packages
    SPONSORSHIP PACKAGES 6 DECEMBER - TROXY, LONDON WWW.FESTIVALAWARDS.COM Annual Celebration of the UK Festival Industry THE EVENT An awards ceremony that will leave UK festival organisers feeling celebrated, indulged and inspired. A highlight of the UK Festivals Calendar, the UKFA was founded in 2002 and is now celebrating its 15th year. With over 650 festival organisers, music agents and trade suppliers in attendance, the evening brings together the UK Festival scene’s key players for a night of entertainment, networking, street food, innovative cocktails and an exclusive after party – all held at the historic Troxy in London. Recognising the festival industries’ brightest and best, previous award winners include Michael Eavis (Glastonbury Festival), Peter Gabriel (WOMAD), Download Festival, Latitude and TRNSMT. We look forward to celebrating 2018’s triumphs with this year proving to be bigger and better than ever. THE BENEFITS The Awards offer sponsors the opportunity to network with the UK’s leading festival influencers and gain extensive exposure: EXCLUSIVE NETWORKING OPPORTUNITIES With the UK festival industry’s key players in attendance, the Awards offers unparalleled opportunity to network and engage one-on-one with decision makers. POSITION YOUR BRAND IN FRONT OF THE UK’S TOP FESTIVAL ORGANISERS Last year’s shortlisted festivals are the most influential, established and recognisable in the country. The UK’s greatest influencers will be attending the event and sponsors will have the opportunity to showcase products and services to a broad prospect base. UK FESTIVAL AWARDS 2017 SPONSORS & SUPPORTERS SPONSORSHIP OPPORTUNITIES HEADLINE PARTNER SPONSORSHIP Bespoke Sponsor Packages £20,000 If you are looking for a more unique package, contact us for The Headline Partner package is designed to offer your brand details about bespoke sponsorship packages.
    [Show full text]
  • From Glyndebourne to Glastonbury: the Impact of British Music Festivals
    An Arts and Humanities Research Council- funded literature review FROM GLYNDEBOURNE TO GLASTONBURY: THE IMPACT OF BRITISH MUSIC FESTIVALS Emma Webster and George McKay 1 CONTENTS EXECUTIVE 4 INTRODUCTION 6 THE IMPACT OF FESTIVALS: A SURVEY OF THE FIELD(S) 7 ECONOMY AND CHARITY SUMMARY 8 POLITICS AND POWER 10 TEMPORALITY AND TRANSFORMATION Festivals are at the heart of British music and at the heart 12 CREATIVITY: MUSIC of the British music industry. They form an essential part of AND MUSICIANS the worlds of rock, classical, folk and jazz, forming regularly 14 PLACE-MAKING AND TOURISM occurring pivot points around which musicians, audiences, 16 MEDIATION AND DISCOURSE and festival organisers plan their lives. 18 HEALTH AND WELL-BEING 19 ENVIRONMENT: Funded by the Arts and Humanities Research Council, the LOCAL AND GLOBAL purpose of this report is to chart and critically examine 20 THE IMPACT OF ACADEMIC available writing about the impact of British music festivals, RESEARCH ON MUSIC drawing on both academic and ‘grey’/cultural policy FESTIVALS literature in the field. The review presents research findings 21 RECOMMENDATIONS FOR under the headings of: FUTURE RESEARCH 22 APPENDIX 1. NOTE ON • economy and charity; METHODOLOGY • politics and power; 23 APPENDIX 2. ECONOMIC • temporality and transformation; IMPACT ASSESSMENTS • creativity: music and musicians; 26 APPENDIX 3. TABLE OF ECONOMIC IMPACT OF • place-making and tourism; MUSIC FESTIVALS BY UK • mediation and discourse; REGION IN 2014 • health and well-being; and 27 BIBLIOGRAPHY • environment: local and global. 31 ACKNOWLEDGEMENTS It concludes with observations on the impact of academic research on festivals as well as a set of recommendations for future research.
    [Show full text]
  • Bob Neumann Prophecies
    Bob Neumann Prophecies 7 Moves - 2/1998 - Article/Prophecy A Dream(S) - 4/2001 - Dream A Letter To A Daughter Of Zion - 11/1998 - Prophecy A Little WORD - 3/1998 - Prophecy A Soldier Of The King - 4/1999 - Prophecy A Story Of Three Cities - 11/2004 - Vision A Time To Stand, A Time To Run - 5/2000 - Prophecy A Two Edged Sword - 1/1998 - Prophecy A Walk In The Sun It Is Time - 3/2002 - Vision A Vision And A Word - 1/2005 - Vision About To Recieve - 11/2000 - Article/Prophecy Accountability - 4/1999 - Prophecy/Article American Check Point Charley - Vision Annual Feast Of Football - 1/1999 - Article/Prophecy April Fools - 4/2001 - Article/Word Are The Lights Still Burning In Goshen - 2/1999 - Article/Prophecy Barren Land, Barren People - 5/1999 - Wor/Article Basket Visions - 2/1998 - Article Vision Bitter Harvest - 5/2001 - Vision/Prophecy Building on The ROCK - 2006 - Vision/Article Burn The Bones - 4/2001 - Vision Call it a Dream - 3/2000 - Dream Chosen Vessels - 5/2000 - Prophecy Cynosure (Lesson 1) - 7/2001 - Article/Vision Dead Sheep - 8/1996 - Vision/Prophecy Do You Hear The Drums Beating - 1998 - Dream Don’t You See? - 11/2000 - Vision Double Vision - 7/1998 - Prophecy Dream And Songs - 8/2004 - Dream Echad - 3/1999 - Article/Prophecy Every Word (or The Word) - Prophecy False and True....The Mirror of God - 5/1999 - Vision/Prophecy For Keeps - 10/2000 - Prophecy Go Tell The Chosen - 2/2012 - Prophecy Harpezo - 7/1999 - Prophecy Holy Of Holies - 2/1999 - Prophecy I Grieve - 2/1998 - Prophecy I Must Be Poured Out - 12/1997 - Prophecy
    [Show full text]
  • The VIP-Booking European Live Entertainment Book Advertising in the VIP Book Will Make You Visible to 10.000 Business Professionals All Over Europe
    WWW.VIP-BOOKING.coM VIP- News›› ›› PREmiUM VOL. 119 NOVEMBER 2009 McGowan’s Musings: For many years I was one of that often ent Festivals held an extremely well at- misguided and often delayed group tended networking social event in Miss known as commuters, travelling on a daily Q’s Club in the Earl’s Court Road – quite basis up from and later back down to (be- a few of the same faces from the Norwe- ing south of the metropolis you see..) the gian bash – but no champagne and cana- coast, in order to add to the human con- pés – next year maybe if the Association gestion in London. As those of you who continues to grow as it appears may well read this opening stream of semi - con- be the case. The AIF event was a precur- sciousness will know I don’t do that any- sor to the UK Festival Awards and Confer- more, when not jetting off to the glamour ence (a dinner and some champagne!) on of one international music trade event or the Thursday at the O2 (see report in this another I’m most often hunched over a issue) - this unfortunately clashed with computer writing this sort of stuff whilst Allan McGowan the launch of the Ja, Ja, Ja Club – told you staring out of the window and being dis- it was a busy week – anyway we shall sup- tracted by seagulls and the like. But this to your champagne glass being magically port the next club night. week has been different, important music permanently topped up as you are dis- business events have demanded that the tracted by canapé selection does tend to This is the penultimate issue of The News Brighton to Victoria – and back – train has get the creative juices flowing! for 2009, another year under the shadow been graced with my presence, almost on of economic recession.
    [Show full text]
  • No. 15, December 12, 1995
    UNIVERSITY of PENNSYLVANIA Tuesday, December 12, 1995 Volume 42 Number 15 IN THIS ISSUE 2 SENATE: New Nominating Committee MLK Memorial Set New Faculty Club Director In Memory of Margaret Allan 3 Selling a ‘Final Exam’ for $79,000 A-3 Assembly: Invitation 25-Year Club Alert for ’96 Penn’s Way Report 4 Speaking Out: Statements from Council Speakers on Firing/Layoffs, Part-Time Benefits, Affirmative Action 5 Council: Summary of Public Forum 6 Safety Advisory: Winter Break 7 Naming an Award for John Chancellor 8 Innovation Corner: Energy Savings 9 PennVIPS as Santa’s Helpers 10 Penn in the News 11 AIDS, Grantsmanship and Penn’s ‘Great for Debate’ Bid 12 January at Penn 14 Holiday Shopping, Plain and Fancy 19 OPPORTUNITIES 23 Hansel and Gretel; CrimeStats 24 Talk About Teaching: Will Harris on Teaching in the Constitutional University ’Tis the Season. ’...for giving, especially through PennVIPS’ annual drive to bring toys and food to children including 600 with HIV/AIDS. At right, in the Police MiniStation that is one of 11 drop-off points for donations, No. 1 VIP Bonnie Ragsdale is flanked by Bob Zarazowski of Wharton and Trish diPietrae of Vet Medicine (see the Compass Feature on page 9). It’s countdown time for Penn’s Way (page 3), and for campus shopping (starting on page 14, with a list of year-long gift ideas on page 18). ’Tis also the season for a short break in publication: from now to January 9, watch the Web for breaking bulletins. Photograph by Mark Garvin ALMANAC December 12, 1995 1 MLK Memorial: January 15 SENATE A seven-day schedule of events surrounding the birth date of the late Rev.
    [Show full text]
  • Steven Machat Interview | Clash Music Exclusive General Page 1 of 4
    Steven Machat Interview | Clash Music Exclusive General Page 1 of 4 Login or Connect via Facebook | Join Now - Subscribe To Clash Email News Enter Your Search Here Search HOME NEWS REVIEWS ARTISTS GIGS & TICKETS MUSIC / VIDEO FESTIVALS WIN MAGAZINE NEW Steven Machat Interview FEATURES Behind the scenes of 'Bird On A Wire' Label Profile: Timesig General Posted by Robin Murray Mon, 16/08/2010 Singles Round Up 16th August Despite his immense fame Steven Machat Interview and influence, Canadian Back To Black: Matthew songwriter Leonard Cohen Dear Interview remains an enigma. Levi's Craft Of Music Connecting the Canadian Live Sessions literary renaissance to the Relentless Energy: Beat era, post war poetry to Japanese the hippy era Leonard experimentalism Cohen's work is hugely Johnny Flynn Poetry important. Yet still the singer BUY Digging Deeper: resides in the shadows, rarely granting interviews. Buy Leonard Cohen Downloads from iTunes Menomena Interview However a new film could blow apart that image. 'Bird On A Wire' was shot Buy Leonard Cohen Tickets from Gigs & Tickets Cappo Interview on a European tour in 1972, and features Leonard Cohen struggling with Relentless Energy: Bo his rise to fame and the ideas being fostered upon him. Ningen A stunningly evocative film, 'Bird On A Wire' was presumed lost, being MORE resurrected by director Tony Palmer from the original prints. Music industry mogul Steven Machat lies behind the project, fulfilling a promise to his father - Leonard Cohen's long term manager - by allowing fans to see the film. A fascinating document, the film is set to be shown in an exclusive screening at The Green Man in Wales.
    [Show full text]