DOCSLIB.ORG

IMS Business Report 2017 an Annual Study of the Electronic Music Industry by Kevin Watson

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
IMS Business Report 2017 an Annual Study of the Electronic Music Industry by Kevin Watson IMS Business Report 2017 An annual study of the Electronic Music industry by Kevin Watson 1 IMS Business Report 2017 by Kevin Watson, Danceonomics.com IMS Business Report 2017 An in-depth review of the industry today, and a look back over the past decade in Electronic Music A. Music Sales & Genres B. DJs & Live Acts C. Clubs & Festivals D. Companies & Brands E. IMS Ibiza 10 – A Decade In The Industry F. Industry Value 2 IMS Business Report 2017 by Kevin Watson, Danceonomics.com IMS Business Report 2017 A. Music Sales & Genres B. DJs & Live Acts C. Clubs & Festivals D. Companies & Brands E. IMS Ibiza 10 – A Decade In The Industry F. Industry Value 3 IMS Business Report 2017 by Kevin Watson, Danceonomics.com A. Music Sales & Genres Streaming services and Latin American market continue to drive global music industry growth Paid Subscribers to Music Recorded Music Industry Streaming Services Revenue YoY Growth by Region (2012-2016) (2015-2016) 112m +65% 5.9% 68m 12% m 41m 7.9% 28m 20m 5.1% 4.0% Source: IFPI 4 IMS Business Report 2017 by Kevin Watson, Danceonomics.com A. Music Sales & Genres On Spotify Mexico & Brazil are in Top 10 for total electronic streams; Higher share in Europe & Asia Total Electronic Streams Share of Electronic Music Listening (2017) (2017) Currently 12 billion Electronic music monthly streams on Spotify Source: Spotify 5 IMS Business Report 2017 by Kevin Watson, Danceonomics.com A. Music Sales & Genres Dance increased share of all formats in the USA in 2016, rising to be the 5th most popular genre Dance / Electronic Genre Share of Total Consumption by Format (USA, 2015-2016) • Dance share of total audio 2015 consumption increased to 4% in 6 2016 2016 from 3.4% in 2015 5 • Genre moved above Latin to 4.7 th 4.2 become 5 most popular 4 overall, behind only Rock, R&B/ 3.4 Hip Hop, Pop and County 3 • For on-demand audio 1.8 streaming, Dance is joint 4th most popular genre with a 6% share • 57% of total Dance ‘sales’ are from streaming – the highest of any genre in the US Note: * Digital Albums & Digital Tracks used for 2016 Source: Nielsen Music Year-End Report U.S. 2015 & 2016 6 IMS Business Report 2017 by Kevin Watson, Danceonomics.com A. Music Sales & Genres In Germany, Dance share of sales reached an all- time high in 2016, double that of three years ago Dance Music Share of Turnover (Germany) • Dance music share 7.0% climbed to 7% in 2016, making it the fifth best- selling genre • Share has grown in each of last three years, reaching double the level of 2013 3.5% • 58% of Dance music 2.8% buyers less than 40 years old – highest proportion of any genre – next highest is Rock at 34% Source: Bundesverband Musikindustrie (BVMI) 7 IMS Business Report 2017 by Kevin Watson, Danceonomics.com A. Music Sales & Genres Latest statistics from France show Dance was the most played genre on radio in 2015 Music Genre Share by Medium (France, 2015) Radio Streaming Audio • On French radio in 2015, 29% 22% Dance was the most- played genre with a 29% share – 10% more than 19% 10% any other genre • For streaming audio, Dance had the second 14% 14% highest share with 22%, only behind Rap 11% 31% • Dance also secured a 13% share of streaming video, placing it third 11% 12% Source: Economie de la Production Musicale – Edition 2016 – Syndicat National de 8 l'Édition Phonographique (SNEP) IMS Business Report 2017 by Kevin Watson, Danceonomics.com A. Music Sales & Genres Beatport has continued strong growth in 2017 and returned to profit as part of LiveStyle Inc. Beatport Year on Year Growth (Q1 2016 - Q1 2017) +14% • Beatport has delivered renewed growth and returned to being profitable in the first quarter of 2017 • Visitors, registered users % +7% and track sales have all increased compared to the same period in 2016 +4% • Streaming service has been discontinued following restructure of parent SFX – now LiveStyle Note: * YoY growth is Q1 Jan 2016 compared to Q1 Jan 2017 Source: Beatport, industry press 9 IMS Business Report 2017 by Kevin Watson, Danceonomics.com A. Music Sales & Genres Techno remains the best selling Beatport genre, with Trance and Drum & Bass highest climbers Best Selling Genres on Beatport (Q1 2015-Q2 2017) Techno remains 1 Techno #1 genre on 2 Tech House Beatport, slightly outselling Tech 3 House House 4 Deep House 5 Drum & Bass Trance resurgent 6 Trance in last 12 months 7 Electronica – up four to #6 8 Prog. House EDM genre 9 Future House Future House 10 Indie Dance / Nu Disco climbed to #9 11 Electro House Meanwhile, Electro House fell from #5 to #13 in just nine months 2015 2016 2017 Source: Beatport; Note: Techno includes Minimal / Deep Tech 10 IMS Business Report 2017 by Kevin Watson, Danceonomics.com A. Music Sales & Genres House is the most played genre on Pioneer DJ KUVO; Drum & Bass is highest climber in 2017 Most Played Dance Genres* on Pioneer DJ KUVO (Global, April 2016 – March 2017) 1 House House most 2 Tech House played genre, 3 Deep House accounting for 4 Techno 20% of all tracks 5 Drum & Bass Highest 6 Electro House climber is 7 Progressive House Drum & 8 Electronica Bass – up from #13 to 9 Trap #5 in 7 mths 10 Trap also gaining in popularity – up to #9 2016 2017 Note: * Excludes genres such as Pop, Rock, Hip-Hop Source: Pioneer DJ 11 IMS Business Report 2017 by Kevin Watson, Danceonomics.com IMS Business Report 2017 A. Music Sales & Genres B. DJs & Live Acts C. Clubs & Festivals D. Companies & Brands E. IMS Ibiza 10 – A Decade In The Industry F. Industry Value 12 IMS Business Report 2017 by Kevin Watson, Danceonomics.com B. DJs & Live Acts Forbes’ estimates earnings of Top 12 DJs fell 1% in 2016 to $300m – still 12% higher than 2013 Forbes Electronic Cash Kings (2013-16) INDICATIVE YoY% +4% -1% +9% Top 12 -1% • Forbes estimate 304 300 293 Calvin Harris’ Calvin 268 Calvin earnings fell 5% YoY Harris Calvin Harris #1 -5% Calvin Harris $63m in 2016 to $63m Harris Tiesto Guetta #2 3% • Places him #9 on Tiesto Guetta $38m overall highest-paid Guetta #3 -22% $m Guetta Avicii Tiesto $28m musicians list • Tiesto up to #2 (earnings +6% YoY), David Guetta down #4-12 4% to #3 (-24% YoY) • DJs / Artists placed #4-12 in list earned 4% more than 2015 13 Source: Forbes IMS Business Report 2017 by Kevin Watson, Danceonomics.com B. DJs & Live Acts The most popular DJs are growing their followers 11x faster on Instagram than on Facebook Growth in Online Fanbases of Viberate Ranked DJs (Past 3 months, May 2017) Top 10 Martin Garrix: World’s #1 DJ continues to grow online following, including 4.75m twitter followers The Chainsmokers: have grown their fanbase on every social network by 15-45% in past 3 months Marshmello & DJ Snake: using unique identities and branding to drive YouTube Selected Others & Instagram growth Nina Kraviz: Soundcloud followers up 19k / 8% in 3 months; 1.6m total plays 14 Source: Viberate, Facebook, Twitter, Instagram, Soundcloud, YouTube, IMS Analysis IMS Business Report 2017 by Kevin Watson, Danceonomics.com B. DJs & Live Acts The Chainsmokers are adding 28k social media followers a day, well below David Guetta’s peak Daily Social Media Follower Growth* 47k • David Guetta was adding 47k fans a day on Facebook and 10k Twitter in 2011/12 • The Chainsmokers are currently gaining 28k per day, 28k including Instagram k • Most viewed YouTube video 12k 37k for Chainsmokers (‘Closer’) 4k has 1.5bn views, 44% more than Guetta’s most-viewed 11k video ‘Hey Mama’ (1.1bn) • Debut album from The The Chainsmokers David Guetta Chainsmokers sold 166k (Feb-May ’17) (May ’11-May ’12) copies in US in first week Source: Facebook, Twitter, Instagram, Viberate, YouTube, Billboard, industry press, IMS Analysis 15 IMS Business Report 2017 by Kevin Watson, Danceonomics.com B. DJs & Live Acts Gender diversity remains a key issue – study of 24 festivals found only 17% of artists were female % of Festival Artists by Gender (2016) • Thump study of 24 festivals in 2016 found on average only 17% of artists were women 45% • Some Dance festivals had a much lower % - Beyond Wonderland had only 2 female artists out of 61 (3.2%) • Smirnoff campaign aimed at doubling number of female headliners at major music festivals in the next three years Average = 17% Average 3% Female Male Source: Thump, Vice, Broadly, Smirnoff INDICATIVE 16 IMS Business Report 2017 by Kevin Watson, Danceonomics.com IMS Business Report 2017 A. Music Sales & Genres B. DJs & Live Acts C. Clubs & Festivals D. Companies & Brands E. IMS Ibiza 10 – A Decade In The Industry F. Industry Value 17 IMS Business Report 2017 by Kevin Watson, Danceonomics.com C. Clubs & Festivals Millennials are 40% more likely to attend a club event in the USA, and total 2 billion globally US Live Music Attendance by Type in 2016* Index: % Millennials to % General Population % General • Overall 16% of people in Population the USA attended a club Club events (with 139 16% event with DJs in 2016, DJs) 14% for a specific DJ Club events (to see 136 14% • Millennials attendance specific DJ) at these events was 39% higher than average Music festivals 102 33% • Estimated 75m Live concerts with Millennials in the USA, 2 100 40% multiple headliners billion globally = 27% of population Live concerts with 59% one main headliner 107 • Hispanics also over- index on club events, Small live music spending 17% of their 112 41% sessions music wallet on them Note: *Question: Which of the following have you attended in the last 12 months? Source: Nielsen Music 360 – 2016 Highlights, Pew Research Center 18 IMS Business Report 2017 by Kevin Watson, Danceonomics.com C.
Load more

Recommended publications
  • Electro House 2015 Download Soundcloud
    Electro house 2015 download soundcloud CLICK TO DOWNLOAD TZ Comment by Czerniak Maciek. Lala bon. TZ Comment by Czerniak Maciek. Yeaa sa pette. TZ. Users who like Kemal Coban Electro House Club Mix ; Users who reposted Kemal Coban Electro House Club Mix ; Playlists containing Kemal Coban Electro House Club Mix Electro House by EDM Joy. Part of @edmjoy. Worldwide. 5 Tracks. Followers. Stream Tracks and Playlists from Electro House @ EDM Joy on your desktop or mobile device. An icon used to represent a menu that can be toggled by interacting with this icon. Best EDM Remixes Of Popular Songs - New Electro & House Remix; New Electro & House Best Of EDM Mix; New Electro & House Music Dance Club Party Mix #5; New Dirty Party Electro House Bass Ibiza Dance Mix [ FREE DOWNLOAD -> Click "Buy" ] BASS BOOSTED CAR MUSIC MIX BEST EDM, BOUNCE, ELECTRO HOUSE. FREE tracks! PLEASE follow and i will continue to post songs:) ALL CREDIT GOES TO THE PRODUCERS OF THE SONG, THIS PAGE IS FOR PROMOTIONAL USE ONLY I WILL ONLY POST SONGS THAT ARE PUT UP FOR FREE. 11 Tracks. Followers. Stream Tracks and Playlists from Free Electro House on your desktop or mobile device. Listen to the best DJs and radio presenters in the world for free. Free Download Music & Free Electronic Dance Music Downloads and Free new EDM songs and tracks. Get free Electro, House, Trance, Dubstep, Mixtape downloads. Exclusive download New Electro & House Best of Party Mashup, Bootleg, Remix Dance Mix Click here to download New Electro & House Best of Party Mashup, Bootleg, Remix Dance Mix Maximise Network, Eric Clapman and GANGSTA-HOUSE on Soundcloud Follow +1 entry I've already followed Maximise Music, Repost Media, Maximise Network, Eric.
    [Show full text]
  • Ibizan 849.Pub
    Tri Buy Cherry Pie Talk of a potential Pacha sale was first noted in this report on the sale states that last year “Pacha announced Pacha Group Sold office following a report by Ibiza based journalist Nick that it had a turnover of €78 million, with €11 million in Clayton, several months before the rumours became net profit. It expected that to grow by 8-10%. About two widespread conjecture. -thirds of its turnover comes from nightclubs and restau- For 350€ million Nick talked of a potential buyout by a then interested rants, with most of the rest coming from hotels, with a Equity Investment Group Trilantic are reported Chinese investment concern. As it has materialised the rather smaller contribution from fashion and franchises. to have purchased the Pacha empire. business is indeed to be passing into a private investment He goes on to say that Pacha also said last year that it Sale includes the Pacha, Destino and Lio clubs equity group. planned to open 85 new establishments, including hotels and the Pacha Hotel in Ibiza, all worldwide Pacha The company, Trilantic, are said to be buying the entire and resorts, restaurants and nightclubs before 2025. venues, and all merchandising businesses. Pacha group. In the context of shareholder satisfaction it Then, last week, Owner Ricardo Urgell talks publicly of his views is unlikely the Pacha pie will be sliced up. Nick Clayton’s The Sunday Times reported that the company would on Ibiza, the sale and the future. focus on opening 25 hotels and resorts in Britain, Spain, France, Italy, Brazil, Argentina, Mexico, China and Ja- pan.
    [Show full text]
  • Ultra Music Festival by Earthcam: Watch Giving Ravers a Bird’S-Eye View All Weekend Long… John Ochoa Sunday, March 25, 2018 - 10:58
    Ultra Music Festival by EarthCam: Watch Giving ravers a bird’s-eye view all weekend long… John Ochoa Sunday, March 25, 2018 - 10:58 Ultra Music Festival is streaming live all weekend long. Now you can watch the festival with a view from the sky thanks to EarthCam. EarthCam, a webcam content, technology and services company that owns and operates a global network of live-streaming webcams, is giving ravers a bird’s-eye view of Ultra via its camera directly overlooking Bayfront Park in Downtown Miami, where the festival takes place this weekend. There’s no sound available through the camera, but the view high up in the sky is quite nice. Once the sun goes down, the neon lights should add some extra colour to your screen as well. You can synch the EarthCam to the various livestreams happening all week- end for some extra audiovisual fun. The camera looks to be overlooking the Ultra Mainstage, which welcomes Armin van Buuren, DJ Snake, Tiësto, David Guetta and tons more starting today through Sunday. For more Ultra livestream action, check out the best streams to watch today. DJ Mag, in association with global online streaming plat- form BE-AT.TV, is also exclusively streaming live sets from house and techno heavy hitters Carl Cox and Stephan Bodzin today and tomorrow on our Facebook page. Head to the EarthCam website to watch Ultra Music Festival from the sky. Via Magnetic Magazine John Ochoa is the editor-at-large of DJ Mag North America. You can find him living his best life on Twitter..
    [Show full text]
  • Page 1 FLOATING STAGE CONCERTS THURSDAY 9TH
    FLOATING STAGE CONCERTS WEDNESDAY 8TH JULY THURSDAY 9TH JULY FRIDAY 10TH JULY Sponsored by Westcoast 20.45 20.45 20.35 22.15 S O P H I E SARA COX MADNESS JAMES BLUNT PRESENTS ELLIS-BEXTOR JUST CAN’T GET ENOUGH 80s Sophie Ellis-Bextor shot to fame as a vocalist on If you’ve got fond memories of legwarmers and Spiller’s huge number one single Groovejet, followed spandex, ‘Just Can’t Get Enough 80s’ is a new show by Take Me Home and her worldwide smash hit, set to send you into a retro frenzy. Murder on the Dancefloor. Join Sara Cox for all the hits from the best decade, Her solo debut album, Read My Lips was released in delivered with a stunning stage set and amazing visuals. 2001 and reached number two in the UK Albums Chart Huge anthems for monumental crowd participation and was certified double platinum by the BPI. moments making epic memories to take home. Her subsequent album releases include Shoot from the Hip (2003), Trip the Light Fantastic (2007) and Make a Scene (2011). In 2014, in a departure from her previous dance pop Madness is a band that retains a strong sense of who and what it is. Ticket prices The five-time Grammy nominated and multiple BRIT award winning Ticket prices Ticket prices albums, Sophie embarked on her debut singer/songwriter Many of the same influences are still present in their sound – ska, Grandstand A £140 artist James Blunt is no stranger to festival spotlight and will the Grandstand A £140 Grandstand A £135 album Wanderlust with Ed Harcourt as co-writer and reggae, Motown, rock’n’roll, rockabilly, classic pop, and the pin-sharp Grandstand B £120 wow crowds at Henley Festival.
    [Show full text]
  • Kathy Sledge Press
    Web Sites Website: www.kathysledge.com Website: http: www.brightersideofday.com Social Media Outlets Facebook: www.facebook.com/pages/Kathy-Sledge/134363149719 Twitter: www.twitter.com/KathySledge Contact Info Theo London, Management Team Email: [email protected] Kathy Sledge is a Renaissance woman — a singer, songwriter, author, producer, manager, and Grammy-nominated music icon whose boundless creativity and passion has garnered praise from critics and a legion of fans from all over the world. Her artistic triumphs encompass chart-topping hits, platinum albums, and successful forays into several genres of popular music. Through her multi-faceted solo career and her legacy as an original vocalist in the group Sister Sledge, which included her lead vocals on worldwide anthems like "We Are Family" and "He's the Greatest Dancer," she's inspired millions of listeners across all generations. Kathy is currently traversing new terrain with her critically acclaimed show The Brighter Side of Day: A Tribute to Billie Holiday plus studio projects that span elements of R&B, rock, and EDM. Indeed, Kathy's reached a fascinating juncture in her journey. That journey began in Philadelphia. The youngest of five daughters born to Edwin and Florez Sledge, Kathy possessed a prodigious musical talent. Her grandmother was an opera singer who taught her harmonies while her father was one-half of Fred & Sledge, the tapping duo who broke racial barriers on Broadway. "I learned the art of music from my father and my grandmother. The business part of music was instilled through my mother," she says. Schooled on an eclectic array of artists like Nancy Wilson and Mongo Santamaría, Kathy and her sisters honed their act around Philadelphia and signed a recording contract with Atco Records.
    [Show full text]
  • Infinite Setlist: Analyzing Pioneer DJ's Catalogue Streaming Partnerships
    Cybaris® Volume 12 Issue 1 Article 2 2021 Infinite Setlist: Analyzing Pioneer DJ’s Catalogue Streaming Partnerships with Beatport and SoundCloud Nicholas Rivera Follow this and additional works at: https://open.mitchellhamline.edu/cybaris Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Rivera, Nicholas (2021) "Infinite Setlist: Analyzing Pioneer DJ’s Catalogue Streaming Partnerships with Beatport and SoundCloud," Cybaris®: Vol. 12 : Iss. 1 , Article 2. Available at: https://open.mitchellhamline.edu/cybaris/vol12/iss1/2 This Article is brought to you for free and open access by the Law Reviews and Journals at Mitchell Hamline Open Access. It has been accepted for inclusion in Cybaris® by an authorized administrator of Mitchell Hamline Open Access. For more information, please contact [email protected]. © Mitchell Hamline School of Law CYBARIS®, AN INTELLECTUAL PROPERTY LAW REVIEW INFINITE SETLIST: ANALYZING PIONEER DJ’S CATALOGUE STREAMING PARTNERSHIPS WITH BEATPORT AND SOUNDCLOUD Nicholas Rivera1 Table of Contents Introduction ................................................................................................................................... 36 The Story Thus Far ................................................................................................................... 38 The Rise of Streaming .............................................................................................................. 39 Brief History of DJing
    [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]
  • Come Together! How Rave Returned to the Cultural Mix
    Come together! How rave returned to the cultural mix Twenty five years on, the spirit of rave is being seen everywhere from catwalk fashion and art to the collective political experience of Acid Corbynism Lauren Cochrane Monday 27 November 2017 05.45 GMT efore the May bank holiday in 1992, Castlemorton Common in the Malvern Hills was B chiefly known only to walkers keen to hike through its 600 acres of unspoilt, unenclosed land. After that bank holiday, however, it became known as the site of Britain’s biggest-ever illegal rave. Partygoers arrived in such numbers that Castlemorton featured on TV and in the newspapers – which brought more revellers. In the end, an estimated 20,000 people flocked to the site. By the Tuesday, it had induced moral panic in the Daily Mail: “A walk through the hippy encampment was like walking into a scene from the Mad Max movies. Zombie-like youngsters on drugs walked aimlessly through the mobile shanty town or danced to the pounding beat,” it reported. By 1994, the Criminal Justice and Public Order Act was passed, with the now infamous ruling against parties playing music “characterised by the emission of a succession of repetitive beats”. Twenty-five years after Castlemorton, rave is back in the pop culture mix. The aesthetic, culture and sound has trickled down to everything from the growth of the festival to the concept of chill-out, to your DayGlo wallet, clubbing scenes in Girls, a weekend in Ibiza and the Kirakira app’s sparkles. Most people might not be regularly indulging in four-day parties but, in 2017, rave’s cultural legacy extends far and wide.
    [Show full text]
  • Ib an Mendoza
    IBIZA FORMENTERA NIGHT IBAN MENDOZA SINCE 2007 N&D MAGAZINE | NIGHT • AÑO XI • N°2 | JUNIO/JUNE/GIUGNO 2017 ESPAÑOL ENGLISH ITALIANO • • Showde churrasco cooking MÚSICA EN VIVO, 12 CORTES DE LA ESPECTÁCULOS Y MEJOR CARNE DE PARQUE PARA LOS NIÑOS LATINOAMÉRICA SIN CARTA, SIN NORMAS, SIN LÍMITE! • CARRETERA SANTA GERTRUDIS, KM 0,5 (CA NA PALAVA) • RESERVAS: [email protected] | (+34) 971 50 88 80 LUXURY CAR RENTAL - REAL ESTATE - YACHT CHARTER - PRIVATE JETS - VIP SERVICES IBIZA MARBELLA BARCELONA WWW.RENTTOPLUX.COM • [email protected] +34 672 769 911 • +34 674 511 168 10 WEEDITORIAL YEARS THIS ISLAND 10 10 C.E.O. Founder YEARS YEARS Christian Dori ARE Y U NIGHT R DAY? Hola Amigos de Night&Day, Hello Friends of Night&Day, Ciao Amici di Night&Day, El futurólogo Alvin Toffler The recently passed away futurologist, Il recentemente scomparso recientemente fallecido definió elAlvin Toffler, defined change as the futurologo, Alvin Toffler definiva il cambio como el proceso por el cual el process by which the future invades our cambiamento come il processo col futuro invade nuestras vidas. lives. quale il futuro invade le nostre vite. El futuro ha invadido Ibiza y Formentera. The future has invaded Ibiza and Il futuro ha invaso Ibiza e Formentera. Cada año, grandes y pequeñas novedades Formentera. Every year, small or big news Ogni anno piccole o grandi novità si se suman y trasforman las dos islas. adds up and transforms the two islands. sommano e trasformano le due isole. La novedad más impresionante es sin The most impressive news is definitely the La più imponente novità è sicuramente duda la apertura del nuevo local Hï, opening of the new club Hï, which has taken l'apertura del nuovo locale Hï, ubicato situado donde estaba el antiguo Space, over old Space location, and that you're dove era l'antico Space, di cui parleremo del que vamos a hablar en la revista.
    [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]
  • Intern Brochure 2021
    NV-PIC Intern Brochure 2021 Intern Brochure 2021-2022 *Updated 10/16/20 NV-PIC RE: Dr. Emily Slife, SNAMHS 1650 Community College Dr. Las Vegas, NV 89146 www.NV-PIC.org NV-PIC Intern Brochure 2021 Aim: The aim of the Nevada Psychology Internship Consortium (NV-PIC) is to prepare doctoral psychology interns to: 1) serve, with cultural humility, broad psychological services to underserved clients in the Nevada public behavioral health system and 2) retain NV-PIC graduates to continue to serve the people of Nevada. The Nevada Psychology Internship Consortium (NV-PIC) is a state-wide workforce development program that represents the collaborative effort of two agencies within one state division, the Division of Public and Behavioral Health, to share resources and faculty for providing a diversified educational program for psychology interns. Training takes place at two training sites in Las Vegas and Carson City. Accreditation Status The Nevada Psychology Internship Consortium (NV-PIC) is fully accredited by the American Psychological Association (APA). NV-PIC has been accredited since May 2017. Questions related to the program’s accreditation status should be directed to the Commission on Accreditation: Office of Program Consultation and Accreditation American Psychological Association 750 1st Street, NE, Washington, DC 20002 Phone: (202) 336-5979 Email: [email protected] APPIC Membership Status NV-PIC is a participating member of APPIC and participates in the APPIC match. NV-PIC abides by all APPIC policies, including the APPIC policy that no person at this training facility will solicit, accept, or use any ranking-related information from any intern applicant.
    [Show full text]
  • Concert Promotion and Production
    CHAPTER SIXTEEN CONCERT PROMOTION AND PRODUCTION hile the monetization of recorded music has struggled mightily for years, it’s W a different story for live concerts. Although hardly immune to the vagaries of the greater economy, live music has an enormous economic advantage over recorded music. A fan must generally pay hard dollars to enjoy a live performance by a favored act, while an unauthorized shared download or a free streamdistribute puts little or nothing in the artist’s pocket. Music concerts generated $8.2 billion in surveyed 2017 ticket sales in North America, according to industry sources, not including the value of resale of tickets on the secondary market and the many acts that don’t tour nationally. Add to that sum ticket resales, corporateor sponsorships, and the economic spillover for supporting vendors and restaurants, and the vast economic footprint of live music becomes obvious. Besides generating substantial revenue from ticket sales, live concerts boost record sales. Live concerts also increase demand for artist-related licensed mer- chandise, such as T-shirts, posters, jewelry, keychains, and books. Concerts and the sale of ancillary products are so critical that major recording companies are reluctant to sign an act that doesn’t also have a compelling stage presence. And if the label does sign the act, there’s a goodpost, chance it’s part of a broad 360 deal that yields the label a healthy piece of the box office and licensed merchandise income, among other revenue streams. Three key players move and shake the concert promotion industry: the event promoter, the artist’s manager, and the tour-booking agent.
    [Show full text]