Macon.com | 06/19/2007 | Years after R.E.M., Athens music scene still hot: "In a town of roughly 100,000 people, Athens - home of the University of Georgia and just south of the foothills of the Blue Ridge mountains - has an estimated 500-plus music groups. At that ratio, metro Atlanta would have about 20,000 rock bands and New York City would have more than 40,000....
'In Georgia, probably most of the artistic and eccentric and creative and interesting people gravitate to UGA,' said Fred Schneider of The B-52s, whose group returned to its roots in Athens last month to record their first album in 15 years. 'It's an easy place to live, prices are reasonable and there's a lot to do and see.'"
Sunday, June 24, 2007
When your music scene is miles from anywhere
Here in Colorado bands complain about how hard it can be to tour since it's usually a day's drive to get to venues in other states.
But it is a minor problem compared to what Alaskan musicians have to deal with.
Willamette Week Online | Music | A Great Place To Leave • Alaska to Portland may be the great music migration. | Sunday June 24th, 2007: "For musicians in most states, relocating to a bigger city may be a good career move, but it's hardly vital—after all, a band can always tour. But if you're a band from Anchorage, Alaska's largest city, the nearest major American city is 2,350 miles away—about the same distance from Portland to Detroit! And Alaska's music scene isn't just isolated: A serious shortage of venues and the absence of label scouts mean one of the largest Alaskan music communities isn't in Alaska at all. It's here in Portland.
In the past year and a half, there have been at least 10 transplanted Alaskan bands based in PDX (though three broke up in 2006). There are also several Alaskan solo artists, a couple of predominantly AK bands (the late Konami Defense System was half Alaskan, as is Day of Lions), and a handful of bands with members from the 49th state, including the Joggers. Even here in the City of Transplanted Roses, that's a lot of musicians from one state—especially a state that has only about 100,000 more people in it than Portland itself.
For many Alaskans, Seattle comes off as an impersonal monolith, and between the landscape and the cultural differences, California might as well be another planet. But the greenery, temperate climate and laid-back populace of Portland seem just right. Since 1996 (when 36 Crazyfists moved to PDX after a fruitless year in Seattle), Portland has become the primary destination for young Alaskan musicians. This history provides a ready-made (if modest) fan base for new expat bands, and an existing social network, too."
But it is a minor problem compared to what Alaskan musicians have to deal with.
Willamette Week Online | Music | A Great Place To Leave • Alaska to Portland may be the great music migration. | Sunday June 24th, 2007: "For musicians in most states, relocating to a bigger city may be a good career move, but it's hardly vital—after all, a band can always tour. But if you're a band from Anchorage, Alaska's largest city, the nearest major American city is 2,350 miles away—about the same distance from Portland to Detroit! And Alaska's music scene isn't just isolated: A serious shortage of venues and the absence of label scouts mean one of the largest Alaskan music communities isn't in Alaska at all. It's here in Portland.
In the past year and a half, there have been at least 10 transplanted Alaskan bands based in PDX (though three broke up in 2006). There are also several Alaskan solo artists, a couple of predominantly AK bands (the late Konami Defense System was half Alaskan, as is Day of Lions), and a handful of bands with members from the 49th state, including the Joggers. Even here in the City of Transplanted Roses, that's a lot of musicians from one state—especially a state that has only about 100,000 more people in it than Portland itself.
For many Alaskans, Seattle comes off as an impersonal monolith, and between the landscape and the cultural differences, California might as well be another planet. But the greenery, temperate climate and laid-back populace of Portland seem just right. Since 1996 (when 36 Crazyfists moved to PDX after a fruitless year in Seattle), Portland has become the primary destination for young Alaskan musicians. This history provides a ready-made (if modest) fan base for new expat bands, and an existing social network, too."
Turning a barn into a venue
A family of torning bluegrass musicians decided to lease a barn (which already had seating from its previous life as a melodrama theater) in Kansas and turn it into a music venue.
Born in a barn | lawrence.com, 6/24/07: "He lists the things the Bluegrass Barn Theater has going for it:
• There are 1,000 campsites at Perry Lake, with no other entertainment options.
• Topeka and Lawrence are only a half-hour away, with other smaller towns even closer.
• Bluegrass fans traditionally travel a long way for festivals. With gasoline prices increasing, they might look for options closer to home."
Born in a barn | lawrence.com, 6/24/07: "He lists the things the Bluegrass Barn Theater has going for it:
• There are 1,000 campsites at Perry Lake, with no other entertainment options.
• Topeka and Lawrence are only a half-hour away, with other smaller towns even closer.
• Bluegrass fans traditionally travel a long way for festivals. With gasoline prices increasing, they might look for options closer to home."
Music festival sponsorship
A discussion of how sponsors are maximizing their sponsorship London's Wireless Festival.
I find far more articles about sponsorship in the British press than in the American press, which has been the case for quite awhile. For as much sponsorship as you see in the US. there still seems to be more focus on sponsorship there than here.
BBC NEWS, 6/21/07| Why just a logo is now a no-no: "Existing users could receive a barcode by text message, allowing them access to a VIP area with a bar and music.
Other offers included text messages containing news and gossip from backstage, while onstage performances were recorded and have been made available via mobile on the network's Wap site, advertised under the banner, 'Relive it'.
'It has gone beyond mere badging an event with our logo. We want to drive an emotional connection with our customers,' said the network's head of sponsorship, Amanda Jennings.
'I hope that everyone had a good time at Wireless, but that if you were an O2 customer, that you had an extra good time.'...
Digital consultant Ben Carter says that a brand can only bring its sponsorship to life by encouraging the customer to engage with it.
'Having exclusive content is a must-have,' he says.
'Signing up to sponsor a festival, concert or act is a very good way of securing the content that your customers want.'
Creating such 'exciting, original' content is a priority for broadband provider Tiscali UK, says its head of entertainment Rob Andrews.
It broadcast sets from the main stage at the Wireless Festival live on its website, which was viewed by 'thousands'.
And it also held 15 backstage gigs, each for less than 100 people, with acts including Badly Drawn Boy, newcomers Scouting for Girls and a rare acoustic set by Faithless.
The performances will be made available on the web and, eventually, television.
I find far more articles about sponsorship in the British press than in the American press, which has been the case for quite awhile. For as much sponsorship as you see in the US. there still seems to be more focus on sponsorship there than here.
BBC NEWS, 6/21/07| Why just a logo is now a no-no: "Existing users could receive a barcode by text message, allowing them access to a VIP area with a bar and music.
Other offers included text messages containing news and gossip from backstage, while onstage performances were recorded and have been made available via mobile on the network's Wap site, advertised under the banner, 'Relive it'.
'It has gone beyond mere badging an event with our logo. We want to drive an emotional connection with our customers,' said the network's head of sponsorship, Amanda Jennings.
'I hope that everyone had a good time at Wireless, but that if you were an O2 customer, that you had an extra good time.'...
Digital consultant Ben Carter says that a brand can only bring its sponsorship to life by encouraging the customer to engage with it.
'Having exclusive content is a must-have,' he says.
'Signing up to sponsor a festival, concert or act is a very good way of securing the content that your customers want.'
Creating such 'exciting, original' content is a priority for broadband provider Tiscali UK, says its head of entertainment Rob Andrews.
It broadcast sets from the main stage at the Wireless Festival live on its website, which was viewed by 'thousands'.
And it also held 15 backstage gigs, each for less than 100 people, with acts including Badly Drawn Boy, newcomers Scouting for Girls and a rare acoustic set by Faithless.
The performances will be made available on the web and, eventually, television.
Arts as a way to attract tourists
This article mentions a number of ways Vancouver artists groups are trying to boost the city's arts visibility among tourists.
Arts Features | Artists court tourist dollars | Straight.com Vancouver, 6/21/07: Sarah Kirby Yung, director of marketing and corporate sponsorship with Tourism Vancouver, insists that's happening. "It [culture] is a very important part of selling the destination," she says. For the past five years, she notes, Tourism Vancouver has operated Tickets Tonight, a community box office that offers half-price, day-of tickets. The agency also offers a variety of packages to visitors that can include discount tickets to cultural events in the city. Organizations have to sign on to be involved in those promotions, and a Tourism Vancouver membership is required to get in on the agency's direct-to-consumer marketing. That involves a fee, but Kirby Yung says the agency does not publicize its membership rates....
With his limited marketing budget, [Howard Jang, general manager of the Arts Club Theatre] has had to be resourceful in attracting visitors. For example, the Arts Club operates a concierge program with 78 local hotels: in exchange for directing visitors to performances at the theatre, concierges pick up a small commission and are invited to attend shows for free. It's a tactic borrowed from the local restaurant industry–which, incidentally, is enjoying a worldwide reputation."
Arts Features | Artists court tourist dollars | Straight.com Vancouver, 6/21/07: Sarah Kirby Yung, director of marketing and corporate sponsorship with Tourism Vancouver, insists that's happening. "It [culture] is a very important part of selling the destination," she says. For the past five years, she notes, Tourism Vancouver has operated Tickets Tonight, a community box office that offers half-price, day-of tickets. The agency also offers a variety of packages to visitors that can include discount tickets to cultural events in the city. Organizations have to sign on to be involved in those promotions, and a Tourism Vancouver membership is required to get in on the agency's direct-to-consumer marketing. That involves a fee, but Kirby Yung says the agency does not publicize its membership rates....
With his limited marketing budget, [Howard Jang, general manager of the Arts Club Theatre] has had to be resourceful in attracting visitors. For example, the Arts Club operates a concierge program with 78 local hotels: in exchange for directing visitors to performances at the theatre, concierges pick up a small commission and are invited to attend shows for free. It's a tactic borrowed from the local restaurant industry–which, incidentally, is enjoying a worldwide reputation."
Thursday, June 21, 2007
Where to put some music venues
I've started to do a bit of research for a project I am working on. And I just discovered this. It's a good place to find info on what Denver urban areas are being redeveloped.
DenverInfill.com: Downtown Denver and Its Urban Infill and Redevelopment Projects
DenverInfill.com: Downtown Denver and Its Urban Infill and Redevelopment Projects
Why have a festival
For all of those musicians who have wondered if SXSW, MOBfest, and similar festivals are good career moves, here's an opinion.
Chicagoist: MOBfest ... BLAHfest.: "Their mission statement, according to the MOBfest website, is: 'We are a three-day music business seminar focused on building a buzz, aiding in awareness, and peaking the interest of the music business community ... Networking, schmoozing and simply attending the panels can be a great way to make new contacts, secure current connections and start new relationships.'
... none of the above really happens. Instead we get the usual suspects within the local scene congratulating each other, attending shows at only the largest venues, and largely ignoring the majority of the schedule. And why wouldn't they? Even we, who are neck deep in the local scene, are hard pressed to recognize more than a smattering of bands on their schedule....
In the end we are withdrawing our support for MOBfest because we honestly can't see how the whole thing is helping anyone out, except for possibly the bands being managed by the folks at the top of the MOBfest food chain, and even most of them can't seem to get signed to any sort of sustainable career .... It's not as egregious as, say, Emergenza, when it comes to taking advantage of the naivety of hopeful bands, but they have no problem spreading the belief that by associating yourself with MOBfest you still have a chance a label will walk into their show and sign them on the spot."
Chicagoist: MOBfest ... BLAHfest.: "Their mission statement, according to the MOBfest website, is: 'We are a three-day music business seminar focused on building a buzz, aiding in awareness, and peaking the interest of the music business community ... Networking, schmoozing and simply attending the panels can be a great way to make new contacts, secure current connections and start new relationships.'
... none of the above really happens. Instead we get the usual suspects within the local scene congratulating each other, attending shows at only the largest venues, and largely ignoring the majority of the schedule. And why wouldn't they? Even we, who are neck deep in the local scene, are hard pressed to recognize more than a smattering of bands on their schedule....
In the end we are withdrawing our support for MOBfest because we honestly can't see how the whole thing is helping anyone out, except for possibly the bands being managed by the folks at the top of the MOBfest food chain, and even most of them can't seem to get signed to any sort of sustainable career .... It's not as egregious as, say, Emergenza, when it comes to taking advantage of the naivety of hopeful bands, but they have no problem spreading the belief that by associating yourself with MOBfest you still have a chance a label will walk into their show and sign them on the spot."
Monday, June 18, 2007
The importance of critics to the arts community
Each Friday and Sunday, as I sit down with the Denver Post, I am grateful for all the arts coverage: the theater reviews, the art show reviews, the architecture discussions. I also like thumbing through the arts section in Westword.
I am much more likely to go to a music show than a play, but it makes me feel good that local media covers all aspects of the local arts community because it gives me a sense of being in an exciting place.
Below is an excerpt of an article written a Minneapolis actor who talks about how important critics were to his career and how they aren't covering the smaller venues these days.
I suppose that if art criticism in print declines or disappears, the Internet will take up the slack. Lots of bloggers are happy to offer their opinions. But still, there is something rewarding in seeing local papers devote space to the arts. Plus by being in the paper, these events are visible to people who are casually thumbing through the pages, whereas they might not see them in niche online sites.
Michael Kennedy: The fading away of the critics is a blow to us all - Minneapolis Star Tribune 6/18/07: "These days, all we seem to hear about is the Guthrie, recently so overpriced that nobody can afford to go. The Fitzgerald may as well be the only arts organization in this city -- if you listen to MPR. As far as art goes, we have the Walker and Minneapolis Institute of Arts. When the folks in the media want to get funky, they mention Theatre de la Jeune Lune, the Children's Theatre Company or the Weisman.
Yes, we have the smaller venues, but do you hear about them very much? Not really. We hear more about television shows, movies, traveling Broadway shows and what to wear to a nightclub than we do about the fine arts in the Twin Cities.
This city is in a quiet artistic crisis. With all of our small theaters, small galleries, music groups, dance companies and literary venues, we should be getting clear, serious criticism. We should have people working full time covering all of the theaters they can seven nights a week. There are tons of art galleries that most people have never heard of. Musical groups are everywhere.
We need the critics. Their opinions are one thing, but the fact that they can go into these small places, consider these artists and watch these performances says that the arts are a serious part of this community."
I am much more likely to go to a music show than a play, but it makes me feel good that local media covers all aspects of the local arts community because it gives me a sense of being in an exciting place.
Below is an excerpt of an article written a Minneapolis actor who talks about how important critics were to his career and how they aren't covering the smaller venues these days.
I suppose that if art criticism in print declines or disappears, the Internet will take up the slack. Lots of bloggers are happy to offer their opinions. But still, there is something rewarding in seeing local papers devote space to the arts. Plus by being in the paper, these events are visible to people who are casually thumbing through the pages, whereas they might not see them in niche online sites.
Michael Kennedy: The fading away of the critics is a blow to us all - Minneapolis Star Tribune 6/18/07: "These days, all we seem to hear about is the Guthrie, recently so overpriced that nobody can afford to go. The Fitzgerald may as well be the only arts organization in this city -- if you listen to MPR. As far as art goes, we have the Walker and Minneapolis Institute of Arts. When the folks in the media want to get funky, they mention Theatre de la Jeune Lune, the Children's Theatre Company or the Weisman.
Yes, we have the smaller venues, but do you hear about them very much? Not really. We hear more about television shows, movies, traveling Broadway shows and what to wear to a nightclub than we do about the fine arts in the Twin Cities.
This city is in a quiet artistic crisis. With all of our small theaters, small galleries, music groups, dance companies and literary venues, we should be getting clear, serious criticism. We should have people working full time covering all of the theaters they can seven nights a week. There are tons of art galleries that most people have never heard of. Musical groups are everywhere.
We need the critics. Their opinions are one thing, but the fact that they can go into these small places, consider these artists and watch these performances says that the arts are a serious part of this community."
Sunday, June 17, 2007
Environmentally friendly festivals
Summer of Love's spirit blossoming in green movement | Reuters/Billboard, 6/16/07: "Willie Nelson's biodiesel company (we predict) will influence virtually every tour to travel green within five years.
MusicMatters introduced 'carbon offsetting,' planting trees and supporting alternative sustainable energy sources equal to your sins of emission.
The Vans Warped tour is using solar-powered sound. Bonnaroo, Coachella and Lollapalooza give prizes for recycling. The Hove Festival in Norway has pledged 100 percent carbon neutrality. The Wakarusa Festival will include a sustainability symposium. And on it goes."
MusicMatters introduced 'carbon offsetting,' planting trees and supporting alternative sustainable energy sources equal to your sins of emission.
The Vans Warped tour is using solar-powered sound. Bonnaroo, Coachella and Lollapalooza give prizes for recycling. The Hove Festival in Norway has pledged 100 percent carbon neutrality. The Wakarusa Festival will include a sustainability symposium. And on it goes."
Friday, June 15, 2007
Events and music in Vail
Events and music have been used to draw visitors to Vail and Summit County during non-skiing months.
Summit Daily News -- High Country Business Review, 6/11/07 High Country summer keeps sizzlin’- "In Vail, the Ford Amphitheatre acted as a marketing tool as well, when it opened in 1987 with 12 shows. This year, it hosts 74. The BRAVO! music festival also began in 1987, and the Vail International Dance Festival followed a year later.
'Those three things have been an unbelievable influx of changing how the summer guest looks at Vail,' said Ceil Folz, president of the Vail Valley Foundation. 'It really just became a concentrated effort in the late ‘80s and reached a high point (of focus) between 1988 and 1993.'
In 1999, voters passed a 1.4 percent lodging tax to market Vail between May and October. Since then, revenue has increased at a steady pace, to $1.9 million, said Kelli McDonald, economic development manager for the town of Vail.
'We’ve seen more businesses remaining open in between seasons. There’s more business coming in May. Prior to marketing, we didn’t see it,' McDonald said, adding that the effort focuses not only on drawing individuals, but also groups.
The town has a separate budget of $750,000 for event seed money, from the Teva Mountain Games to the Fourth of July parade and Oktoberfest."
Summit Daily News -- High Country Business Review, 6/11/07 High Country summer keeps sizzlin’- "In Vail, the Ford Amphitheatre acted as a marketing tool as well, when it opened in 1987 with 12 shows. This year, it hosts 74. The BRAVO! music festival also began in 1987, and the Vail International Dance Festival followed a year later.
'Those three things have been an unbelievable influx of changing how the summer guest looks at Vail,' said Ceil Folz, president of the Vail Valley Foundation. 'It really just became a concentrated effort in the late ‘80s and reached a high point (of focus) between 1988 and 1993.'
In 1999, voters passed a 1.4 percent lodging tax to market Vail between May and October. Since then, revenue has increased at a steady pace, to $1.9 million, said Kelli McDonald, economic development manager for the town of Vail.
'We’ve seen more businesses remaining open in between seasons. There’s more business coming in May. Prior to marketing, we didn’t see it,' McDonald said, adding that the effort focuses not only on drawing individuals, but also groups.
The town has a separate budget of $750,000 for event seed money, from the Teva Mountain Games to the Fourth of July parade and Oktoberfest."
AEG's Plans for Denver
This article is about promoter Chuch Morris becoming the head of AEG Live's Rocky Mountain office. He left Live Nation to do this and brought several others with him. And before that, he ran his own promotion company.
One of the big local stories has been the venues that Live Nation and AEG have been booking. And the fact that AEG wants to put in yet another venue.
Rocky Mountain News - Denver and Colorado's reliable source for breaking news, sports and entertainment: Other Business: "With a changing concert demographic that is skewing to midsize venues, AEG looks to build a 6,000-seat amphitheater with a retractable roof for year-round use.
'What they're doing is the future of our business,' Morris said. 'We'll only build a building that is mind-blowing and makes sense economically. If that doesn't happen, we won't be building. That's going to be one of my many challenges.'
AEG has built buildings and entertainment districts around the world, from the Staples Center in Los Angeles to the new Wembley Stadium in England.
'If the right location happens and the right finances happen,' Denver will get a new venue, Morris said. 'If I can't create something that's never been done before, we're not going to do it. If I can, I'd love to be part of it.'"
One of the big local stories has been the venues that Live Nation and AEG have been booking. And the fact that AEG wants to put in yet another venue.
Rocky Mountain News - Denver and Colorado's reliable source for breaking news, sports and entertainment: Other Business: "With a changing concert demographic that is skewing to midsize venues, AEG looks to build a 6,000-seat amphitheater with a retractable roof for year-round use.
'What they're doing is the future of our business,' Morris said. 'We'll only build a building that is mind-blowing and makes sense economically. If that doesn't happen, we won't be building. That's going to be one of my many challenges.'
AEG has built buildings and entertainment districts around the world, from the Staples Center in Los Angeles to the new Wembley Stadium in England.
'If the right location happens and the right finances happen,' Denver will get a new venue, Morris said. 'If I can't create something that's never been done before, we're not going to do it. If I can, I'd love to be part of it.'"
Thursday, June 14, 2007
Music Festival Sponsor Promotions
This article reads like a press release, but does give some ideas of what sponsors do at festivals to maximize their investments/associations.
::UTalk Marketing, 6/12/07:: Analysis: Experiential Marketing at Music Festivals: "Music festivals are hot property for FMCG and telephony brands. You’ve got access to an audience of thousands of predominately youthful and early-adoptive consumers with a high-disposable income.
The other bonus is they’re in a relaxed and fun frame of mind meaning they’re all the more receptive to brand trial.
Get a brand in their hands, get consumers to associate it with a good and pleasant experience and chances are they’ll try it again following the event. It’s not rocket science.
So who’s getting busy at festivals? What are they doing and why?
At O2 Wireless London Festival this weekend the principal sponsor will be erecting a bubble structure, working with experiencial agency, Sledge.
It’s designed to treat O2 customers to an experience above and beyond the main festival environment. The area will only be accessible via a text message barcode mechanic, available only to O2 customers. Comfortable tiered seating areas and deckchairs will give a great view of the stage.
Once within the bubble structure, customers will be treated to a fully stocked bar, DJ’s and live acts playing on rotation and seating areas where lucky O2 customers could enjoy the hi-tech, exclusive environment and entertainment.
External minibubble structures will offer consumers further entertainment in the form of starring in a pop video and free CD giveaways with consumers’ photos being used to create the cover insert.
The O2 VIP area, located directly behind the main stage, will offer selected guests a stylish and tranquil area to see and be seen....
In a bid to associate themselves with the greatest legends in rock music, Ray-Ban are presenting ‘Never Hide’, an area offering a VIP retreat from the main stage action.
There’s a lounge to chill out in, a garden and a Studio where a photographer and professional stylist will help festivalgoers recreate their own iconic rock picture
The brand is also offering 150 people attending to exchange their old sunglasses for new pair of Ray-Bans.
Meanwhile at the same festival the Fender Experience is giving the public a chance to get up close to the worlds most famous and recognised guitars.
There’ll be tutors on hand for beginners to get them playing their first chords on the electric guitar!
Games company, Ubisoft will be at Wireless and Creamfields this year with a new and unique gaming truck hosting 2 x 68 plasma screens....
As the ‘Official Beer of Live Nation’, Tuborg will be presenting stage 3 at the 02 Wireless Festival London, showcasing a wide range of musical talent.
The brand is also taking advantage of social networking by taking photos of festival-goers and posting them at myspace.com/Tuborguk.
Tuborg has also set up a dedicated website to promote their association with music events this summer, tuborgmusic.co.uk
Broadband, telephone and media company, Tiscali, will be webcasting acts from the main stage of the show in Hyde Park as the official internet partner for the O2 Wireless Festival.
Visitors will be able to view the exclusive webcast content on the official Tiscali festival microsite tiscali.co.uk/wireless over the course of the festival and exclusive edited sessions will be made available after the event.
The brand will also be hosting an exclusive Sessions Tent backstage in the festival's VIP area....
::UTalk Marketing, 6/12/07:: Analysis: Experiential Marketing at Music Festivals: "Music festivals are hot property for FMCG and telephony brands. You’ve got access to an audience of thousands of predominately youthful and early-adoptive consumers with a high-disposable income.
The other bonus is they’re in a relaxed and fun frame of mind meaning they’re all the more receptive to brand trial.
Get a brand in their hands, get consumers to associate it with a good and pleasant experience and chances are they’ll try it again following the event. It’s not rocket science.
So who’s getting busy at festivals? What are they doing and why?
At O2 Wireless London Festival this weekend the principal sponsor will be erecting a bubble structure, working with experiencial agency, Sledge.
It’s designed to treat O2 customers to an experience above and beyond the main festival environment. The area will only be accessible via a text message barcode mechanic, available only to O2 customers. Comfortable tiered seating areas and deckchairs will give a great view of the stage.
Once within the bubble structure, customers will be treated to a fully stocked bar, DJ’s and live acts playing on rotation and seating areas where lucky O2 customers could enjoy the hi-tech, exclusive environment and entertainment.
External minibubble structures will offer consumers further entertainment in the form of starring in a pop video and free CD giveaways with consumers’ photos being used to create the cover insert.
The O2 VIP area, located directly behind the main stage, will offer selected guests a stylish and tranquil area to see and be seen....
In a bid to associate themselves with the greatest legends in rock music, Ray-Ban are presenting ‘Never Hide’, an area offering a VIP retreat from the main stage action.
There’s a lounge to chill out in, a garden and a Studio where a photographer and professional stylist will help festivalgoers recreate their own iconic rock picture
The brand is also offering 150 people attending to exchange their old sunglasses for new pair of Ray-Bans.
Meanwhile at the same festival the Fender Experience is giving the public a chance to get up close to the worlds most famous and recognised guitars.
There’ll be tutors on hand for beginners to get them playing their first chords on the electric guitar!
Games company, Ubisoft will be at Wireless and Creamfields this year with a new and unique gaming truck hosting 2 x 68 plasma screens....
As the ‘Official Beer of Live Nation’, Tuborg will be presenting stage 3 at the 02 Wireless Festival London, showcasing a wide range of musical talent.
The brand is also taking advantage of social networking by taking photos of festival-goers and posting them at myspace.com/Tuborguk.
Tuborg has also set up a dedicated website to promote their association with music events this summer, tuborgmusic.co.uk
Broadband, telephone and media company, Tiscali, will be webcasting acts from the main stage of the show in Hyde Park as the official internet partner for the O2 Wireless Festival.
Visitors will be able to view the exclusive webcast content on the official Tiscali festival microsite tiscali.co.uk/wireless over the course of the festival and exclusive edited sessions will be made available after the event.
The brand will also be hosting an exclusive Sessions Tent backstage in the festival's VIP area....
San Antonio Music Venues
San Antonio has several new music venue offerings: a ranch, a cowboy bar, and an amphitheater.
Area's music-venue options grow by three - MySA.com: Music, 6/12/07
Area's music-venue options grow by three - MySA.com: Music, 6/12/07
Branding Detroit
Here's more about Detroit's branding campaign. Commercials will run on MTV and the Comedy Channel.
Detroit is hip, you should visit, ads say - Detroit Free Press, 6/14/07: "The Detroit Metro Convention & Visitors Bureau announced plans Wednesday to market the area to young adults in Grand Rapids and Cleveland, using three TV commercials touting Detroit as a hip and exciting destination.
For the first time, the organization is trying to attract more visitors to southeastern Michigan by going after 21- to 34-year-olds who live within a 5-hour drive of Detroit. Most of the visitors who come to the area for leisure trips live in western Michigan and Cleveland....
Marketing research found that Detroit's auto attractions, casinos, music and sports activities particularly appeal to adults in that age group. And though they spend on average about 25% less on a typical trip than older adults, they travel more frequently."
Detroit is hip, you should visit, ads say - Detroit Free Press, 6/14/07: "The Detroit Metro Convention & Visitors Bureau announced plans Wednesday to market the area to young adults in Grand Rapids and Cleveland, using three TV commercials touting Detroit as a hip and exciting destination.
For the first time, the organization is trying to attract more visitors to southeastern Michigan by going after 21- to 34-year-olds who live within a 5-hour drive of Detroit. Most of the visitors who come to the area for leisure trips live in western Michigan and Cleveland....
Marketing research found that Detroit's auto attractions, casinos, music and sports activities particularly appeal to adults in that age group. And though they spend on average about 25% less on a typical trip than older adults, they travel more frequently."
Bumbershoot and AEG
I thought I posted this when it first came out, but looking through my blog, I couldn't find it. At any rate, here it is. AEG has been moving into the festival biz, most recently getting involved with the Monolith Festival at Red Rocks.
Bumbershoot hopes new partnership will bring big headliners: Local News: The Seattle Times, 2/20/07: "One Reel, the non-profit arts organization that produces Bumbershoot, has announced a five-year deal with national concert promoter AEG Live, hoping it will bring more headline acts to the annual arts festival at the Seattle Center.
Under the agreement, AEG will share the financial risk (and profit) of booking music headliners, help secure sponsors and become an underwriter of the three-day fall festival. It is unclear what effect, if any, the new relationship will have on ticket prices....
Bumbershoot will remain independent and is not merging with or being 'bought out' by AEG, nor will AEG be billed as a title sponsor — as in 'AEG presents,' Scoleri said.
'One Reel is still going to book Bumbershoot,' said Scoleri.
As the concert business has consolidated, it has become more difficult for annual festivals to compete for major rock acts. In the past, Bumbershoot has booked artists on the way up or established acts without a recent popular album. One Reel also enjoyed extra booking clout when it presented the Summer Nights concert series. But that series was sidetracked last year when a lawsuit prevented it from being held at Gas Works Park and there are no plans to hold the concerts in Seattle this summer.
With a promoter such as AEG sharing the financial risk — and the profit — major pop music acts may become more available....
Bumbershoot turned a profit last year of $200,000, even after shortening the festival from four days to three. It drew about about 40,000 people a day, according to estimates. In 2005, because of bad weather, the festival lost close to $300,000.
Bumbershoot hopes new partnership will bring big headliners: Local News: The Seattle Times, 2/20/07: "One Reel, the non-profit arts organization that produces Bumbershoot, has announced a five-year deal with national concert promoter AEG Live, hoping it will bring more headline acts to the annual arts festival at the Seattle Center.
Under the agreement, AEG will share the financial risk (and profit) of booking music headliners, help secure sponsors and become an underwriter of the three-day fall festival. It is unclear what effect, if any, the new relationship will have on ticket prices....
Bumbershoot will remain independent and is not merging with or being 'bought out' by AEG, nor will AEG be billed as a title sponsor — as in 'AEG presents,' Scoleri said.
'One Reel is still going to book Bumbershoot,' said Scoleri.
As the concert business has consolidated, it has become more difficult for annual festivals to compete for major rock acts. In the past, Bumbershoot has booked artists on the way up or established acts without a recent popular album. One Reel also enjoyed extra booking clout when it presented the Summer Nights concert series. But that series was sidetracked last year when a lawsuit prevented it from being held at Gas Works Park and there are no plans to hold the concerts in Seattle this summer.
With a promoter such as AEG sharing the financial risk — and the profit — major pop music acts may become more available....
Bumbershoot turned a profit last year of $200,000, even after shortening the festival from four days to three. It drew about about 40,000 people a day, according to estimates. In 2005, because of bad weather, the festival lost close to $300,000.
Radio at Bonnaroo
A good article on the radio set-up at Bonnaroo. It might give other festivals some ideas. Read the entire article, because I have only quoted parts of it here.
Nashville Scene, 6/14/07 - Radio Daze: "...roughly 30 Bonnaroo acts will record three-song sets and give interviews that will be broadcast throughout the weekend to about 30 of the country’s biggest rock stations, including KFOG (San Francisco), DAVE FM (Atlanta) and WXRT (Chicago), and in Nashville, on WRLT Lightning 100. It’s all part of Bonnaroo’s unique approach to radio outreach, designed by Asheville, N.C., music marketing company Music Allies....
Imagine a reality show called Build a Studio. That’s how carpenter David Gehrke describes the task ahead of him—building the recording and radio studios essentially from scratch. 'Every year they throw changes in,' says Gehrke, drummer for The Bees (U.S.) and co-owner of Niko’s bar in East Nashville. 'This year, I’m doing a proper control-room window. I’m really polishing a turd...trying to make a room that is in no way, shape or form acoustically fit for recording, trying to make it sound, look and feel good.'...
According to Gehrke, the setup is just as much a boon for the artists and radio stations as it is for Bonnaroo. “When you’re on the road pushing a record, you usually have to do a bunch of radio interviews, and it’s exhausting. Here, in 20 minutes, they can do one interview that’ll go to the biggest stations all over the country, then they can go watch the other bands. The artists love us. And the stations have access to all these artists in one space, and can reap the benefits of each others’ questions.'...
These segments will also be broadcast on Radio Bonnaroo, which airs 24/7 to the campgrounds and surrounding area for the entire festival. 'We lease a local radio station [Manchester’s Fantasy 101.5] for five days and put a frequency on the air,' says [Music Allies CEO Sean] O’Connell. 'And we have speakers all throughout the campground. When you’re crawling into your tent at 5:30 in the morning after seeing the Flaming Lips do a late-night set, and that hot sun is starting to come up on the horizon, you may hear Brian Eno holding a note for 20 minutes. We want this to be part of your dreamscape. Nobody has the luxury to program a radio station like that.'"
Nashville Scene, 6/14/07 - Radio Daze: "...roughly 30 Bonnaroo acts will record three-song sets and give interviews that will be broadcast throughout the weekend to about 30 of the country’s biggest rock stations, including KFOG (San Francisco), DAVE FM (Atlanta) and WXRT (Chicago), and in Nashville, on WRLT Lightning 100. It’s all part of Bonnaroo’s unique approach to radio outreach, designed by Asheville, N.C., music marketing company Music Allies....
Imagine a reality show called Build a Studio. That’s how carpenter David Gehrke describes the task ahead of him—building the recording and radio studios essentially from scratch. 'Every year they throw changes in,' says Gehrke, drummer for The Bees (U.S.) and co-owner of Niko’s bar in East Nashville. 'This year, I’m doing a proper control-room window. I’m really polishing a turd...trying to make a room that is in no way, shape or form acoustically fit for recording, trying to make it sound, look and feel good.'...
According to Gehrke, the setup is just as much a boon for the artists and radio stations as it is for Bonnaroo. “When you’re on the road pushing a record, you usually have to do a bunch of radio interviews, and it’s exhausting. Here, in 20 minutes, they can do one interview that’ll go to the biggest stations all over the country, then they can go watch the other bands. The artists love us. And the stations have access to all these artists in one space, and can reap the benefits of each others’ questions.'...
These segments will also be broadcast on Radio Bonnaroo, which airs 24/7 to the campgrounds and surrounding area for the entire festival. 'We lease a local radio station [Manchester’s Fantasy 101.5] for five days and put a frequency on the air,' says [Music Allies CEO Sean] O’Connell. 'And we have speakers all throughout the campground. When you’re crawling into your tent at 5:30 in the morning after seeing the Flaming Lips do a late-night set, and that hot sun is starting to come up on the horizon, you may hear Brian Eno holding a note for 20 minutes. We want this to be part of your dreamscape. Nobody has the luxury to program a radio station like that.'"
Wednesday, June 13, 2007
The Family Dog in Denver
The Family Dog was famous for bringing so many 1960s acts to Denver (many of the collectable posters from that era were for shows there) and for giving Barry Fey, Denver's most famous rock promoter, his start.
My college roommate worked at the Family Dog and I used to go there. The only two shows I can remember were the Doors and Canned Heat (the night they got busted for the Denver police).
Denver's Family Dog had roots in, like, the Summer of Love RockyMountain News, 6/8/07: "It was 40 years ago on June 7, 1967, that Fey flew to San Francisco to meet with the Family Dog folks in what would mark the genesis of The Family Dog concert venue here at 1601 W. Evans Ave.
Fey was looking for a place to feature original music when he contacted Bob Cohen with the Family Dog. Cohen liked the tape of local band Eighth Penny Matter so much that he flew from San Francisco to Denver during the Summer of Love.
'That's how the Family Dog was born,' Fey said. 'That was the most important day in Colorado music history.'
Denver's Family Dog opened with Big Brother and the Holding Company, featuring Janis Joplin. Others who graced the stage were Blue Cheer, Quicksilver Messenger Service, The Grateful Dead, The Doors and Buffalo Springfield.
The club, which never made any money, in part because tickets were $3.50, eventually morphed into The Dog until it closed with the return of Joplin in June 1968. 'The week before we closed Bobby Kennedy was shot,' Fey said."
My college roommate worked at the Family Dog and I used to go there. The only two shows I can remember were the Doors and Canned Heat (the night they got busted for the Denver police).
Denver's Family Dog had roots in, like, the Summer of Love RockyMountain News, 6/8/07: "It was 40 years ago on June 7, 1967, that Fey flew to San Francisco to meet with the Family Dog folks in what would mark the genesis of The Family Dog concert venue here at 1601 W. Evans Ave.
Fey was looking for a place to feature original music when he contacted Bob Cohen with the Family Dog. Cohen liked the tape of local band Eighth Penny Matter so much that he flew from San Francisco to Denver during the Summer of Love.
'That's how the Family Dog was born,' Fey said. 'That was the most important day in Colorado music history.'
Denver's Family Dog opened with Big Brother and the Holding Company, featuring Janis Joplin. Others who graced the stage were Blue Cheer, Quicksilver Messenger Service, The Grateful Dead, The Doors and Buffalo Springfield.
The club, which never made any money, in part because tickets were $3.50, eventually morphed into The Dog until it closed with the return of Joplin in June 1968. 'The week before we closed Bobby Kennedy was shot,' Fey said."
Gangs and free concerts
Denver has lots of free concerts. The City Park Jazz series has been going on for 21 years and draws as many as 10,000 people to hear the weekly Sunday concerts. It's been considered a family-friendly event.
However, this year there are reports that gang members are using the event to show their presence.
More police to patrol at jazz series - Rocky Mountain News, 6/13/07: "Denver resident Dana Alexander has crossed the City Park Jazz series off his family’s calendar this year. ...
During the first two weekends this month, gang activity tarnished the popular jazz series, a normally peaceful and family-friendly event."
However, this year there are reports that gang members are using the event to show their presence.
More police to patrol at jazz series - Rocky Mountain News, 6/13/07: "Denver resident Dana Alexander has crossed the City Park Jazz series off his family’s calendar this year. ...
During the first two weekends this month, gang activity tarnished the popular jazz series, a normally peaceful and family-friendly event."
Colorado Music Scene History
Right now is probably the best time ever in the history of Denver rock. There are a ton of great local bands on the scene. And the major label success of The Fray has finally gotten the labels (what is left of them) to actively look at Denver bands to sign.
This is a look at Colorado music from about 1980 to 2000. It's not comprehesive (because no person could have been everywhere and involved with every band), but it's one man's look
The Colorado Music Scene - History
This is a look at Colorado music from about 1980 to 2000. It's not comprehesive (because no person could have been everywhere and involved with every band), but it's one man's look
The Colorado Music Scene - History
Tuesday, June 12, 2007
Festival VIP passes
This article mentions that there are a group of affluent music fans who want to attend festivals, but want to minimize the hassles involved. Offer them good parking, clean bathrooms, a nice place to stay, a VIP bar, and they will pay for those extras.
Older, wealthier fans go VIP at music festivals - Music - MSNBC.com, 6/12/07: "... access to a real bathroom, enjoy free and discounted food and drinks and then he’ll be driven to a hotel 30 miles away from the festival site in Tennessee....
Bonnaroo draws 80,000 people to a farm in rural Manchester, 65 miles south of Nashville, but not all of them want to sweat through four days of music under sometimes inclement weather, crammed into the crowded tent city....
At Lollapalooza in Chicago’s Grant Park, private cabanas on the shore of Lake Michigan cost more than $32,500 for a party of 30. Air-conditioned viewing stands were available for the New Orleans Jazz and Heritage Festival and Bonnaroo artists will perform a private show for VIP guests on opening night Thursday."
Older, wealthier fans go VIP at music festivals - Music - MSNBC.com, 6/12/07: "... access to a real bathroom, enjoy free and discounted food and drinks and then he’ll be driven to a hotel 30 miles away from the festival site in Tennessee....
Bonnaroo draws 80,000 people to a farm in rural Manchester, 65 miles south of Nashville, but not all of them want to sweat through four days of music under sometimes inclement weather, crammed into the crowded tent city....
At Lollapalooza in Chicago’s Grant Park, private cabanas on the shore of Lake Michigan cost more than $32,500 for a party of 30. Air-conditioned viewing stands were available for the New Orleans Jazz and Heritage Festival and Bonnaroo artists will perform a private show for VIP guests on opening night Thursday."
Monday, June 11, 2007
The experimental music scene in different countries
A discussion of experimental music and jazz in Philadelphia, France, and the rest of Europe.
The Paris Experiment :: Music :: Philadelphia City Paper, 6/7/07: "[Jack] Wright finds a similarity in the explosion of young, enthusiastic improvisers in France, playing anywhere they can, from established venues to house shows, similar to what's happening now in Philadelphia, with one important exception — the makeup of the audience. 'The audiences that I experienced there were pretty much mixed, with children and older people. It wasn't a 'scene' audience like we have in Philadelphia. There was always a lot of curiosity because this music was completely new for these people.'"
The Paris Experiment :: Music :: Philadelphia City Paper, 6/7/07: "[Jack] Wright finds a similarity in the explosion of young, enthusiastic improvisers in France, playing anywhere they can, from established venues to house shows, similar to what's happening now in Philadelphia, with one important exception — the makeup of the audience. 'The audiences that I experienced there were pretty much mixed, with children and older people. It wasn't a 'scene' audience like we have in Philadelphia. There was always a lot of curiosity because this music was completely new for these people.'"
Concerts in the Apple Music Store
Leaving New York: Goodbye Apple Store And So Long SoHo - Gawker, 6/11/07: "I'd of course heard of the Apple Store having concerts. But since I'm usually only in Manhattan from 9 to 6, Monday through Friday, I never actually happen upon these things. So this was the first time I'd seen a concert at the Apple Store, and it was totally a spectacle. There weren't just bouncers, there were security people there. The people who were there for the concert looked different (younger) than the people who were there to shop. Some hapless dude looking for a laptop bag had made his way upstairs, and the security force was all like making that direct pointing and 'outta-there' thumb motion usually reserved for mosh pits. A security guy at the top of the stairs escorted the hapless geek downstairs.
The clerk returned with my screen cleaner and rung me up from a handheld, wireless register (had not done this before, must say it was pretty cool). While she was doing this, I looked to the front door of the store. Owen Wilson and a friend (or dealer, perhaps) were being shown in and were heading right upstairs to the show.
So when the Apple Store has a concert, not only do they have bouncers and security staff, they've even got a VIP protocol. I was reminded of last summer, when I saw Lansing-Dreiden play at the 'Starbucks Salon' (also in Soho, just down the street from the Apple Store). I remember when I went to shows at venues that didn't sell grande chais and laptop screen cleaners. Surely those kinds of places still exist, and surely that's where new bands play, and where new music fans go to see them. Those are the kinds of places I went seven years ago, when I first moved here, and surely they still exist."
The clerk returned with my screen cleaner and rung me up from a handheld, wireless register (had not done this before, must say it was pretty cool). While she was doing this, I looked to the front door of the store. Owen Wilson and a friend (or dealer, perhaps) were being shown in and were heading right upstairs to the show.
So when the Apple Store has a concert, not only do they have bouncers and security staff, they've even got a VIP protocol. I was reminded of last summer, when I saw Lansing-Dreiden play at the 'Starbucks Salon' (also in Soho, just down the street from the Apple Store). I remember when I went to shows at venues that didn't sell grande chais and laptop screen cleaners. Surely those kinds of places still exist, and surely that's where new bands play, and where new music fans go to see them. Those are the kinds of places I went seven years ago, when I first moved here, and surely they still exist."
Selling music venues for real estate value
Live Nation has been trying to sell off some of its music venues -- primarily the ones that are worth more as real estate than as a venue. But there have no offers for the Verizon Wireless Music Center in Indianapolis.
The beat goes on at Verizon center -- Indianapolis Business Journal, 6/9/07: Live Nation is interested in selling only for redevelopment, not to another promoter, said Gary Bongiovanni, editor in chief of Pollstar, a trade publication covering the concert industry. Bongiovanni expects the company will be willing to wait to get its asking price, which local brokers say is about $100,000-per-acre too optimistic.
So far, Live Nation has sold an amphitheater in Nashville, Tenn., and is exploring the sale of others in Columbus, Ohio, and Tinley Park, Ill. In a phone message, a corporate spokesman said no transaction has taken place for Verizon Wireless Music Center in Noblesville. A local CB Richard Ellis broker who is marketing the property did not return phone messages.
'Maybe they keep Indianapolis because they can’t find anybody to come up with the money,' Bongiovanni said.
The sale strategy is designed to generate cash for a company that has struggled since its 2005 separation from San Antonio-based Clear Channel. Another reason is a changing concert industry. These days, fewer acts sell enough tickets to justify shows at large venues such as Verizon, which has 6,000 reserved seats and room for up to 18,000 on the lawn.
Amphitheaters also provide only seasonal revenue and don’t offer the tiered, high price seating potential of enclosed venues. Smaller concert venues are in, and Live Nation is betting on that business. In Indianapolis, Live Nation manages shows at the Murat Centre and the Lawn at White River State Park."
The beat goes on at Verizon center -- Indianapolis Business Journal, 6/9/07: Live Nation is interested in selling only for redevelopment, not to another promoter, said Gary Bongiovanni, editor in chief of Pollstar, a trade publication covering the concert industry. Bongiovanni expects the company will be willing to wait to get its asking price, which local brokers say is about $100,000-per-acre too optimistic.
So far, Live Nation has sold an amphitheater in Nashville, Tenn., and is exploring the sale of others in Columbus, Ohio, and Tinley Park, Ill. In a phone message, a corporate spokesman said no transaction has taken place for Verizon Wireless Music Center in Noblesville. A local CB Richard Ellis broker who is marketing the property did not return phone messages.
'Maybe they keep Indianapolis because they can’t find anybody to come up with the money,' Bongiovanni said.
The sale strategy is designed to generate cash for a company that has struggled since its 2005 separation from San Antonio-based Clear Channel. Another reason is a changing concert industry. These days, fewer acts sell enough tickets to justify shows at large venues such as Verizon, which has 6,000 reserved seats and room for up to 18,000 on the lawn.
Amphitheaters also provide only seasonal revenue and don’t offer the tiered, high price seating potential of enclosed venues. Smaller concert venues are in, and Live Nation is betting on that business. In Indianapolis, Live Nation manages shows at the Murat Centre and the Lawn at White River State Park."
Marc Ribot: The Care and Feeding of a Musical Margin
A detailed article about the need for subsidies for music clubs -- particularly jazz and new music clubs.
Marc Ribot: The Care and Feeding of a Musical Margin - All About Jazz, 7/7/07: "The market is failing as a means of funding downtown new music venues. The venues have either abandoned new music booking priorities (like Knitting Factory did at the end of the '90s), switched to being subsidized by musicians (like Tonic and the above mentioned new venues are doing now) or both. Musician benefit concerts and recordings, once a 'special' situation, are being normalized as a means of funding....
New music composers of the '40s through the early '60s didn't expect to make money through the live performance market; many taught to earn a living. John Cage's income wasn't based on packing a nightclub with door-fee paying, drink-buying customers; many of his history making premieres were attended by fewer people than attended an average gig at CBGB. He was supported mainly by commissions and performance fees, by grants from private and public foundations. In experimental jazz, things were much the same, although less generously funded; avant gardists through the '70s played a 'loft' scene not known for generating big bucks. Cecil Taylor worked as a dishwasher while developing his history-changing style. And when he was able to quit his day job, it was due to the backing of mostly European, subsidized festivals....
The idea behind European public arts subsidies, the reason why NYC jazz/new music artists for at least the last 40 years have played Paris, Cologne and Zurich many more times than they've played Hartford (and how many have ever played Des Moines?) is a doctrine called “the European cultural exception”, a set of government policies based on the concept that, even within a market economy, art/culture is to be treated differently from other commodities."
Marc Ribot: The Care and Feeding of a Musical Margin - All About Jazz, 7/7/07: "The market is failing as a means of funding downtown new music venues. The venues have either abandoned new music booking priorities (like Knitting Factory did at the end of the '90s), switched to being subsidized by musicians (like Tonic and the above mentioned new venues are doing now) or both. Musician benefit concerts and recordings, once a 'special' situation, are being normalized as a means of funding....
New music composers of the '40s through the early '60s didn't expect to make money through the live performance market; many taught to earn a living. John Cage's income wasn't based on packing a nightclub with door-fee paying, drink-buying customers; many of his history making premieres were attended by fewer people than attended an average gig at CBGB. He was supported mainly by commissions and performance fees, by grants from private and public foundations. In experimental jazz, things were much the same, although less generously funded; avant gardists through the '70s played a 'loft' scene not known for generating big bucks. Cecil Taylor worked as a dishwasher while developing his history-changing style. And when he was able to quit his day job, it was due to the backing of mostly European, subsidized festivals....
The idea behind European public arts subsidies, the reason why NYC jazz/new music artists for at least the last 40 years have played Paris, Cologne and Zurich many more times than they've played Hartford (and how many have ever played Des Moines?) is a doctrine called “the European cultural exception”, a set of government policies based on the concept that, even within a market economy, art/culture is to be treated differently from other commodities."
Sunday, June 10, 2007
The blurring of genres
Bang on a Can - Music - Review - New York Times, 6/5/07: "When Bang on a Can was founded, the purpose was to provide a home for music by Mr. Gordon, Mr. Lang, Ms. Wolfe and their colleagues: an eclectic post-Minimalism that openly acknowledged an indebtedness to rock, jazz and a variety of world-music idioms. Two decades later these composers still haven’t entirely entered the concert-music mainstream. Still, this year’s marathon indicated that they may have achieved something even more meaningful.
It wasn’t just that contemporary-classical adherents shared space with alt-rock fans here. Rather, what seemed clear was that Bang on a Can has played a central role in fostering a new kind of audience that doesn’t concern itself with boundaries among new-music composition, the pianist Vijay Iyer’s sophisticated modern jazz, the Uzbek folk ensemble Mashriq’s eloquent meditations and innovative post-rock experimentation from groups like he Books, Clogs and D�lek. The prevailing tone was that if music is made with originality and integrity, these listeners will come."
It wasn’t just that contemporary-classical adherents shared space with alt-rock fans here. Rather, what seemed clear was that Bang on a Can has played a central role in fostering a new kind of audience that doesn’t concern itself with boundaries among new-music composition, the pianist Vijay Iyer’s sophisticated modern jazz, the Uzbek folk ensemble Mashriq’s eloquent meditations and innovative post-rock experimentation from groups like he Books, Clogs and D�lek. The prevailing tone was that if music is made with originality and integrity, these listeners will come."
The growth of mid-sized venues in NYC
Here's a bit of an overview of Bowery Presents, a promoter that has grown enough to take on Live Nation and AEG in NYC.
Bowery Presents - Concert Industry - Music - New York Times, 6/7/07: "It started with the 250-capacity Mercury Lounge on East Houston Street, which opened in 1994 for $250,000, some $35,000 of which came from the maxed-out credit cards of Michael Swier, one of the Bowery Presents partners. Four years later came the 575-capacity, $1 million Bowery Ballroom, and in 2004 the company began booking Webster Hall, which fits 1,400. Last year it acquired Northsix in Brooklyn, which will open in September as the Music Hall of Williamsburg, and the 3,000-capacity former Exit dance club on West 56th Street, to reopen as a rock hall in October."
Bowery Presents - Concert Industry - Music - New York Times, 6/7/07: "It started with the 250-capacity Mercury Lounge on East Houston Street, which opened in 1994 for $250,000, some $35,000 of which came from the maxed-out credit cards of Michael Swier, one of the Bowery Presents partners. Four years later came the 575-capacity, $1 million Bowery Ballroom, and in 2004 the company began booking Webster Hall, which fits 1,400. Last year it acquired Northsix in Brooklyn, which will open in September as the Music Hall of Williamsburg, and the 3,000-capacity former Exit dance club on West 56th Street, to reopen as a rock hall in October."
Saturday, June 02, 2007
Rap-Vermont style
Yo, Vermont, What Up? These 3 Dudes, for Starters - New York Times, 6/2/07: "The rap, at www.youtube.com/watch?v=GL7uW4TYqbs, pokes fun at Vermont institutions and stereotypes like dairy products and snowplows.
“Green Mountain State, where we roll on skis, don’t mess with our cows or we’ll break your knees,” go the rappers, who perform under the name X10."
“Green Mountain State, where we roll on skis, don’t mess with our cows or we’ll break your knees,” go the rappers, who perform under the name X10."
Melbourne losing music venues
Live venues hit rock bottom | Herald Sun, 5/31/07: "WITH the number of live venues dwindling fast, Melbourne's music industry is on the verge of a crisis.
Melbourne's live venues seem to be dropping like flies, Melbourne losing two rock rooms last week alone.
The 1880-capacity Palace will close in two weeks to make way for the $300 million redevelopment of the St Kilda triangle site.
And Fitzroy's Spanish Club, which holds about 500, will close on June 23 after a long stoush with residents, council and liquor licensing....
That means Melbourne will be without a 1800-2500 capacity standing-room live venue for the foreseeable future, with the Forum the closest candidate at 1500.
"
Melbourne's live venues seem to be dropping like flies, Melbourne losing two rock rooms last week alone.
The 1880-capacity Palace will close in two weeks to make way for the $300 million redevelopment of the St Kilda triangle site.
And Fitzroy's Spanish Club, which holds about 500, will close on June 23 after a long stoush with residents, council and liquor licensing....
That means Melbourne will be without a 1800-2500 capacity standing-room live venue for the foreseeable future, with the Forum the closest candidate at 1500.
"
America's 40 Best Music Venues
Paste Magazine :: Feature :: America's 40 Best Music Venues: "Sometimes it’s the view—you’re at Denver’s Red Rocks, your eyes darting back and forth from the band to the landscape, and the music seems changed by the surrounding beauty. Sometimes it’s the history—a young band, onstage at The Fillmore, stands on the shoulders of the giants whose music helped reshape the world. Sometimes it’s the sense of discovery—you’re at L.A.’s Hotel Cafe, and you suspect the night’s opening act is headed for stardom. And sometimes, like with The Bowery Ballroom in New York, it’s simply the fact that on any given night, you know they’ve booked another great show.
To help find America’s best music venues, we went to the experts—you. In addition to our many contributors scattered across the country and many of the artists driving from club to club, Paste readers nominated more than 500 different venues at PasteMagazine.com—from hole-in-the-wall rock clubs to elegant theaters, legendary halls to brand new bars, quiet listening rooms to rock extravaganzas.
We weighed history, setting, sound, character, comfort, atmosphere, vibrancy, uniqueness, and their roles in helping launch careers. Among hundreds of worthy choices, these 40 venues rose above their peers. Our picks for the best music venues in America follow in this special section..."
To help find America’s best music venues, we went to the experts—you. In addition to our many contributors scattered across the country and many of the artists driving from club to club, Paste readers nominated more than 500 different venues at PasteMagazine.com—from hole-in-the-wall rock clubs to elegant theaters, legendary halls to brand new bars, quiet listening rooms to rock extravaganzas.
We weighed history, setting, sound, character, comfort, atmosphere, vibrancy, uniqueness, and their roles in helping launch careers. Among hundreds of worthy choices, these 40 venues rose above their peers. Our picks for the best music venues in America follow in this special section..."
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