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.
Showing posts with label britain/england. Show all posts
Showing posts with label britain/england. Show all posts
Sunday, June 24, 2007
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....
Friday, March 16, 2007
How Britain plays the SXSW game
This is a good article on how Britain uses SXSW to launch and market acts in the US and even as way to get more press coverage at home.
The line I like best is about making up a band and getting people to talk about it. In fact, I have wondered if you can go one step further and generate the buzz and not bother to attend SXSW at all -- just make people think you had performed there.
Independent Online Edition, 3/15/07 - Movers, shakers and music makers: The festival that rocks the world: "For 10 days, Austin becomes the pole of a humming magnetic field of obsessive attention. 'SXSW is valuable because if you hit your straps and the main newspapers are there and they write it up, things can happen,' says Stewart. 'US agents and radio stations all pay attention to it. I remember flying down to Austin with the critic from the Chicago Tribune. He was going to file at least two pages' worth of stories every day.'
As recently as 2001, a mere 23 artists travelled from the UK to attend South by Southwest. This year that figure has mushroomed to 123, which means the Brits account for more than half of all the overseas performers in attendance. Previously, British acts considered SXSW important because of the access it afforded to the ever-desirable US market. That remains true, but such is the international pull of the event that it can even offer a better-than-average chance of being spotted by the British press, since so many of them fly out to cover the occasion.
But any vestiges of the notion that SXSW represents independence, self-reliance and the spirit of DIY have all but vanished. It's an intense scramble for attention, and if you've managed to get selected from the heaving scrum, you'd better be ready to make the best of the opportunity.
'Lots of US marketing campaigns for UK artists are very much centred on SXSW,' points out Paul Williams, the managing editor of Music Week. 'For example, albums by James Morrison and Amy Winehouse are both being released this week in America, all because SXSW is this week. Plans are very much keyed into it, and the campaigns are angled on how best to make use of this event and the platform it offers.' ...
Every year, the UK papers run a clutch of reports from SXSW intended to celebrate the freewheeling diversity and rich cultural range of the event, but often they convey mostly chaos and incoherence, as the writers stumble around town, pinging the top off another Corona while trying to decide which harbinger of the new musical revolution to go and listen to next. With countless acts playing-off-the-cuff gigs at all times of day in venues ranging from backyards to lobbies and parking lots, myths and rumours breed like plankton. As one British visitor put it: 'You could just invent a couple of bands and tell people to go check them out, and they'd quickly become a must-see act.' ...
'I suppose an event like this can become a victim of its own success,' suggests Williams. 'The impression I get is that every year it becomes more difficult to get into the gigs you want to go to, because how do you plough through 1,500 acts in four days? Then, even when you've worked out which acts you're going to see, the acts that are in demand are so over-subscribed that you probably have to turn up hours before they play to have a chance of getting into the venue. You might say "I really want to see so-and-so", but thousands of other people want to see them as well.'"
SXSW
music promotion
England
Britain
The line I like best is about making up a band and getting people to talk about it. In fact, I have wondered if you can go one step further and generate the buzz and not bother to attend SXSW at all -- just make people think you had performed there.
Independent Online Edition, 3/15/07 - Movers, shakers and music makers: The festival that rocks the world: "For 10 days, Austin becomes the pole of a humming magnetic field of obsessive attention. 'SXSW is valuable because if you hit your straps and the main newspapers are there and they write it up, things can happen,' says Stewart. 'US agents and radio stations all pay attention to it. I remember flying down to Austin with the critic from the Chicago Tribune. He was going to file at least two pages' worth of stories every day.'
As recently as 2001, a mere 23 artists travelled from the UK to attend South by Southwest. This year that figure has mushroomed to 123, which means the Brits account for more than half of all the overseas performers in attendance. Previously, British acts considered SXSW important because of the access it afforded to the ever-desirable US market. That remains true, but such is the international pull of the event that it can even offer a better-than-average chance of being spotted by the British press, since so many of them fly out to cover the occasion.
But any vestiges of the notion that SXSW represents independence, self-reliance and the spirit of DIY have all but vanished. It's an intense scramble for attention, and if you've managed to get selected from the heaving scrum, you'd better be ready to make the best of the opportunity.
'Lots of US marketing campaigns for UK artists are very much centred on SXSW,' points out Paul Williams, the managing editor of Music Week. 'For example, albums by James Morrison and Amy Winehouse are both being released this week in America, all because SXSW is this week. Plans are very much keyed into it, and the campaigns are angled on how best to make use of this event and the platform it offers.' ...
Every year, the UK papers run a clutch of reports from SXSW intended to celebrate the freewheeling diversity and rich cultural range of the event, but often they convey mostly chaos and incoherence, as the writers stumble around town, pinging the top off another Corona while trying to decide which harbinger of the new musical revolution to go and listen to next. With countless acts playing-off-the-cuff gigs at all times of day in venues ranging from backyards to lobbies and parking lots, myths and rumours breed like plankton. As one British visitor put it: 'You could just invent a couple of bands and tell people to go check them out, and they'd quickly become a must-see act.' ...
'I suppose an event like this can become a victim of its own success,' suggests Williams. 'The impression I get is that every year it becomes more difficult to get into the gigs you want to go to, because how do you plough through 1,500 acts in four days? Then, even when you've worked out which acts you're going to see, the acts that are in demand are so over-subscribed that you probably have to turn up hours before they play to have a chance of getting into the venue. You might say "I really want to see so-and-so", but thousands of other people want to see them as well.'"
SXSW
music promotion
England
Britain
Sunday, February 04, 2007
Mapping England's rock history
The Guardian, 2/5/07 - Hendrix to Oasis tourist trail: putting England's rock locations on the map | The Guardian: "A new map of England's rock and pop heritage aims to celebrate nearly 200 destinations linked to famous musicians, from Britpop boozer The Good Mixer in Camden to Jimi Hendrix's 1960s London address to Knebworth House, venue for Queen's last concert....
The aim was to be as exhaustive as possible while keeping to the rule that each location had to have something tangible for fans to see, even if only a commemorative plaque. The printed version of the map features 113 locations while the website at www.enjoyengland.com/rocks has 190, along with audio samples. Some of the more offbeat inclusions on the list have prompted raised eyebrows among rock pundits."
tourism
England
music scene
economic development
clubs
The aim was to be as exhaustive as possible while keeping to the rule that each location had to have something tangible for fans to see, even if only a commemorative plaque. The printed version of the map features 113 locations while the website at www.enjoyengland.com/rocks has 190, along with audio samples. Some of the more offbeat inclusions on the list have prompted raised eyebrows among rock pundits."
tourism
England
music scene
economic development
clubs
Saturday, December 23, 2006
Live music is doing well in Britain
London Calling - WSJ.com: "British rock has seen a resurgence across the country. By the end of the 1990s, British rock acts succumbed to the popularity of American hip-hop and pop. Promoters and booking agents say that they struggled to find enough quality local bands to fill London's venues, particularly due to the rise of dance music and rave culture where clubbers flocked to see DJs instead of guitar-wielding musicians.
"The pendulum is now swinging away from dance and pop and back to rock -- and British artists are on the rise again. This year, they made up more than half of the U.K.'s top 100 albums in the second quarter of the year -- a 20% increase since 2001. In the past five years, revenue from live music performances around the country doubled to $24.6 million, according to the Performing Rights Society.
"While other London neighborhoods like Brixton and Kilburn are also benefiting from the resurgence in live music, Shoreditch venues are becoming the crucible for up-and-coming British acts. The area's geographic boundaries are nebulous even to those who live there, but it's generally considered to be the 'triangle' bounded by Old Street, High Street, and Great Eastern Street."
music scene
economic development
live music
clubs
"The pendulum is now swinging away from dance and pop and back to rock -- and British artists are on the rise again. This year, they made up more than half of the U.K.'s top 100 albums in the second quarter of the year -- a 20% increase since 2001. In the past five years, revenue from live music performances around the country doubled to $24.6 million, according to the Performing Rights Society.
"While other London neighborhoods like Brixton and Kilburn are also benefiting from the resurgence in live music, Shoreditch venues are becoming the crucible for up-and-coming British acts. The area's geographic boundaries are nebulous even to those who live there, but it's generally considered to be the 'triangle' bounded by Old Street, High Street, and Great Eastern Street."
music scene
economic development
live music
clubs
Sunday, November 12, 2006
Why so many British bands showcase at SXSW
This is a really good article about governments which fund rock bands and other musical acts as part of their national economic development strategies. Festivals like SXSW and CMJ have turned into marketing opportunities.
Government-subsidized rock bands - New York Times: "In a little-understood chapter in the history of cultural exchange, nations from around the world have been choosing musical outfits and sending them to the biggest music markets abroad in hopes of raising their international profile and generating export sales. In a way, it makes perfect sense. ...
"From outward appearances, it might seem that the cultural compass just spins at random from one country to the next. But more and more the 'next big thing' title may reflect the deliberate efforts of government trade and culture officials, who routinely attend American music festivals, organize junkets for critics and record executives, and arrange coaching and subsidies for their homegrown acts. In Canada, which has one of the most established programs, artists can apply for an array of grants or loans to finance up to 75 percent of recording costs, advertising, marketing or touring expenses.
"Heather Ostertag, chief executive of Factor, the public-private Canadian agency that oversees music funds, said it controls a budget of roughly $12.4 million and handed out awards to one-third or more of the 3,800 applicants who sought support last year. Broken Social Scene and its label, for example, have been offered more than $140,000, she said. The Arcade Fire and Stars were also beneficiaries. ...
“'The government recognizes the importance of a cultural spend for a cultural identity,' Ms. Ostertag said. 'I think that we struggle as Canadians for our own Canadian identity. American dominance is so prevalent wherever you go.' Part of maintaining the nation’s place on the cultural map, she added, 'is happening through identifying ourselves through the success of other Canadians.'
"In Australia state and federal governments offer a series of programs. The country’s main export program offers to cover up to 50 percent of an act’s costs above the equivalent of $11,600. Over the last year trade officials provided roughly $1.8 million in grants to 80 recipients aimed at exporting their music. Past recipients included the Wiggles, the phenomenally popular music group catering to children.
"New Zealand has for several years helped cover recording costs, and recently created subsidies, overseen by music and broadcasting professionals, for artists and labels aiming to sell overseas. One recent grant went to Michael Tucker, who wanted to open a United States office for his independent label and marketing company, Loop Recordings. A fast-talking former hairdresser and fashion photographer, Mr. Tucker recently oversaw a show by one of his bands, the funk-reggae outfit the Black Seeds, at a swanky Los Angeles lounge. But not long ago he found himself at a government function hobnobbing with his government’s top ministers. 'I can shave,' he laughed. 'I can play that game.'"
economic development
sxsw
cmj
Government-subsidized rock bands - New York Times: "In a little-understood chapter in the history of cultural exchange, nations from around the world have been choosing musical outfits and sending them to the biggest music markets abroad in hopes of raising their international profile and generating export sales. In a way, it makes perfect sense. ...
"From outward appearances, it might seem that the cultural compass just spins at random from one country to the next. But more and more the 'next big thing' title may reflect the deliberate efforts of government trade and culture officials, who routinely attend American music festivals, organize junkets for critics and record executives, and arrange coaching and subsidies for their homegrown acts. In Canada, which has one of the most established programs, artists can apply for an array of grants or loans to finance up to 75 percent of recording costs, advertising, marketing or touring expenses.
"Heather Ostertag, chief executive of Factor, the public-private Canadian agency that oversees music funds, said it controls a budget of roughly $12.4 million and handed out awards to one-third or more of the 3,800 applicants who sought support last year. Broken Social Scene and its label, for example, have been offered more than $140,000, she said. The Arcade Fire and Stars were also beneficiaries. ...
“'The government recognizes the importance of a cultural spend for a cultural identity,' Ms. Ostertag said. 'I think that we struggle as Canadians for our own Canadian identity. American dominance is so prevalent wherever you go.' Part of maintaining the nation’s place on the cultural map, she added, 'is happening through identifying ourselves through the success of other Canadians.'
"In Australia state and federal governments offer a series of programs. The country’s main export program offers to cover up to 50 percent of an act’s costs above the equivalent of $11,600. Over the last year trade officials provided roughly $1.8 million in grants to 80 recipients aimed at exporting their music. Past recipients included the Wiggles, the phenomenally popular music group catering to children.
"New Zealand has for several years helped cover recording costs, and recently created subsidies, overseen by music and broadcasting professionals, for artists and labels aiming to sell overseas. One recent grant went to Michael Tucker, who wanted to open a United States office for his independent label and marketing company, Loop Recordings. A fast-talking former hairdresser and fashion photographer, Mr. Tucker recently oversaw a show by one of his bands, the funk-reggae outfit the Black Seeds, at a swanky Los Angeles lounge. But not long ago he found himself at a government function hobnobbing with his government’s top ministers. 'I can shave,' he laughed. 'I can play that game.'"
economic development
sxsw
cmj
Sunday, October 08, 2006
Music venue research
Here's a 2000 study. VENUE AND PROMOTERS PERCEPTIONS OF LIVE MUSIC EVENTS IN THE NORTH OF ENGLAND. I didn't find any new revelations in the results, but it might be of interest to some.
Here is a companion piece, done in 2001, on why people don't go see live music. Among the results: "Respondents are looking for value for money when attending live music performances. Cheaper admission price, better variety of bands and better choice of venue were the three most important factors, which would motivate non-attendees to attend a live music event."
Here is a companion piece, done in 2001, on why people don't go see live music. Among the results: "Respondents are looking for value for money when attending live music performances. Cheaper admission price, better variety of bands and better choice of venue were the three most important factors, which would motivate non-attendees to attend a live music event."
Tuesday, September 19, 2006
Music Festival Drives Web Traffic
Liverpool City Council 1801 Website proves a hit with festival-goers: "Website proves a hit with festival-goers
"Revellers at this year's Mathew Street Music Festival sent visits to the Capital of Culture website soaring.
"The Liverpool Culture Company's site www.liverpool08.com saw a 67 per cent increase in interest for the month of August, notching up record-breaking results of 107,606 visits and 56,378 visitors.
"And it appears the rise is mostly due to music lovers surfing for information about the annual four-day Mathew Street festival, organised by the Culture Company.
"A surge in activity on the site is noticeable around the start of the bank holiday with pages displaying festival listings proving the most popular for the month and four of the top five key phrases people used to find the site relating to the Mathew Street festival.
"Nearly 25,000 people also downloaded the full programme featuring a map of the city, forthcoming event highlights and further information on Liverpool 08 while pages across the site were viewed 336,736 times throughout the month....
"Around 350,000 people attended the 13th Mathew Street festival to watch 75 bands across five stages ..."
"Revellers at this year's Mathew Street Music Festival sent visits to the Capital of Culture website soaring.
"The Liverpool Culture Company's site www.liverpool08.com saw a 67 per cent increase in interest for the month of August, notching up record-breaking results of 107,606 visits and 56,378 visitors.
"And it appears the rise is mostly due to music lovers surfing for information about the annual four-day Mathew Street festival, organised by the Culture Company.
"A surge in activity on the site is noticeable around the start of the bank holiday with pages displaying festival listings proving the most popular for the month and four of the top five key phrases people used to find the site relating to the Mathew Street festival.
"Nearly 25,000 people also downloaded the full programme featuring a map of the city, forthcoming event highlights and further information on Liverpool 08 while pages across the site were viewed 336,736 times throughout the month....
"Around 350,000 people attended the 13th Mathew Street festival to watch 75 bands across five stages ..."
Thursday, September 07, 2006
UK Liquor companies can target younger music audiences
Southern Comfort to target 18-24s with Mardi Gras push - Brand Republic: "The Lounge said campaign, called 'The Spirit of New Orleans Project', which will run from September to March 2007, will target 18- to 24-year-olds with drinks promotions and tasters, bar staff training and 'brand heritage sessions'. ...
"James Layfield, managing director of The Lounge, said: 'Experiential marketing is one of the best ways to increase understanding by engaging the audience, because it generates invaluable word-of-mouth between the target markets.'"
"James Layfield, managing director of The Lounge, said: 'Experiential marketing is one of the best ways to increase understanding by engaging the audience, because it generates invaluable word-of-mouth between the target markets.'"
Monday, September 04, 2006
Music festival sponsorship in the UK
Here's an article which talks about the increasing popularity of music festival sponsorship in the UK. This quote below raises the interesting question as to whether it is better to sponsor sports or music.
Having spent quite a bit of time in sports marketing, I would say that it really depends on the target market. Sports sponsorships have been a popular way to reach male audiences, and I don't think that has changed.
What has changed is that more and more sports are being tainted by scandals, and some are simply boring to watch when compared for other forms of entertainment.
The category of sports sponsorship I am still very much in favor of is action sports: a young demographic, no links to steroid use, lots of free-form competitions which lend themselves well to creative sponsorships, and more acceptance of female athletes as equal participants. Plus music is often closely tied to these events, so you can simultaneously sponsor music and sports.
Business | How the summer rock festivals became one big branded beer tent: "During the 1990s, the heart of Carling's sponsorship strategy lay in football, helping it increase beer sales from 2m barrels a year to 3m. After 2000 it switched its focus to music and now sells 5.7m barrels a year. "
Having spent quite a bit of time in sports marketing, I would say that it really depends on the target market. Sports sponsorships have been a popular way to reach male audiences, and I don't think that has changed.
What has changed is that more and more sports are being tainted by scandals, and some are simply boring to watch when compared for other forms of entertainment.
The category of sports sponsorship I am still very much in favor of is action sports: a young demographic, no links to steroid use, lots of free-form competitions which lend themselves well to creative sponsorships, and more acceptance of female athletes as equal participants. Plus music is often closely tied to these events, so you can simultaneously sponsor music and sports.
Business | How the summer rock festivals became one big branded beer tent: "During the 1990s, the heart of Carling's sponsorship strategy lay in football, helping it increase beer sales from 2m barrels a year to 3m. After 2000 it switched its focus to music and now sells 5.7m barrels a year. "
Saturday, July 29, 2006
Festival meccas
Below is an article about a United Kingdom community that wants to tie all of its festivals together into a synergistic brand campaign.
While another location, Telluride, Colorado, hasn't billed itself as a festival capital, in essence it is the American equivalent of such a thing. The Telluride Bluegrass Festival and the Telluride Film Festival have become internationally famous, which has helped elevate the status of Telluride's many other festivals including the Mountain Film Festival, Blues and Brews Festival, Wine Festival, Jazz Celebration, Mushroom Festival, Chamber Music Festival, and Culinary & Art Festival.
What is common to all of the events is the experience. Telluride is a small mountain town and whether you are there for music, film, technology, or another reason, you're going to be hitting the same places and being treated to the same laid back hospitality. So the town's reputation for being able to host a great fesstival carries over to each new festival.
Yorkshire Post Today 7/24/06: "Scarborough Council is teaming up with the organisers of such events to produce a strategy designed to rebrand the Scarborough area as 'The Festival Coast'. ...
"This included setting up a festivals association to bring together the network of individual organisers so they could work together on marketing and fundraising.
A computer database of the various events had been compiled and there had been extensive consultations with both the organisers and arts communities, leading to brochures in 2005 and 2006.
"Mr Hollingworth said: 'The vision of the strategy is that the borough is recognised nationally as a destination staging high quality festivals, accessible to all and at the heart of the cultural, social and economic life of the area.'
"... the borough boasts more than 70 annual festivals aimed at a variety of audiences embracing the arts, community, heritage, sports and culture, ranging from the Angling Festival to the Silent Film Festival."
While another location, Telluride, Colorado, hasn't billed itself as a festival capital, in essence it is the American equivalent of such a thing. The Telluride Bluegrass Festival and the Telluride Film Festival have become internationally famous, which has helped elevate the status of Telluride's many other festivals including the Mountain Film Festival, Blues and Brews Festival, Wine Festival, Jazz Celebration, Mushroom Festival, Chamber Music Festival, and Culinary & Art Festival.
What is common to all of the events is the experience. Telluride is a small mountain town and whether you are there for music, film, technology, or another reason, you're going to be hitting the same places and being treated to the same laid back hospitality. So the town's reputation for being able to host a great fesstival carries over to each new festival.
Yorkshire Post Today 7/24/06: "Scarborough Council is teaming up with the organisers of such events to produce a strategy designed to rebrand the Scarborough area as 'The Festival Coast'. ...
"This included setting up a festivals association to bring together the network of individual organisers so they could work together on marketing and fundraising.
A computer database of the various events had been compiled and there had been extensive consultations with both the organisers and arts communities, leading to brochures in 2005 and 2006.
"Mr Hollingworth said: 'The vision of the strategy is that the borough is recognised nationally as a destination staging high quality festivals, accessible to all and at the heart of the cultural, social and economic life of the area.'
"... the borough boasts more than 70 annual festivals aimed at a variety of audiences embracing the arts, community, heritage, sports and culture, ranging from the Angling Festival to the Silent Film Festival."
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