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."
Subscribe to:
Posts (Atom)
