Showing posts with label concert. Show all posts
Showing posts with label concert. Show all posts

Wednesday, January 29, 2014

Madonna to introduce Pussy Riot members at concert


Madonna to introduce Pussy Riot members at concert

Nadezhda Tolokonnikova, Maria Alyokhina and MadonnaMadonna said she admired what 'Nadya' (l) and 'Maria' had done "in the name of freedom of expression"

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Pop star Madonna will introduce two members of Russian protest punk rock act Pussy Riot at a concert promoting human rights in New York City.
The star said she was "honoured" to introduce "my fellow freedom fighters" Maria Alyokhina and Nadezhda Tolokonnikova at the Amnesty event.
"I have admired their courage and have long supported their commitment and the sacrifices they have made," she added.
The pair were released in December after spending 16 months in prison.
They and another woman, Yekaterina Samutsevich, were arrested in August 2012 for singing a protest song in a Moscow cathedral.
Amnesty International announced last week that "Masha" and "Nadya" would make an appearance at the concert on 5 February.
It will form part of their first trip to New York since being granted amnesty by Russian president Vladimir Putin - a gesture the pair dismissed as a publicity stunt.
Lauryn Hill, Bob Geldof, Yoko Ono and Imagine Dragons are also on the bill of the Bringing Human Rights Home event at the Barclays Center in Brooklyn.
The announcement follows Madonna's performance at the Grammys on Sunday and her guest appearance with Miley Cyrus at a MTV Unplugged recording two days later.

Tuesday, November 5, 2013

The next wave music video - interactive - you get to be ONSTAGE at Jeff Beck's concert


Beck, Arcade Fire and the music videos inviting fans in

Beck Beck's experiments with music videos include a 360 degree experience through his project Hello Again
Picture the scene: you're at home watching the latest concert by your favourite musician.
The crowd is raving, the singer approaches them holding the microphone out and a few people climb past security onto the stage. But alas, stuck in front of your computer screen, you can't join them.
Technology of Business
Except now you can - if you're a fan of American musician Beck, that is.
He is one of a few artists making interactive music videos requiring fan participation.
Throughout his 20-year career the industry has seen many changes, including more people now watching music videos on YouTube than on MTV.
Beck has made many memorable music videos, though he started out with limited means.
"[For] my first video we had no money," he says. "I had a friend who had film in the freezer left over from film school and we used that one roll of film.
"Every frame was precious."
The video in question was for his hit song Loser, which went on to sell half a million copies and became one of the defining singles of the 1990s.
Join Beck on stage

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I grew up in an era where the packaging was such a big part of how you related to the music”
Beck
"I was surprised when some of these videos actually got played," he continues about his early releases.
"Most of them were just friends who were making them and editing them."
Since then the 43-year-old has collaborated with acclaimed directors such as Spike Jonze and Michael Gondry on his music videos.
Earlier this year he took this one step further, developing a 360 degree experience with director Chris Milk.
In Hello Again viewers can join Beck onstage or stroll around among the 170 musicians as they play David Bowie's Sound and Vision.
Beck's Hello AgainHello Again allows viewers to join Beck in the auditorium and to move around as though they were present at the concert
Viewers move around by turning on their computer's webcam and moving their heads in the direction they want to move in.
Coming to life
For Beck, music videos can create a strong connection between bands and fans in the digital age.
"I grew up in an era where the packaging was such a big part of how you related to the music," he says.

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I hope we can create a deeper emotional experience which will then help bring a better connection”
Aaron KoblinGoogle Creative Lab
The cover of Psychocandy, the first Jesus and Mary Chain album, which has a bold design and stark red, white and black colour scheme, had an especially strong influence on how he related to the band and came to understand them.
"It gave me enough information, it opened up a whole idea about where this music is coming from and what it was."
He believes music videos can fulfil this role in today's digital era where there is less emphasis on physical records.
"I felt that they were album artwork come to life," he says about these videos.
Creating bonds
The Google Creative Lab's Aaron Koblin has directed several interactive music videos.
The 31-year-old heads the data arts team and grew up in the era of big budget videos which played a large role in teen culture, but says the fan was passive.
"When I used to watch music videos it was very much 'I am receiving the content which is helping me understand and create a picture of the musician's identity'," he says. "But it didn't necessarily make me feel all that much closer."
He thinks interactive web-based videos enable a new way of creating that bond.
Arcade FireArcade Fire have released several interactive music videos requiring fan participation
He has worked with Arcade Fire on videos that require fans to interact with the band.
"I hope we can create a deeper emotional experience which will then help bring a better connection," he says.
Together with director Vincent Morisset, he aimed to do just that with theJust A Reflektor project, which uses the title track from Arcade Fire's latest album.

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It's like putting your own memories into the video. I thought that was amazing”
Jordan GauthierArcade Fire fan
Fans connect their smartphone to their webcam via a unique code on the video's site.
By moving their smartphone around viewers can change the visual effects on the video, creating sprinkles of light and colour. They also can guide the protagonist on her journey and eventually join her.
"Your phone and computer are actually talking to each other," Mr Koblin says.
"The computer is observing and talking about the phone's location and movement and in doing that is able to construct and change the story based around the way the phone is being moved around."
Just A ReflektorJust A Reflektor was recorded in Haiti and uses the title track of Arcade Fire's latest album
1/5
Not easy
While videos are increasingly being viewed on the internet, interactive web-based ones are still rare.
Just A Reflektor uses new code and tools, that were specifically created for the Google Chrome browser.
"These things aren't that easy to make yet," Mr Koblin explains.

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They'd managed to meet over the internet through being connected in the video”
Ninian DoffDirector
Creating these new tools is currently the most expensive part of making these videos.
"That's part of why when we create them we're releasing a lot of the code that we used and a lot of the tools that we created so we can encourage other people to get involved."
Arcade Fire have tried the interactive experience before in another experiment for Google Chrome.
The song We Used To Wait was used by Mr Koblin and Mr Milk to become the interactive experience The Wilderness Downtown, which uses Google Earth to bring a new dimension to the song.
Viewers type in their home address and will see images of where they grew up within the video.
Jordan Gauthier is an Arcade Fire fan and says their interactive videos have strengthened his relationship with the band.
He grew up in the French suburban town of Rennes and says The Wilderness Downtown made him relate to the song in a new way by helping him recall his childhood memories.
"It's like putting your own memories into the video," he says. "I thought that was amazing."
Infinite possibilities
Still from the Johnny Cash ProjectThe Johnny Cash Project is crowdsourced and made up of stills drawn by fans
Ultimately Beck thinks the web opens up numerous possibilities to interact with fans.
"I think that's an infinite idea," he says. "That kind of idea is going to spread because the technology exists."
He points to the success of crowdfunding in other fields and thinks more videos will source their ideas and materials from fans in the future.
Mr Koblin and Mr Milk crowdsourced for The Johnny Cash Project, which features the song Ain't No Grave.
Released after Cash's death, the interactive site pays tribute to him through a video made up of stills drawn by fans.
Viewers can then select and watch the frames in different orders. As material is continuously being added to the project, every viewing is unique.
Still from the Johnny Cash ProjectThe Johnny Cash Project includes some realistic stills and more abstract renditions, and fans can choose to watch the video depending on these styles
Frankenstein videos
Crowdsourcing can also build closer bonds between fans themselves, according to British director Ninian Doff.
He crowdsourced images of fans dancing to make the video for Graham Coxon's What It'll Take.
One hundred fans sent in videos from 28 countries, and Mr Doff cut up all the videos for the final piece.
"It's a big jumble," he explains.
"Sometimes it's one person's legs and another person's top half, or it's one person's legs, one person's body, one person's head.
"It's like making a Frankenstein out of fans' bodies."
Still from What It'll Take videoMonster creation: The video for What It'll Take features body parts of 100 fans, crowdsourced by the director
And people managed to find themselves and each other through leaving comments about the video online.
"One person commented saying, 'Oh that's me at 2 minutes 5 seconds'," Mr Doff says. "Then another person replied, 'I'm your legs at 2 minutes 5 seconds'.
"They'd managed to meet over the internet through being connected in the video."

Friday, August 2, 2013

Led Zeppelin to reform?


(Photo: Rex Features)
(Photo: Rex Features)
Reunions are big business. But one ‘70s superstar – Led Zeppelin’s Robert Plant – is bucking the trend. Greg Kot explains why.
It’s just a wild guess, but the Rolling Stones’ recent run of paydays, er, concerts, are not likely to have gone unnoticed by the former members of Led Zeppelin. The Stones have been away for a while, are all around 70 years old, and are playing songs from three and four decades ago on their current tour. But with tickets going for as high as $600, they’re pulling in millions of dollars in revenue each night.
Somewhere, Jimmy Page and John Paul Jones are thinking: “This too could be ours.” A 2007 Led Zeppelin reunion concert at the O2 Arena in London with original members Page, Jones and Robert Plant, joined on drums by Jason Bonham (the son of the late John Bonham), was a success artistically and commercially. The show set a record for ticket demand, with 20 million fans wanting in, according to the Guinness Book of World Records.
But the reunion proved to be a one-off, largely because Plant wanted no part of doing something more, despite tour offers ranging as high as $200m (£132m) from concert promoters. Page and Jones even started working with other vocalists in Plant’s stead in hope of keeping Zeppelin afloat, but never took it beyond the rehearsal stage. Plant instead focused on touring in 2008 with country singer Alison Krauss and producer T Bone Burnett, with whom he made a Grammy-winning album, Raising Sand. It didn’t sound anything like Led Zeppelin – a guiding feature behind most of Plant’s music in the three decades since Zeppelin imploded after John Bonham’s death in 1980.
Once more with feeling
It’s the era of reunions, with everyone from classic-rockers to the first generation of Lollapalooza bands pulling together one more time for the big bucks, but Plant is no bandwagon jumper, despite the eye-popping revenue potential. Consider that the Police raked in more than $340m(£225m) on a 2007-08 comeback tour, the Eagles collected $250m (£165m) in 2008-11, and the Pixies have played to audiences five to ten times bigger in the last decade than when they were releasing ground-breaking albums in the late ‘80s and early ‘90s. This year, it’s The Replacements’ turn – or what’s left of them. Paul Westerberg and Tommy Stinson have signed up to play three dates at Riot Fest in Toronto, Denver and Chicago, after rejecting lucrative offers from festivals such as Coachella and Lollapalooza for years.
The exceptions to the trend are dwindling. So far, the Smiths have resisted a big-bucks rapprochement, with Morrissey steadfast in his contention that it will never happen. Ditto for a victory lap from indie-rock favorites Hüsker Dü, with Bob Mould in no mood to commingle assets with Grant Hart. But Plant is the most notable hold-out of all.
The singer has his reasons, which he has rephrased countless times over the decades, turning many of his responses into punch lines: “It would be like sleeping with your ex-wife again without having sex.” Engage Plant more deeply on the subject of what it means to play music, and he’ll tell you it’s all about discovery, new challenges. He sees a Zeppelin reunion as a nostalgia piece “fired by youth and a different kind of exuberance,” as he once said.
Part of his response suggests that it would be difficult to do anything Zep-related on his terms; that is, to create and perform new music rather than rely on rehashing the past. Even if Plant, Page and Jones reunited to make a new album, would fans want to hear them play it in concert at the expense of Whole Lotta Love and Stairway to Heaven? And if the band was somehow persuaded to crank up the ‘70s jukebox, could Plant hit those high notes and conjure the bravado of the bare-chested “golden god”?
Reinventing the past
Plant certainly has his doubts. Call it integrity, common sense or just plain old distaste for reliving the past, the singer is that rare ‘70s superstar whose second act is as artistically rewarding – if not as financially lucrative – as his first. Even when he performs Zeppelin songs these days in concert, it’s with a twist, taking the music back not only to its roots in Mississippi Delta blues, but to the shores of West Africa. At a recent show in Grant Park on Chicago’s lakefront, Plant and his genre-bending band, the Sensational Space Shifters, refashioned Whole Lotta Love around a droning, one-string African fiddle rather than an electric guitar. A trance-inducing mix of keyboards and stringed instruments supplanted the flying metal shards of another Zep warhorse, Black Dog. Plant wasn’t trying to shout so much as snake through the songs, darting and diving between the syncopated beats and finding melody lines inside the band’s shadowy interplay.
With his greying hair tied up in a Miami Vice-style bun, he looked like he was having a blast, shimmying as the Space Shifters reshaped time. His fans – who have been trained to expect the unexpected from him – danced. The 64-year-old singer smiled devilishly and thanked the audience for indulging him “an evening of soft rock.” He poked fun at the days when he wrote lyrics filled with “mad hobbits and Vikings“.
How much did Plant get paid to have all that fun? According to city records, $125,000 (£82,400)– a tenth of what he might have hauled in had he been performing with Jimmy Page and John Paul Jones. Sure, Plant doesn’t need the money. But it appears he needs Led Zeppelin even less. 

Monday, June 17, 2013

Just The Ticket - organize a concert by your favorite band!


Organise a concert by your favourite band

Rolling Stones
Ever fancied organising a concert by your favourite band or singer?
The Rolling Stones apparently charge $8m (£5m) to do a one-off performance, while Sir Elton John is said to require $4m.
Kylie Minogue - who once sang at the wedding of the daughter of Indian steel billionaire Lakshmi Mittal - is reported to be a more affordable $2m.
So for the those of us without superwealth, arranging such a gig seems impossible.
However, help may now be at hand thanks to three music fans and their London-based company Songkick.
A concert notification website and app for your mobile phone and tablet, Songkick this year launched a new service called Detour.

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It is about bringing 21st Century technology to the live music industry”
Essentially a form of crowdfunding, fans who wish to bring a certain band to their hometown or city can start a petition or "pledge" via Songkick.
You enter your credit card details on Songkick's website or app, and how much you would be prepared to pay.
If a sufficiently large number of people also pledge, then Songkick informs the band in question and its promoters.
"We have launched the service in London, targeting smaller bands and venues," says Songkick's co-founder and chief executive Ian Hogarth.
"But we plan to extend it across the UK and globally, and ultimately to the largest venues and artists.
"Obviously there is no guarantee that the band or singer in question will ultimately agree to play in a certain town, but so far more than 90% have indeed done so to - performing live is after all how bands make the majority of their money these days."
Ian HogarthIan Hogarth says he was influenced by his year living and working in Silicon Valley
But if you and your friends are indeed successful in bringing to Rolling Stones to your town, how much do you pay via Songkick?
Ian says: "You ultimately pay the ticket price as set by the band. So if you have pledged more, you don't pay the difference. And if you have pledged less than the ticket price, we contact you to say you'll need to pay more.
"And of course you can pull out of paying if ultimately you don't want to, or can't make the concert for some reason."
So if that is how Songkick's Detour service helps music fans, how does it benefit the bands or solo artists?
Put simply, Songkick passes on vital information to bands about how many people would like to see them play live in a certain place - and the prices they are prepared to pay for tickets.
From this data bands can work out which towns and cities to go to, the correct size for a venue, the optimum number of concerts to play and how much to charge. And Songkick gets a cut of the ticket price.
With an average of 50% of all concert tickets currently going unsold in countries such as the UK and US, Songkick claims the information it provides is the holy grail for the live music industry.
Ian says: "It is about bringing 21st Century technology to the live music industry."
Based in the Hoxton area of east London, the other, and currently larger, part of Songkick's business is a notification system that means music fans can avoid missing out on seeing their favourite band or singer perform live.
Free to use for the consumer, it sends you an alert when a band or singer you like is about to release tickets for a tour due to visit a city or town near you.
You can then buy the tickets via Songkick, which takes a commission of up to 10% from the promoter.
Music fans watching a concertSongkick's main business involves reminding users to buy tickets to see their favourite artists
Songkick's technology means that the user doesn't have to enter a list of bands and singers that he or she likes, as instead it automatically checks your digital music collection, and what you listen to on streaming services such as Spotify.
Ian and his two co-founders started the company when he was just 25. Now six years later, it is a global operation used by eight million people per month.

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Our biggest competitors are the ones you don't know about - the three people in a bedroom coming at it from a completely different angle”
For Ian, a Londoner who studied engineering and software at Cambridge University, it was working in California's Silicon Valley that made him realise you are never too young to launch a new technology company.
"Living in the Valley for a year was a really influential experience," he says. "The head of data at Facebook at the time was my age. It helped me realise that you could just go for it and start a business if you were interested in solving a particular problem.
"The actual idea came from my co-founder Michelle You, we are both really big gig-goers, and she said, 'Is there a way to use technology to make it easier to know when a band you like is going on tour?'
"I had the tech background to say 'yes it can be done', and Songkick came from there."
Ian says he "always wanted to build something".
Members of the band Hot ChipLondon-based band Hot Chip have successfully used the Detour service
"It didn't have to be a company, an invention would have done. I'm always most excited when making something."
But after graduating, Ian's love of music and China initially saw him spend a year in Beijing, learning Mandarin and earning money as a DJ playing hip-hop.
It was also in Beijing that he first met Californian Michelle You, who was a fellow pupil at the same language class.
They both kept in touch when they left China, with Ian working in Silicon Valley for management consultants Bain & Company, and Michelle in New York.
After Michelle questioned how technology could be used to better used to find out about forthcoming concerts, the idea for Songkick was born.
Quitting their day jobs together with third co-founder Pete Smith, a friend of Ian's since Cambridge, they set up the company, initially using their own money.
Ian says that while he and his colleagues could have based Songkick in California, they chose London because: "It is the gig capital of the world. London has more concerts than anywhere else."
He says the company is proud to be doing its bit to help the wider music industry.
Kylie Minogue in concertKylie Minogue is one of numerous artists available for one-off concerts
"The music industry has been through a huge amount of change in recent years. Not helped by illegal downloads, sales have fallen sharply.
"So now bands make 70% of their income from touring. But at the same time, on average, half of all concert tickets go unsold. Songkick is helping sell those spare tickets."
Now backed by venture capital funding, including $10m (£6.4m) last year from Sequoia Capital, the Silicon Valley firm that has previously funded the likes of Google, Apple and PayPal, Songkick still has just 30 members of staff.
"We are a small team, but the important thing is the talent density - our staff are extremely talented," says Ian.
And while he says he finds it difficult not to spend all his time thinking about the company, he is happy to delegate.
"I see my job as attracting exceptional people to solve problems, and then getting out of the way to let them do it."
Ian now intends to grow Songkick's business tenfold over the next five years, and is relaxed about the possibility of the established ticket agencies doing something similar to both its core business and new Detour operation.
He says: "Our biggest competitors are the ones you don't know about - the three people in a bedroom coming at it from a completely different angle."