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Nearly 70% of women working in India’s music industry have experienced some form of sexual harassment, according to a new nationwide survey.

The poll, conducted by Indian-American artist Amanda Sodhi, found some 69% of women working in the Indian music business had been subjected to sexual harassment, including inappropriate comments and touching, with just over 3% of those having also been sexually assaulted.

“Having faced sexual harassment within the music scene, several times, over the past few years, I felt it was important to collect data regarding the experiences of other women,” Sodhi tells RadioandMusic.com, which has the full survey results. “There haven’t been any numbers on the table about how rampant sexual harassment really is within the Indian music scene.”

The survey, of 100 musicians, lyricists, managers, engineers and other industry professionals, also discovered 72.6% of those women who faced harassment did not report it, either because they thought it wouldn’t make any difference or it would negatively affect their career or personal safety.

Some 97% of women in music think the Indian business needs more initiatives, organisations or committees to handle “#MeToo incidents” – referencing the global movement against sexual harassment, including in the live music industry, that emerged after the Harvey Weinstein scandal in 2017 – and take action, the survey additionally found.

“When I was conducting extensive research to administer this survey, I could barely find 400–500 names of women active in the music scene, nationwide, to send the survey link to,” continues Amanda Sodhi (pictured). “It’s sad that we can’t even offer a safe work environment for such a tiny group. Fear of losing out on work opportunities was one of the top two reasons to not report incidents of sexual harassment.

“I hope female artists who are doing hundreds of shows each year can perhaps pledge to employ X number of women in the year for X number of shows, whether it be as opening acts, musicians or sound engineers – in essence, affirmative action that empowers women to speak up without worrying about losing all employability in an industry that is dominated by men.”

Sodhi adds that she plans to launch a closed Facebook group for Indian women in music to discuss instances of harassment and women’s responses.

 

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Advanced Music SL, the promoter of Barcelona’s Sónar festival, has acquired a stake in Paraíso Sonoro SL, the company behind fledgling Madrid electronic music event Paraíso.

According to Spanish promoters’ association APM, Sónar and Paraíso have “joined forces to develop content and create joint strategies”, though each company retains its independence and existing staff and management teams.

Paraíso will mark its second edition in Madrid on 14 and 15 June, with music courtesy of Chvrches, Charlotte Gainsbourg and Laurent Garnier and non-musical content that incorporates art, videogaming and gastronomy.

The 26th edition of Sónar Barcelona, meanwhile, runs from 17 to 20 July. Artists performing include Vince Staples, Underworld, Asap Rocky, Four Tet, Andy C and Disclosure (DJ set).

“This strategic alliance will be very positive for the development of Paraíso and its positioning”

In a joint statement, Paraíso organisers Jose Morán, Ana Sanabia and Nacho Santos say: “This strategic alliance will be very positive for the development of Paraíso and its positioning in the national and international market. We share something essential: the love of music and the way in which we understand this industry.”

“We are particularly pleased to work hand in hand with José Morán and his team, who we have known for 25 years,” add Advanced Music’s Enric Palau, Sergio Caballero, Ventura Barba and Ricard Robles. “Separately, we have created festivals that have become reference models. Now, together, we share a new and stimulating creative challenge.”

Since June 2018, Sónar has been majority owned by Providence Equity Partners, the parent company of Superstruct Entertainment, whose portfolio also includes Sziget, Øya Festival, Flow Festival, Elrow and, most recently, Down the Drain (Northside, Tinderbox) in Denmark and several UK events formerly owned by Global.

 

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The post Providence’s Sónar allies with Paraíso appeared first on IQ Magazine.

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Australian venue management veteran Paul Sergeant has rejoined AEG Ogden, following the winding up of his Paul Sergeant Events (PSE) company.

“I have re-joined AEG Ogden for a third time and taken on a role as director, special projects, ahead of a number of rising opportunities across the Australasian region,” Sergeant – who founded PSE, a niche events promoter and consultancy, in 2017 after stepping down as CEO of Melbourne’s Etihad (now Marvel) Stadium – tells IQ of the move.

“Given my extensive experience at Wembley Stadium, Wembley Arena, Principality Stadium and Marvel Stadium, as well as my previous roles with AEG Ogden at Suncorp Stadium and Qudos Bank Arena, and more than 5,000 major events that have taken place under my management, I am effectively coming home to my specialised area of venue management.”

“I am effectively coming home to my specialised area of venue management”

Sergeant’s return to AEG Ogden comes amid a string of hires and internal promotions for the Brisbane-based company, including Ross Steele as manager of the Christchurch Convention Centre (Te Pae) in New Zealand and Michael Littlewood as director of operations at Suncorp Stadium in Brisbane.

PSE was wound up in March, as a result of Sergeant being unable to raise funding to cover ongoing business costs, according to the Melbourne Age.

AEG Ogden, AEG’s Asia-Pacific venues operation, manages Brisbane Entertainment Centre (14,500-cap.), Te Pae Convention Centre and Dubai’s new Coca-Cola Arena (17,000-cap.), among others.

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Forum Melbourne (2,000-cap.) will be the first venue in Australia to adopt a fully mobile ticketing service, powered by Ticketmaster.

The partnership between Ticketmaster and Marriner Group will allow the venue operator to utilise the latest tool in Ticketmaster’s portfolio, offering fans an easy and secure ticketing system.

“Digital ticketing is the future and our partnership with Marriner Group is another step in our mission to put mobile first,” says Maria O’Connor, managing director of Ticketmaster Australia and New Zealand.

“Getting the technology live across all shows at the iconic Forum Melbourne is a huge milestone in this journey making fans lives easier,” adds O’Connor. “By replacing paper and print-at-home tickets we can speed up venue access, while also protecting venues against fraud and enhancing security overall.”

The launch of mobile ticketing at Forum Melbourne follows a successful roll out of digital tickets for the Harry Potter And The Cursed Child theatre shows at Marriner Group’s Princess Theatre in Melbourne.

“Getting the technology live across all shows at the iconic Forum Melbourne is a huge milestone in this journey making fans lives easier”

Speaking of the experience at Princess Theatre, Marriner Group director Kayely Marriner comments: “The platform is extremely user-friendly and convenient.”

The first events to go on sale at Forum Melbourne with 100% digital tickets will be shows for Maribou State, James Blake and Tycho, promoted by Secret Sounds.

“Innovating is critical to us here at Secret Sounds,” says co-chief executive. Paul Piticco. “A fully digital ticketing system means less scalping, safe and easy transfer to friends, and a better environmental outcome by not printing or producing tickets. We are in!”

Live Nation-owned Secret Sounds promotes Australian festivals including Splendour in the Grass and Falls Festival.

According to the International Ticketing Yearbook 2018, Ticketmaster is one of two dominant primary ticketing companies in Australasia, with TEG-owned Ticketek.

As part of its digital ticketing service, Ticketmaster recently launched SafeTix in the United States. SafeTix issues tickets with encrypted, automatically refreshing barcodes, preventing duplication and allowing organisers to identify each attendee at their event.

 

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Hard work, knowing the right people and a slice of good luck can all play a part in getting a proper footing on the career ladder.

IQ Magazine puts some more ILMC regulars in the spotlight and asks them to share their breakthrough moments…

 

Steve Strange, X-ray Touring
I’d been involved with Ash for a couple of years, but I remember going to the Astoria for the first time with them and standing on the balcony with their manager, Stephen ‘Tav’ Taverner, and having a pint as we cheered them on.

The band were still at school when I first got involved – in fact, we had to build them and plan all their releases around the school holidays, so tours and promos would take place in the Easter break and summer holidays.

But Ash was the first act that I properly helped to break, so standing in the Astoria, in a venue where I’d been so many times myself as a fan at other acts’ shows, was something really special indeed.

Twenty-six years later, my roster has grown, and Tav also manages the likes of Alt-J, Kodaline and Wolf Alice. We both still represent Ash, who we’re really close with – Tim and Mark occasionally stay with me when they’re in town from New York.

Standing in the Astoria, in a venue where I’d been so many times myself as a fan at other acts’ shows, was something really special indeed

Marie Lindqvist, Stockholm Live
I started my career in the tourism industry working in marketing for some of the major tour operators, such as TUI, and for a group of amusement parks. In 2006, I was recruited for the role of marketing director at Ericsson Globe, the 14,000-seat multi-venue in Stockholm. I had never imagined I would end up in sports and music, so this was a whole new world to me, even though there are similar challenges and opportunities – and arenas and events are certainly an important part of the tourism industry.

AEG took over the operation of the arena from the city in 2008, and all of a sudden I was part of a leading global entertainment company – such a fantastic opportunity! I learned so much and I got to meet so many experienced and smart people from the different areas of our businesses across the globe.

After a few years, I was recruited back to the travel industry, but in 2014 I got a message from Richard Krezwick, who was overseeing all the European arenas for AEG, asking if I would like to have a coffee next time he was in Stockholm. Whilst sitting in the sun overlooking the Royal Palace, he asked me if I wanted to come back to AEG and take over as general manager for Ericsson Globe and the new Tele2 Arena, which had opened in 2013. I was thrilled and nervous about the big job but excited to be back at AEG and in the entertainment industry. Since then we have also taken over the operation of Friends Arena and now operate a group of five arenas and stadiums in Sweden. We do about 320 events with three million ticket buyers annually.

It was not where I thought I was heading in my 20s, but I am so happy to be a part of this amazing industry where the worlds of music, sports, real estate, sponsorship, tourism, food and beverage and much more meet in an exciting mix.

Everything I have today is all down to John Sherry giving me back that £200 and convincing me to become an agent

Carl Leighton-Pope, The Leighton Pope Organisation
In 1977, the band I was managing, Sassafras, split up and everyone was broke. I was 25 years old and married with four kids, living in Cardiff, but I owed an agent in London £200 and I couldn’t bear the thought of being in debt, so I caught the train to the capital to give the late John Sherry his money.

When I was in his office, he asked me what I was going to do next, but at that time I didn’t have a clue – I just knew I needed to earn some money to feed my family. He thought about it for a few minutes, then handed me the £200 back and urged me to become an agent, offering me a job for £40 a week, starting the following Monday.

So I travelled back to Wales to give my wife, Pamela, the good/bad news from my trip. She was delighted that we still had the £200, but when I told her about my new job, she said, “But darling, we don’t live in London; we live in Cardiff.” Her mother had a one-bedroom flat in Notting Hill and was kind enough to let me sleep on her sofa during the week, then I’d travel back to Cardiff on a Friday evening with my £40.

Pretty quickly, though, I signed the Motors, then Dire Straits, Simple Minds and Patti Smith, and before I knew it, all the other agencies were asking me to come and work for them.

But everything I have today is all down to John Sherry giving me back that £200 and convincing me to become an agent – I could never repay him for the faith he showed in me and I’m forever grateful.

 

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The post My breakthrough moment: More industry pros on their career turning points appeared first on IQ Magazine.

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French president Emmanuel Macron has pledged to create a €225 million public fund to benefit creative companies in the country, as he warns against growing US and Chinese dominance in the sector.

Macron announced the fund to a crowd of 130 cultural industry executives at the Elysée Palace. The funding was one of the recommendations made in a report concerning the private financing of film and audiovisual production in France by film producer Dominique Boutonnat.

The fund will be operated by the Public Investment Bank (banque publique d’investissement).

The French president also warned the executives against the dominance of US companies such as Netflix, Disney and Apple, as well as emerging Chinese competitors.

“I truly believe that if we do not organise ourselves, the battle is lost,” stated Macron at the Elysée Palace meeting, highlighting the need for collective action to combat US and Chinese tech giants.

“I truly believe that if we do not organise ourselves, the battle is lost”

A collective action plan will be outlined by the French Ministry of Culture in cooperation with the cultural industry sector by the end of the year.

This is the second time this month that the French president has called upon the EU to pool resources in the name of culture. In the aftermath of the devastating fire at Notre Dame cathedral on 15 April, Macron called for collective action to safeguard historical sites and protect “European heritage”.

US cultural sector dominance has been criticised by French politicians in the past. In 2017, former French culture minister Jack Lang denounced Live Nation’s inaugural Lollapalooza Paris festival as an “invasion of the musical life of France by American multinationals”.

The Paris edition of Lollapalooza returns for its third year in July, featuring headline performances from Twenty One Pilots and the Strokes.

 

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The organisers of Woodstock 50 have announced that the festival has found a new financial advisor, in the form of New York-based investment bank and financial services firm Oppenheimer and Co.

The future of Michael Lang’s Woodstock anniversary festival has been shrouded in doubt since Lang lost the event’s original financial partner, Dentsu Aegis’ investment arm Amplifi Live, and its production partner, Superfly. Upon its withdrawal, Dentsu representatives announced the cancellation of the festival.

Event organisers say Oppenheimer will act as a “financial advisor to complete financing for the festival”. It is unclear whether the help from Oppenheimer constitutes the investment of capital or is limited to a purely advisory role.

Oppenheimer’s head of debt capital markets and syndication, John Tonelli, says the firm is “thrilled to be onboard for this incredible weekend of music and social engagement.”

“We believe in Woodstock as an important American cultural icon and look forward to its regeneration”

“We believe in Woodstock as an important American cultural icon and look forward to its regeneration in the green fields of Watkins Glen this August with all of the artists on the remarkable lineup,” states Tonelli.

Lang has previously stated that an investment totalling “approximately $35m” would be necessary if the festival were to go ahead.

“We look forward to putting on an incredible festival,” says Lang, who co-founded the original Woodstock in 1969. “Words cannot express how appreciative Woodstock 50, the artists, the fans and the community are to Oppenheimer for joining with us to make W50 a reality.”

Lang states that the ticket on-sale, first scheduled for 22 April, will be announced very soon. However, reports suggest that Lang is yet to have secured a mass-gathering permit for the event from the New York State Department of Health.

A court case, in which Woodstock 50 organisers demanded Dentsu return $17.8m to the festival bank account, concluded last week. A judge ruled against the returning of funds, but also rejected the investor’s right to cancel the event.

 

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The 64th edition of the Eurovision Song Contest wrapped up on Saturday at Expo Tel Aviv’s Pavilion 2 (10,000-cap.), Israel, in a contest that has seen the music industry divided on political, rather than musical, issues.

The Netherlands won Eurovision 2019 with singer-songwriter Duncan Laurence’s performance of piano ballad ‘Arcade’. The Dutch artist received 492 points, followed by Italy’s Mahmood with 465 and Russia’s Sergey Lazarev with 369. The UK’s Michael Rice placed last, with a total of 16 points, for his rendition of ‘Bigger Than Us’.

“I have been so delighted with this year’s competition and we have all been very impressed with the wonderful talented artists who have taken part this year,” says Jon Ola Sand, the European Boradcating Union’s (EBU) head of live events and the executive supervisor of the Eurovision Song Contest.

“I would like to thank them for the hard work and dedication they have given us. Each artist has brought something unique to the contest and embodied what this contest is about,” adds Sand.

However, music was not the main topic of conversation surrounding Eurovision 2019. Following the win of Israeli act Netta Barzilai last year, the 2019 competition took place in Tel Aviv, sparking controversy due to the long-running Israeli-Palestinian conflict.

Despite calls to boycott the event, Madonna performed at the grand final on Saturday night. The singer opened her performance with a call for unity, declaring: “Let’s never underestimate the power of music to bring people together.”

Madonna’s rendition of her new single ‘Future’ featured two dancers who displayed Israeli and Palestinian flags on their backs, walking arm-in-arm.

“Each artist has brought something unique to the contest and embodied what this contest is about”

Icelandic act Hatari, who finished in tenth place, also displayed Palestinian flags during the contest.

The EBU states that both sets of artists violate its rules, which designate Eurovision as a “non-political event”.

The Palestinian Campaign for the Academic and Cultural Boycott of Israel denounced what it called the “fig-leaf gestures of solidarity from international artists”.

Ticket sales for this year’s Eurovision were lower than expected. According to Israeli paper Globes, between 5,000 and 7,000 foreign guests visited the country for Eurovision, including the participating artists’ delegations and journalists. Previous predictions expected the competition to attract between 20,000 and 30,000 tourists.

Local media puts the low numbers down to high hotel rates and steep ticket prices. Tickets to Saturday’s final set fans back £373 for prime seats and £252 for standard seats. Tickets for last year’s final, held at the Altice Arena in Lisbon, Portugal, cost between £31 and £262.

Calls for a boycott may have also have affected ticket sales.

“Let’s never underestimate the power of music to bring people together”

The Boycott, Divestment, Sanctions (BDS) movement, an initiative working to “pressure Israel to comply with international law”, initiated the call for a boycott of Eurovision 2019. BDS claims that more than 150,000 people responded to its call, including artists and music-related organisations.

Musicians including Pink Floyd’s Roger Waters, Wolf Alice and Brian Eno urged a boycott of the event, due to Israel’s “grave, decades-old violations of Palestinian human rights”.

The Musicians’ Union of Ireland similarly supported the boycott, calling on its members to attend protests in support of sidelining the contest.

Entertainment industry non-profit organisation, the Creative Community For Peace (CCFP), established a movement to oppose the boycott, stating that music “transcends boundaries and brings people together”.

The CCFP initiative has more than 35,000 signatories, including Sharon Osbourne, Gene Simmons and Justin Bieber manager Scooter Braun, as well as individuals from the Madison Square Garden Company, the Recording Academy/ Grammys and AEG Presents.

 

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The post Politics overshadows successful 64th Eurovision appeared first on IQ Magazine.

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The Entertainment Committee for Stadium · Arena (ECSA), the new association advocating for Japan’s large venues, held its first executive board meeting on 26 April, with members approving its articles of association and membership terms.

Launched earlier that month, ECSA is a joint venture between Japanese promoters’ association ACPC and Japan Top League (JTL), an alliance of 12 leading sports leagues, that aims to improve and develop Japan’s arena and stadium infrastructure.

At the 26 April meeting, ECSA’s board of directors also agreed on an action plan to support Japan’s large-venue business, with its first goal being rolling up all under-construction stadia and arenas “scattered around the country”.

“We, the sports industry and music industry, have never had a conversation with each other,” says Entertainment Committee president Saburo Kawabuchi, who calls stadia and arenas a common “source of origin to provide entertainment.

“In order to use them in an effective way, we would like to start discussing what we can do.”

The composition of ECSA’s first board of directors and secretariat is as follows:

Board members

  • President: Saburo Kawabuchi (JTL president)
  • Vice-president: Takeo Nakanishi (ACPC chair)
  • Executive board member: Tatsuya Nomura (Federation of Music Producers Japan managing director)
  • Executive board member: Hidenori Nakai (Japan Association of Music Enterprises executive manager)
  • Executive board member: Yusaku Morioka (Japan Sport Association managing director)
  • Executive board member: Kenji Shimaoka (Japan Volleyball League Organisation president)
  • Executive board member: Mitsuru Murai (Japan Professional Football League chairman)
  • Executive board member: Masaaki Okawa (Japan Professional Basketball League chairman)
  • Executive board member: Koji Matsushita (T League chairman)
  • Executive board member: Yoshiyuki Mano (professor, Waseda University Faculty of Sport Sciences)
  • Supervisor: Koichi Tsujii (Lawyer, JTL supervisor, ACPC managing director)

Secretariat

  • Director-general: Yoshinori Taguchi (JTL)
  • Deputy director-general: Hiroto Imaizumi (ACPC)
  • Producer: Nobuhiro Nagai (ACPC)
  • Deputy producer: Katsuhiko Kondo (ACPC)
  • Project manager: Junichi Tayama (ACPC)
  • Secretary: Sayuri Kuriyama

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Live Nation has acquired Los Angeles promoter Spaceland Presents, as well as its three LA-area venues, boosting the global concert giant’s presence in southern California.

Formerly one of the city’s most influential independence concert businesses, Mitchell Frank’s Spaceland Presents produces and books talent for over 1,200 concerts and events annually. It is known especially for its shows at cultural institutions and landmarks including the Santa Monica Pier, Los Angeles Natural History Museum and Echo Park Rising.

The company also operates and promotes shows at the Echo (350-cap.), Echoplex (780-cap.) and the Regent Theater (700-cap.), which join the likes of the Wiltern, Palladium, Observatory and Venture Majestic Theatre in Live Nation Clubs & Theaters’ portfolio of SoCal venues.

Spaceland was formerly minority owned by LA live events group Knitting Factory Entertainment.

“Live Nation brings added knowhow, extensive resources and worldwide experience to help expand Spaceland’s growth”

The acquisition is Live Nation’s 11th of 2019, following Singapore’s One Production in January, Canada’s Embrace Presents, Spain’s Planet Events, Tennessee’s Neste Event Marketing, Finland’s Blockfest, Norway’s Tons of Rock and Australia’s Moshtix (through Ticketmaster) in February, Belgium’s Antwerps Sportpaleis and New England’s Levitate in April, and Denmark’s PHD Music in May.

“Live Nation brings added knowhow, extensive resources and worldwide experience to help expand Spaceland’s growth,” says Spaceland Presents founder Mitchell Frank. “It will substantially increase our bandwidth and support our ability to continue to advocate and promote the artists and music we care about through live music.”

Ben Weeden, COO of Live Nation Clubs & Theaters, adds: “We’re looking forward to helping them continue to be champions of artists on multiple fronts, ranging from marketing to performance opportunities, to help an artist grow from small 250-cap. rooms to full potential, whether it’s a 3,000-cap. venue or arena.

“We are excited to have Mitchell and his team join the Live Nation family.”

 

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