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Since 2020, we have been revitalizing #DSO Chamber Music with exciting additions. The first: in #TheArtofUnFuge we combined classical music with top-tier cabaret artists (from Richling to Evers, from Sträter to Hallervorden). The second: #ClassicandCrime brings solved and unsolved criminal cases in classical music to the stage (as a podcast co-production with ZEIT-Verbrechen). The third: #TenConcerts #TenMuseums guides our audience through Berlin's fascinating museum landscape. The fourth: #DSOintheZoo - where that will take us: you'll have to guess! Why so much chamber music when we are an orchestra? #ArtisticDiversityandInnovation: Chamber music allows DSO members to engage in smaller, more flexible ensembles, offering opportunities to experiment with different musical styles and repertoires. This fosters artistic innovation and creativity, as musicians have the freedom to explore new interpretations and unconventional programs that might not be possible in a traditional orchestra setting. #EnhancementofMusicians' Skills: Playing in chamber music ensembles requires a high level of individual musicianship, technical proficiency, and sensitive collaboration. Each DSO musician must take on significant responsibility, as there are no conductors and every part is crucial. This improves listening skills, communication, and flexibility among the musicians, ultimately strengthening their abilities and overall performance within the orchestra. #EngagementandAudienceExpansion: Chamber music offers a more intimate and often more interactive concert experience, allowing for a deeper connection with the audience. These concerts can take place in various, sometimes unconventional, venues, reaching and captivating new segments of listeners. This helps to promote interest in classical music and attract a broader, more diverse audience. And here: the link to latest Classic & Crime. https://lnkd.in/dyUj548z

Carin Leon Set To Open For Rolling Stones in Arizona Concert Carin Leon, the famed Mexican singer from Sonora, is set to open for the Rolling Stones in their next concert in Arizona. You can buy tickets here: Rolling Stone & Carin Leon. We learned of this via Noreste, a #Mexican publication based in the northern region from where Carin Leon originates. The concert will take place on May 7th, 2024 in Glendale Arizona at the State Farm Stadium. Mexican Regional Is Hard To Ignore No British band is more iconic than the Rolling Stones short of the Beatles, but the key difference is that the group has never stopped touring which makes them a brand that lives on far from being memorabilia. Mick Jagger who is hovering near his 80’s is hard pressed to need an introduction anywhere, but while his youth has faded, nothing about the music’s quality has changed For some, it’s tough to conceptualize that The Rolling Stones even need to approach a different audience. Or, do the they? The band and their business managers may be noting the sea change in how much Mexican culture is being exported across the world. Hoping to cash in on the eventual European arrival, why not cross-promote may be the reasoning. The look, the feel and content of Mexican regional is unique and distinctive. This makes for easy selling and increases cross promotion profitability, and, as was noted in ‘Rockonomics’, a book detailing the intricacies of winners and losers in the music business, the most famous artist in the world will always be ‘featuring’ so who knows if this is simply a prelude for more to come. https://lnkd.in/emnexUxi

For some, it's tough to conceptualize that The Rolling Stones even need to approach a different audience. However, the band and their business managers may be noting the sea change in how much Mexican culture is being exported and monetized across the world. Hoping to cash in on the eventual European arrival, 'why not cross-promote' may be the reasoning. The look, the feel, and content of Mexican regional music are unique and distinctive. This makes for easy selling and increases cross-promotion profitability, and, as was noted in '#Rockonomics', a book detailing the intricacies of winners and losers in the music business, e.g., the most famous artist in the world will always be 'featuring', so, who knows if this is simply a prelude for more to come.

Cradle-Cradle-based, circular-economy guide book for concerts. #cradletocradle #c2c #concerts #music #circulareconomy https://lnkd.in/eRiMeY8i

Just been looking at some fascinating data from Germany on attendance at orchestral concerts. 1. Visits have risen by 171.1 % since 1966 and by around 20.4 % since 2000. In 2006/07, the number of visits exceeded 4 million for the first time, since when the number of visits has stagnated. 2. The number of concerts has increased steadily, since 1966/67 by 398% from 1593 concerts to 7668 up to the peak in 2013/14. After that, a slight downward trend set in, with a decline of 9.8% to 6920 in 2018/19. 3. Attendance per concert was relatively constant from 1966/67 until almost the end of the 1980s. After reunification, the figures rose briefly, only to fall sharply. Overall, the number of visits per concert almost halved, from 1220 at its peak to 638 today.

The more challenging it is to obtain a particular brand, the more aspirational and desirable it becomes 💭 With the appointment of Ricardo Muti as the conductor of the New Year’s concert in 2025, the traditional draw to get a ticket just kicked off. Anyway, it will come with no surprise why to get a ticket for the New Year’s concert is an impossible mission: Because it is treated as a luxury product 💎 🙌 The New Year’s concert plays with the intangibles features. In other words, how the product makes you feel. In this case, attending this concert would fulfill a childhood dream for everyone. 🤷 To be honest, people don't buy tickets for the New Year's concert for its functionality, but rather for the social status it confers. If you simply want to enjoy some music and have a good time, you can attend any concert throughout the year. I can guarantee it will be more affordable. 📅 Last but not least, the New Year’s concert is not easily available. The tickets are sold exclusively through the Vienna Philharmonic’s website and moreover, due to the high demand, those are drawn among all applications submitted by the latest date of 28th February. 💸 Therefore, this well-executed exercise of creating scarcity leads to increased desirability, resulting in an increase of the product’s added value. As a consequence, the Vienna Philharmonic utilizes this strategy to inflate ticket prices up to 1200 euros for their highest-paid tickets.  . . . If you want to know more about how luxury marketing works in the classical music industry, you can now read the whole episode online through the link below.  👇 https://lnkd.in/ddWFBVEX #timbalmagazine #newsletter #viennaphilharmonic #newyearsconcert #classicalmusic #ferrari #luxurymarketing #valueladder #business #marketing 

🌟 Exciting Opportunity for Students | HTLGI Festival - The Worlds Largest Philosophy and Music festival | In the countryside of the Welsh borders🌟 🎉 Join the HowTheLightGetsIn Festival Student Ambassador Team! 🌐 I'm searching for up to 4 dynamic students to join me as ambassadors for the HowTheLightGetsIn (HTLGI) Festival, with a special focus on the Hay-on-Wye in Wales in 2024. 🔍 What's in it for you? Be a Festival Advocate: Your main gig? Promote and advocate for the HTLGI Festival. Share the buzz, philosophies, and unique experiences it offers. CV Boost: Dive into hands-on experience with promotional activities, social media campaigns, and engaging with your peers to create a festival frenzy. Networking Advantage: Meeting people is a big plus! Connect with different individuals, build relationships, and expand your professional network. Skill Development: Sharpen your marketing skills, social media prowess, and event coordination abilities. Learn how to effectively promote and advocate for a major festival. Exclusive Access: Peel back the curtain and discover the magic behind the scenes at the HTLGI Hay 2024 Festival, featuring world-leading thinkers and cutting-edge debates. Free tickets worth £125 for Early bird entry too! Explore the Lineup: Get an exclusive sneak peek at the speaker lineup, featuring renowned intellectuals and thought leaders. 🌟 Additional Info from our initial Zoom meeting: Millie recently spilled the beans on the HTLGI Festival Ambassador scheme. Here's a quick recap: Getting Involved: Mix social media with creative marketing—newsletters, articles, or competitions. Share your ideas at the next meeting. The Institute of Art and Ideas Live Ambassadors: Become a Student Ambassador for IAI Live with a social re-share and an 'outreach' post. Enjoy a premium IAI subscription. Email Millie to jump in! Monthly Meetings: Join us at the start of every month to plan marketing and brainstorm ideas. The next meeting is on Friday, December 1st. Checking In: Send screenshots and event photos to track your activity and ensure you snag that free ticket! 🗓️ Whens the Festival? May 24th-27th, 2024 🚀 How to Apply? Drop me a message if you're ready for this exciting journey! Let's make HTLGI Hay 2024 unforgettable. I can provide more details and, if you're still interested, connect you with Millie, who will happily welcome you to the team and send your welcome pack via email! 🌍 About HTLGI Festival: HowTheLightGetsIn isn't just a festival; it's a celebration of ideas, a melting pot of philosophies, and an exploration of the frontiers of human thought. Join us in Hay-on-Wye for something extraordinary! Check out their website to get a taste of what's involved! Can't wait to share more updates with you soon! I am excited to be part of this unique festival and chat about it. #studentopportunity #HTLGI24 #ambassador #philosophyfestival #studentlife #networking #philosophy #philosopherpoet

#SaturdayRead Did you know that jazz has its origins in the late 19th century, when slaves could earn money from playing an instrument to buy their freedom? sammy stein’s book ‘The wonder of jazz: Music that changed the world’ is a deep dive into the history of jazz and its impact as a political, cultural and social force. It begins in New Orleans in the 1870s, covering New York’s segregated 'cabaret card' days, to the importance of jazz as a form of protest during the civil rights movement and the emergence and rise of hip hop, which remains heavily influenced by jazz to this day.  Here is an excerpt from our interview with Stein last year: NADJA: What role does jazz play in society today? Stein: Music is the loudest form of protest, and jazz has been central to protest ever since its beginnings. I think that role will continue, especially with younger musicians challenging established concepts and changing how people see the music. NADJA: You write about the lack of women in jazz. Who has the responsibility to make it more equitable – the record labels, the venues, or the media?  Stein: I think things are changing – a couple of years ago I counted up musicians in many jazz festivals and found less than a third were female. However since then, many festival organisers have told me they are working hard to change this and there is a genuine desire to make festivals and concerts more diverse, both in terms of more gender equality but also in terms of the cultures represented. The benefits have proved immense – more diversity on stage leads to a bigger audience. The long term effects are yet to be seen but if people see a broader representation of society on stage, they may think “that could be me”. NADJA: What about your own experience as a female writer specialising in jazz, have you experienced bias?  SS: I have but in small ways. Some people think I am a man, because of how I spell ‘Sammy’ so I get all kinds of comments about female performers until they realise I am female, then they might be a little embarrassed. My take is that you can never assume and in any case, if people check my profiles, it is clear I am not a man. I have had male PR agents accuse me of only writing about women, but then again, some have said I only write about free jazz, neither of which are true so it is up to them to do their research. I do think, however, that some men in jazz still view women as easy targets. When I wrote my book ‘Women In Jazz’ it was clear that while many female musicians experience little misogyny, there are still some people in the industry who are chauvinists. Read the full interview here: https://bit.ly/44CN8Wf #Music #Jazz #Protest

NZ, Auckland in particular, misses out on the Swiftonomic phenomenon by not being able to host Taylor Swift's Eras Tour. It was reported that was due to restrictions being placed on Eden Park as a venue. Eden Park is big enough to host her nearly 90m long stage and can accommodate up to 60,000 fans. Eden Park CEO revealed that it was down to resource consent restrictions for the venue. Eden Park is only allowed six concerts a year, and with 5 shows already committed to the Pink and Coldplay concerts, the one show allocation wasn't acceptable to Swift's organizers as they require multiple concert dates to meet demand. Eden Park must finish its concerts by 10.30pm, but the Swift show is expected to last till 11.30pm. The Eras Tours' seven shows in MLB and SYD is estimated to generate an economic windfall of A$140m to both cities, with an estimated 10,000 overseas visitors, including of course kiwis. In the US, it was estimated by the US Travel Assn that Swifties generated more than $US5 billion in econonic benefits. It was reported that the Singapore govt paid a large sum to have exclusivity for Swift's South East Asian concerts, much to the annoyance of the Thai PM. If NZ (and Auckland) were to benefit from these international concerts, we need to have a suitable venue that can host them. In the meantime, we continue to debate whether we should build one in Auckland's downtown. We are good at this, talking that is. photo credit: The Guardian

This honestly means so much for the events industry. Without exaggerating, some of the best memories of my life are at clubs in Berlin. At 19 I moved to Berlin, I'm half German, and had grown up going back and forth to see my Großvater and Großmutter a few times a year, but I finally thought it was time I actually learnt the language. There are few places in the world worse to learn German than Berlin, there is so much more to do than language school. For me, I fell madly in love with the city's nightlife. Some of my favourite memories are from night at Sisyphos, Katerholzig, Wilden Renate, and Berghain. Now Germany’s cultural ministry and Unesco have added the city’s techno scene to the country’s list of intangible cultural heritage (joining Falconry and Modern Dance) and this represents a huge step for governments and organisations recognising how vital the modern events industry can be in the overall cultural fabric of a nation. Now how can the UK learn from this? I lost hope in this frankly embarrassing government a long time ago - who more often than not seemed to pretend that our world-leading cultural industries didn’t exist. But I’ve got hope that we’re going to start taking the arts and events seriously as a country again. And we need to act fast. Where Berlin has techno, the UK has festivals and the government needs to move to protect them as soon as possible. Firstly that starts with financial aid to help it through the current well-documented issues, but in the long-term I hope we can see a similar status attached to them as the Berlin techno scene. We live in a country that will put on 600(ish) music festivals this year, from  Glastonbury to Reading & Leeds to the hundreds of day, niche or independent festivals, these are all cultural institutions that are themselves just as significant as any castle or museum and need to be protected accordingly.