Editor's note

In this issue we report on the conclusions and projections of the Creative Financing for Music Seminar held in Dublin. Serious efforts are being made to ensure that European funding, such as the Culture 2000 fund, regularly drawn upon by other Arts and Media projects should be made more accessible to music ventures, including the touring of artists. Much of this is heartening and hopeful stuff, - with the demise of the major Record Companies, and the disappearance of the notion of tour support, there could be valuable and vital opportunities for developing and supporting new and mid level talent.

But to establish efficient and progressive working practices, more dialogue and co-operation with music industry professionals at all levels should be undertaken, we require the construction of a common language that music industry practitioners, funding bodies, governmental culture and trade offices, and financial institutions can use to establish, clarify and pursue mutually beneficial collaborations. There needs to be brought together a team of people who can provide an experienced and considered judgement to the potential merits of music projects, and the proficiency of their instigators and managers, to hopefully avoid the failure and wastage of substantial funding that has unfortunately attached to many previous arts and media based projects.

Many of the concerns addressed by this Seminar, and no doubt by the follow up processes taken by the European Commission and other bodies, are regularly considered by our own industry conferences, and more importantly in day to day working practices and problems. You are all experts who have something to contribute to this growing recognition by governmental bodies that the international free flow of performing talent, i.e. touring, is both a cultural and trade imperative. If you get the opportunity to offer your expertise, do so - we can all benefit.

Meanwhile - on with the working day!

 

Mean Fiddler Music Group Plc has announced that it has clawed back recent losses through concentrating its operational emphasis on the increasing demand for live music.

As many and various reports in these columns have evidenced, ranging from the efforts of the Music Export Offices, to the growth of the European Talent Exchange Programme (ETEP) and the lobbying of the European Music Office (EMO), the cultural and trade potential of all forms of music, including live performance in all genres is being taken very seriously throughout an expanding Europe.

 

This year's edition of the MTV European Music Awards (EMAs) will take place in Rome at the Tor Di Valle.

 

Mike Gartside of the ILMC Safety Focus Group has contacted us to report on progress.

 

Oasis, it is said, have deliberately copied The Beatles' sound and style. Many comparisons, favourable and otherwise, have been made between The Manchester band and Liverpool's finest, in fact Noel Gallagher made the comparison himself, claiming that they would be bigger than the legends.

 

Many radio stations of course have a history of promoting live shows. This dual role causes some ambivalence for the rest of the concert business, one day's media partner and valuable promotional outlet becomes tomorrow's rival with a well provided competitive advantage.

 

As reported in this issue of Vip News, one of the biggest German youth radio stations, Eins Live announced its intention to promote a festival for the very first time.

 

Vip News has in already reported on, Die Drei???, an act who present a detective novel as a series of lectures, achieving extremely good ticket sales in Germany.

 

MTV have opened their new German headquarters in Berlin. The new building is located directly next to the German branch of the record company Universal in the East harbour on the riverside of the Spree.

 

The media giant Clear Channel Entertainment have strengthened the music division with two new appointments: The Company has announced the appointments of Charlie Mierswa as Vice President of Business Affairs and Ann Latora Senior Vice President of Finance for the Music Division of the company.

 

Clear Channel (CCU.NSE.): The 'Company Continues Explosive Growth' slogan is it appears not synchronized with the share price. On May 7 the share price was 40.48 USD on May 21 only 39.35 USD.

 

Nöjeskontoret ('the office of entertainment') is one of Scandinavia's most renowned and successful theatre- and musical production companies. The company was created by Producer Vicky von der Lancken in 1989.

We focus on theatre- and musical productions on Scandinavia's major stages. We have also produced shows in countries such as England and Spain. The productions represent a wide range of genres from serious drama to musical comedy and farce.

Together with our associate company the 'FTT Agenterna' (actors agency for film, tv and theatre) we represent some of Sweden's most well known, and talented actors, comedians, singers, directors and writers.

In 1998 Vicky von der Lancken took over the management of the famous Oscars Theatre in Stockholm with a seating capacity of 905. The current production is a comedy-show with the famous Swedish 'Lorry-group'. Oscars is also available as a dignified and well-equipped conference centre. With it's attractive location in central Stockholm, just across the street from the central station and the airport-train.

Among our earlier hit-shows are 'Guys And Dolls', 'Some Like It Hot', 'Two Into One', 'I'm No Angel', 'The Mistress', 'Sunshine boys', the musical 'Forever Plaid' and several Swedish plays and shows.

In November 2001, the incredibly successful concert concept 'Rhapsody in Rock' made it's international debut at the Royal Albert Hall in London with two sold out performances.

We produce corporate special events, taking care of everything from venues, speakers, entertainment, catering etc. With the experience from producing major theatre productions, our producers will help you create memorable and unique events. Last year, Nöjeskontoret produced the 25 anniversary gala for their majesties the king and queen of Sweden.

 

With its thirtieth anniversary fast approaching, Paléo Festival Nyon has secured its position as one of the biggest open-air festivals in Europe. The very mention of the name is enough to bring memories flooding back to three million festival-goers and two thousand artists from all over the world. This is the portrait of a Festival in constant evolution.

The whole of Switzerland knows that during the last week in July the place to be for music and festive spirit is Paléo Festival Nyon. And what a place! A green field site nestling between the foot of the Jura mountains and the shores of Lake Geneva, only a few kilometres from the city of Geneva itself. During the six days of the festival 200,000 festival-goers attend the more than 120 concerts taking place on the festival's six stages. Holiday and relaxation for some, a meeting place and a chance to discover new music for others, the Festival is today one of the summer season's essential events. A view endorsed by an eager public who in 2003 snapped up all available tickets fifteen days before the start of proceedings. In 2003, the three millionth spectator has been welcomed on to the site.

For its first edition in 1976, the First Folk Festival drew 1,800 folk fans to the Nyon village hall. Since then the Festival has never stopped evolving. It has changed name and venue and become a professional outfit. The ability to renew itself has always been one of the main preoccupations of the Festival. Even today, the future is viewed in terms of new ideas to be developed. Just to prove the point, in 2003 festival-goers discovered a whole new universe entirely dedicated to African music and culture. Concerts, entertainment, stalls and decor transport the public to the richly colourful environment of an African village. This original project, named village du Monde, will be dedicated , on 2004, to South America.

In spite of diversifying its musical programme over the past years the Festival has always sought to promote new talent, and provide a showcase for regional revelations. In 2003, out of the hundred and twenty groups on the programme, twenty or so were from Switzerland. This cocktail of big-name concerts and discoveries from home and abroad is one of the principal cultural hallmarks of the Festival, and satisfies both the expectations and the curiosity of those attending the event. In the almost thirty years of its existence, the Festival has become much more than just a musical event. With the exceptional know-how of its 3,500 volunteer staff, its 150 food and handicraft stalls, numerous bars, free campsite and wide media coverage, Paléo Festival Nyon has secured itself a place as one of the favourite meeting places of show business professionals. These same professionals were quick to recognise the Festival's remarkable organisational and hospitality qualities in awarding it the Arthur Award for best international festival on two occasions (1999 and 2002) Even though its success has established it today as a leader in the fields of programming and organisation, Paléo has always stuck to its policy of providing affordable ticket prices in spite of receiving not a penny in subsidies.

 

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