Lineup Magazine Winter 2014

NO. 02

Q&A WITHGARY MEYERTELLURIDE’S SENIOR CURATOR OPENS UP…AND MOVES ON…

winter 2 0 1 4

TRENDING (TOMORROW)NETWORKING: IT’S NOT JUST ABOUT YOUR SOCIAL MEDIA CONNECTIONS

UP & COMERSTHE CLYDESDALEBY LINDA EVANS

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08Set ListEditorial Director,Bill Evans (AKA Rev. Bill)

10Trending (Now)Music, Film & Tech Trends

12Trending (Tomorrow)Networking: It’s Not Just About Your Social Media Connections

16Life Is...EverythingBy Linda Evansand David Farinella 24

Interview with Gary MeyerTelluride’s seniorcurator opens up…and moves on…

28Interview with Kevin LymanWarped. Mayhem.And Punk Rock

36Up & ComersThe Clydesdale,By Linda Evans

04 Contributors

06 Advisory Board

UP FRONT >

this issue

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contributors

UP FRONT >

PublisherWaco Hoover

Conference PresidentLaurie B. Kirby, Esq.

Production ManagerAdam Zandman

Art DirectorNick Hensley Wagner

Editorial DirectorBill Evans (AKA Rev. Bill)

Editorial ConsultantStuart MacNaught

David John FarinellaFeatured in Variety, Billboard, Alternative Press, RollingStone.com, and a slew of others for 25 years and counting..

Robert LindquistRobert Lindquist is a writer, publisher, DJ, sax player, sound guy and budding actor based in the Finger Lakes area of NY.

Geri JeterGeri Jeter has been a freelance copy editor for over 20 years while working as an entertainment,food, and travel writer.

Linda Haulbrook EvansShoots and writes for Live2PlayNetwork.com, SoundProLiveNetwork.com,Vegas Seven and UrbanDaddy.com.

Larry JaffeeLarry Jaffee currently writes about music and other things from New York for HuffingtonPost.co.uk and rocksbackpages.com, among others.

Kevin M. MitchellKevin M. Mitchell is a St. Louis-based musician and freelance writer who has written about music instruments and the live event industries for 15 yrs.

Robert ScovillRobert Scovill is a 35 year veteran of professional audio and is an award winning concert sound engineer.

Breanne GeorgeMultifaceted writer and editor with experience writing for a variety of publications and industries.

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IMFCON

Stephanie Furgang AdwarFounding PartnerFurgang & Adwar, L.L.P.

Josh BehrmanOwnerMountain Groove Productions

Matt CanteloFormer COOCorporate Travel Management (CTM)

Maureen FordPresident of Live Nation Venue NetworkLive Nation

Michelle LeeSales Director-Southwest RegionDelta Air Lines

Theresa JenkinsExecutive DirectorThe Recording Academy

Dave MarguliesDirectorHigh Sierra Music Festival

Tom ReynoldsPrincipalEntertainment Strategy Partners

Noelle P. StevensonFilm & Entertainment CommissionerBroward Office of Film & Entertainment

Scott AigesDirector of ProgramsNew Orleans Jazz & Heritage Foundation

Philip BlaineOwnerPhilip Blaine Presents

Titus DayManaging Director6° Group of Companies

David HazanOwnerDLH Marketing

Howard SapperChief Executive OfficerHarmony Festival

Reid WickProduction ManagerRecording Academy

Nick AlgeeIMFCON Advisory Board Member

Caroline Frye BurrussVice President, NationalMedia and PartnershipLive Nation Entertainment

Jim DigbyExecutive DirectorThe Event Safety Alliance

Paul JamiesonExecutive DirectorSunFest

Peter ManningTalent BuyerC3 Presents

David SilbaughTalent BuyerSummerfest

Catlin WhitingtonPlannerSXSW Conferences and Festivals

Inga DyerSVP Business & Legal AffairsREVOLT

IFFS

Gilbert AdlerProducer (Superman Returns, Valkyrie)Writer, Director, CEO

Robin BronkCEOThe Creative Coalition

Henry Deas IIIDirector of Festivals & MarketsVariety

David GarberPresident & CEOLantern Lane Entertainment LTD.

Chris LowellWriter, Director, ActorBesides Still Waters, The Help, Veronica Mars

Eric SteinFounderImpact Global Media

Liana BenderDevelopment DirectorCalifornia Film Institute

Bruno ChatelinCOOfilmfestivals.com & fest21.com

Mark FishkinFounder & Executive DirectorCalifornia Film Institute

Shawn GuthrieGrants CoordinatorAcademy of Motion Picture Arts & Sciences

Barbara MorganDirector & Co-FounderAustin Film Festival

Bonnie VolandHead of InternationalMarketing & PublicityIM Global

Jennifer BlumFounderJB Group

Paul CohenDirector, FSU College of MotionPicture Arts“Torchlight Program”

Andrea GalantePresident, Leonardo Da Vinci Film SocietyDirector & Founder, MIFF Awards

Nancy KennedyDirector of Strategic PartnershipsSeattle International Film Festival

Stephen NemethFounder & Executive ProducerRhino Films

Ted HopeFounder & CEOFandor

UP FRONT >

advisory board members

Editorial Contact Information: [email protected]

Please send advertising materials to: [email protected]

General Information: [email protected]

Laurie Kirby, Esq.President / Chief Creative Officer IMFCON / IFFS, Lineup Magazine

t 626.470.6043e [email protected]

7L I N E U P L I V E . C O M

Bill Evans (AKA Rev. Bill)

editor’s note

There’s a series of jokes that are common in L.A. and other places where film is king. They all have different setups, but the punchline is the same on all of ‘em.

“What I really want to do is direct...”

The jokes work because of the near-universal desire most of us have to move up the ladder. Or as a friend of mine who was then drumming for Melissa Etheridge once put it in an editorial pow-wow for a long-dead magazine for musicians, “I wanna be in the band just above me.”

I got to thinking about this when we were putting together the final parts and pieces for this issue of Lineup, and I was having a hard time getting responses from some folks from whom we were trying to get photos for a few features — all of them film oriented. I would send 10 emails and leave phone messages and... Zip. Nada. Zero.

But then I let Laurie Kirby know we were having issues, and she sent one email. One. And magically — sometimes within minutes — we not only had a response, but a ton of the great images in this issue in my inbox. This is because, in the film world, Laurie has a rep. As in reputation.

I have a rep, too. But mine is in other areas. Publishing and music, mostly. In film, not so much. At least, not yet.

Rep is a big thing. And it is not just a good/bad thing. You may have a great rep in one area, a rep that you have spent years building. But in other areas... Not so much. Another experience from the personal archive.

In 2002, I was downsized from that music mag I mentioned before and, totally by the grace of God, had a new gig within 72 hours. All because in the publishing world, I had a rep as someone who knew how to start from zero and

build a publication people cared about. And because of that rep, other people at companies like JBL, Shure, Presonus, and a few others made the introductions I would need to build Front of House magazine from zero to a powerhouse in the world of concert audio.

By the time I left FOH in 2011, I was an official part of the concert touring tribe, despite being little more than the guy in the band who owned the PA — and having never spent as much as a sin-gle night on a tour bus. Today, I am proud and blessed to have friends in every part of that business who not only will take

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W H A T ’ SY O U R R E P ?

B Y BILL EVANS (AKA REV. BILL )

E D I T O R I A L D I R E C T O R


my calls, but who will go to great lengths to help me get access to people and shows across the spectrum of live music.

But when I left to do my own digital thing, I had a rude awakening. My rep, which I was so proud of and that I spent so long building, was for one thing. Content. I had a rep for creating and shepherding words and images and video that mattered for musicians and audio engineers. But when it came to selling sponsorships for that content... Again, not so much. And it made for a long, hard road to build my Web-based publications. But that rep continues to help me. The team behind IMFCON relied on that when they asked me to add Lineup to my plate early in 2014.

This is a phenomenon that you may face at some point, as well, and a huge part of what makes the IMFCON event so valuable. You may have worked for years in local or regional film or music festivals and have ambitions of being “in the band just above me.” Maybe you are looking to grow your event into something bigger. Maybe you see yourself programming a larger festival or even have ideas of starting your own. But, as I was so rudely reminded when I struck out on my own, a rep in one area of a business does not mean instant acceptance in another.

A modern festival is a beast of epic proportions. Programming is a part — a big part — but only a part. You need to deal with

sponsors and production companies and marketing and crowd safety and a million other things. And the people you can meet and the lessons you can learn at IMFCON can go a long way toward you being able to start, nurture, and grow the relationships — the rep — you will need to see those ambitions come to fruition.

If you are not at the event this year,we hope that the content presented in Lineup will help with that, too, and inspire you to be at the conference next year.There is real wisdom on these digitalpages from people who have been there, done that, and got the T-shirt.

I am proud and happy to be a part of this team and very mindful of how stretching out from my comfortable music and audio world and into the worlds of film and food and all of the things that make great festivals great will expand my rep into those areas. And that expanded rep will help in other activities beyond Lineup. Which is an awesome thing. Because, you see...

What I really want to do is direct....

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trending (NOW)

Will They Ever Put DownTheir Phones?

Exactly how audiences are supposed to behave at live rock shows has been up for debate since the emergence of the genre. There aren’t hard and fast rules and behavior that would get spectators thrown out of La Scala or Lincoln Center (moshing, crowd surfing, heavy intoxication) is an integral part of the live experience.But the dynamic has changed between musicians and fans in recent years. Rock music has always embraced—and even represented—rebellion, rowdiness, and a robust disdain for social decorum. But along with more classical art forms like theater, opera, and the symphony, it’s suffering from the distracted, smartphone-carrying audiences of the digital age. Elizabeth Flock looks at the phenomenon of fans 100% in charge in The Atlantic.

- theatlantic.com

A Festival of Drones?

Flying drones are increasingly capturing aerial shots for Hollywood movies and television, and the low cost of the gear is enabling even hobbyists to shoot spectacular footage from the sky. Now the first New York City Drone Film Festival is accepting submissions. The festival, scheduled for Feb. 21, will feature films running less than 5 minutes.

- nypost.com

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Networking: It’s Not Just About Your Social Media Connections

Disruptive technologies almost never come in with a bang. They sneak up on you. And it is not until the disruption is complete (or at least way past the tipping point) that most people are even aware that the world is undergoing massive change. As Hemingway wrote referring to how people go bankrupt, it happens slowly and then all at once.

B Y BILL EVANS (AKA REV. B ILL )

And one technology that has the potential to change nearly everything about the way we communicate, consume content, and relate to one another at densely populated events (you know, like… festivals?) is probably already on your desk or even in your pocket or purse. And the best use of it so far is an app that many think of as a trifle. Merely a way to chat with friends without an Internet connection. When the truth is that it has the potential to change literally everything. Including taking away huge amounts of power from people and organizations that will not relinquish said power without a very bloody fight.

We live in interesting times.

The technology at its most basic is called mesh networking, and the app that uses it which you may already be using is called FireChat.

FIRST, A LOOK AT WHAT MAKES IT DIFFERENT AND DISRUPTIVE.

In a star topology, you have a central node and a bunch of remote devices all connected to the central node. This is the way your Wi-Fi network at home or work operates. There is a router, which is the central node, and all the devices in the network communicate with the CENTRAL NODE. They do not communicate directly with each other.

A mesh topology is different. In a mesh, every node is connected to every other node, either directly or indirectly. Like this…

On the left is a fully connected mesh network in which every node is directly connected to every other node. On the right is a partially connected mesh. But as you can see, even in the only partially connected mesh, every device is able to communicate with every other device directly or indirectly, and there is no central hub.

This kind of mesh is how the Internet actually works. Mesh networking—like so many other tech advances—was originally a product of the military which wanted a way to guarantee communications, even if part of the network was compromised or destroyed. As long as any node has connection to any other node it has connection to ALL the nodes still operating.


Networks exist in certain forms or “topologies.” The kind most of us deal with is a “star,” an example of which is illustrated HERE:

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FEATURED > L IFE IS . . .EVERYTHING

16

LIFE IS…EVERYTHING

By Linda Evans and David John Farinella

“It’s like planning a wedding,” remarks Life Is Beautiful founder Rehan Choudhry, “but in our case, a hundred thousand people are coming to watch.”

Choudhry sounds remarkably calm for a man who’s just four weeks away from entertaining 100,000 of his closest friends with the likes of Kanye West, Foo Fighters, The Flaming Lips, Outkast, Panic! at the Disco, and The Head and the Heart, feeding them from kitchens being run by world-renowned chefs, including Scott Conant, Hubert Keller, Giada De Laurentiis, José Andrés, Cat Cora, Marc Forgione, Duff Goldman, Rick Moonen, Jet Tila, Mary Sue Milliken, and Susan Feniger and showcasing street art wall murals by D*Face, CYRCLE, and Bicicleta Sem Freio, among others, as well as installations by artists like Li-Hill, Borondo, and Edoardo Tresoldi.

Oh, right, in the midst of all of that, there will be a bunch of smarty-pants, big thinkers, and cultural bon vivants holding court and expanding minds. Here’s a small sampling of the 2014 offerings: Nadezhda (Nadya) Tolokonnikova and Maria (Masha) Alekhina of Russian punk rock art collective Pussy Riot, who will be agitating for prisoners’ rights and equality for women; Penn & Teller, who will explain why it is they do what they do; and an appearance by synthetic biologist and cofounder of Pink Army Cooperative Andrew Hessel, who will enlighten us on how synthetic biology will surpass infor-mation technology as a driver of economies and societal change, not to mention its impact on safety and security.

By all accounts, Choudhry should be jumping out of the overstuffed chair he’s settled into at the Commonwealth’s rooftop patio bar in Las Vegas.Yet, he’s calm. He’s collected. He’s ready.

“It’s going to be amazing,” he says emphatically.

THE BIG BANG THEORY (if you’re so inclined) OF LIFEChoudhry stumbled into the festival business after

working as an IT consultant for the Department of Homeland Security, of all things. His first festival gig was at a food and wine festival in Atlantic City, New Jersey, for the Food Network. “I had no event experience,” he says, “but they gave me the opportunity to do it, and I fell in love with it.”

He jumped to Las Vegas in 2010 to take on the entertainment director job at the Cosmopolitan resort, which he did for two years. “Then I had this moment of clarity,” he says, “that I wanted to create something that had a socially positive message that did good for people at an emotional level, but was also a large-scale event that satisfied the need I had to bring a hundred thousand people together for a party.”

BIRTH OF THE LIFE IS BEAUTIFUL CONCEPTChoudhry brought in Eve Cohen, who came to the

festival world after a decade in the kitchen. “I focused on what I call ‘heavily touched’ food,” she explains, “at large resorts for a lot of amazing, world-renowned chefs. [Eventually] I decided that I wanted to get into producing food and beverage events.”

Opposite: Crowd during Outkast performance.

Rehan Choudhry


Photo courtesy of Powers Imagery

“It’s a carefully choreographed

dance...”

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FEATURED > L IFE IS BEAUTIFUL

The decision bounced her from New York City to New Orleans to Las Vegas where she produced a bevy of large-scale events. Her next decision — that she wanted to go bigger and more interesting — forced the Fates, netting her an introduction to Choudhry.

“We had both been involved in sort of the very polished, but very cookie-cutter approach [to festivals],” Cohen says. “We wanted to break out of that and do something totally different. It doesn’t have to be just food and wine or just food and spirits; it can be so much more.”

Indeed, the team started to imagine and plan out a Four Pillars approach to the festival — music, art, food & beverage, and learning. To do that, though, Choudhry knew he’d have to bring in people with experience and expertise.

Lisa Shufro was just one of those people. She’d gone from working as a profes-sional violinist — “It wasn’t a good way to make money,” she admits with a laugh — to spinning through a handful of start-ups, to going back to school to study biomechanics. “Just as I was about to start that career, an entrepreneur [I knew] bought TEDMED, and I became a curator there.”

That curiosity, entrepreneurial spirit, and curatorial experience made her the perfect curator for the Life Is Beautiful Learning Series.

GROWING LESSONSThe first year of any type of event — especially one

that covers blocks of downtown Las Vegas city streets, a handful of parking lots, and once-abandoned motels — is a test in patience, perseverance, and moxie. And, for the uncommitted, it’s an easy route to Quitsville.

The Life Is Beautiful team, though, took the good and bad from last year to improve this year’s offering. The festival footprint has been revamped with food and beverage villages placed within the stage areas (rather than in its own space like in 2013), and the number of stages has been shrunk to four. As a sign of optimism, organizers added another day to this year’s event.

Photos courtesy of Powers Imagery (top) and Film Magic (bottom)

Bottom Image:Dave Grohl, Foo Fighters


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KEY TO SPONSORED PARTNERSHIPS: CREATIVE FAN INTERACTIONBY LARRY JAFFEE

Music festival sponsorships have evolved a long way from the days of a brand slapping a banner on a stage in hopes of gaining some brand recognition with consumers.

These days, organizers and marketers alike realize that the unique experiential environment festivals present for attendeesis way beyond the live performances offavorite bands.

At the end of the day, mounting afestival is a business and rounding up sponsors to help offset the enormous costs involved is a necessity, according to organizers contacted by Lineup.

But at the same time, sponsors must synergistically share a festival’s overall philosophy and not just crassly hope to procure new customers among thiscaptive audience.

The commercial aspects of a festival are a balancing act, for sure. But when done right, such as Garnier Fructis offering for the past five years free hair washings (imagine the envy of Woodstock Nation veterans), festival braids and hair styling, as well as shampoo and conditioner samples to Bonnaroo campgrounds attendees, it’s a win for all concerned, notes Jeff Cuellar, vice president of strategic partnerships of Bonnaroo coproducer AC Entertainment.

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GARY MEYER:THE PASSHOLDER IS KING (OR QUEEN)

The senior curator of the Telluride Film Festival on Purpose, Education and What’s Next For Festivals… and Himself.

By Breanne George

Gary Meyer, senior curator at Telluride Film Festival and owner of EatDrinkFilms.com, sheds light on what it takes to run a successful film festival, trends in film, educational outreach to younger audiences, what the future holds in film, and more. He also shares insight into his role at Telluride and the unique qualities of this destination festival that keeps audiences coming back year after year. With an extensive history in the film industry, notably as cofounder of Landmark Theatres, Meyer is passionate about his role in helping great films discover appreciative audiences.

WHAT ARE THE CHARACTERISTICS OF A GREAT FILM FESTIVAL?

In my opinion, the first thing a film festival needs to accomplish is defining its purpose—why is this festival being put on in the first place? For example, is it targeted to a special-interest audience, such as a Latino, LGBT, animals, or disabilities film festival? You need to define what you want your focus to be and determine the audience interest.

Is this a local festival intended for people in a particular area, or are you trying to become a destination festival?

A destination festival is difficult to create—you have to be in a desirable location, one people want to travel to anyway, such as a place with great weather, beautiful surroundings, and unique food. Telluride is largely a destination festival. It’s become that way over the past 41 years because of its unique qualities, such as not

announcing films until the opening and delivering a top-quality experience from the movies to the environment.

Once you define the type of festival and the audience, you then need to determine how to present this particular audience with the very best program of films possible so they will come back to the festival year after year and tell others to join them. When Stella and Bill Pence cofounded Telluride in 1974 with Tom Luddy and James

Q&A

Photo courtesy of Pamela Gentile

FEATURED Q&A > F ILM

Gary Meyer

Card, they knew the festival had to offer much more than a few venues projecting images on screens. Great movies, old and new, were a given, but the experience had to be much more than that. Telluride’s philosophy was and still is, “The passholder is King/Queen.”

Unfortunately, from my observation, many festivals are set on having lotsof premieres.

This may result in a number of mediocre films, just so the festival can claim “world premieres.”

In fact, if the audience is largely a local one, all they want to see is a really good film that is new to them. If you’re attending a local festival, wouldn’t you rather experience some really great films from high-profile festivals like Toronto, Sundance, New York, or South by Southwest than a bunch of unmemorable movies? Audiences like the “stamp of approval” knowing that a particular film came from one of the respected film festivals. It’s meaningful for them.

One of the Telluride Film Festival policies would seem to contradict this philosophy—for a film to be in the main program, it must be the first time the film has been shown in North America. We don’t use the word premiere. Since our audience members are spending considerable time, money, and effort to get to the festival, they expect to see films they haven’t been able to see before in the U.S.

DO YOU NOTICE ANY TRENDS IN FILMS BEING PLAYED AT FESTIVALS?

Nowadays, films are coming from almost every country across the world. With only about 25 spots available for new films at Telluride, we obviously have to limit ourselves. We choose films based on what we think will create the most interesting and balanced program of some of the best work available. As a result,we have to leave some parts of theworld out each year.


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I will say that we have seen a surprising number of very good films coming from Israel and the Middle East in the past few years. These films are presenting interesting perspectives on controversial issues, which aren’t always expected. We also notice particularly superb acting coming out of Israel.

In the past few years, there have been many terrific documentaries—these films continue to get better and better, often breaking new ground in the telling of nonfiction stories. We see many more terrific entries than we could ever play during Telluride’s three and a half days, forcing difficult decisions we have to make to ensure a balanced program. We’re looking for movies that are not only strong in storytelling and subject, but are unique in ways that result in audiences thinking differently too.

We’re very proud of the films we show at Telluride and the interaction that the audience gets to have with the filmmak-ers—not only in the Q&A sessions, but out on the street or standing in line where they meet a filmmaker and ask about his or her work. We don’t have a contest or an audience award. Filmmakers come toTelluride knowing they don’t have to do press junkets, and they aren’t in competi-tion with each other. As a result, the fes-tival has created that rare situation where you see a number of great filmmakers standing around talking with one another, attending screenings of both classics and discoveries, and sharing their knowledge with the new filmmakers. It’s a more informal environment for filmmakers, but not an easy one to establish.


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AUSTIN FILM FESTIVAL:THE WRITE STUFFBY KEVIN M. MITCHELL

At the first Austin Film Festival in 1994, film and television producer Barry Josephson went up to Barbara Morgan and asked, “Have you ever been to a film festival?”

Morgan confessed she had not.“Good,” he said. “Don’t ever go to one.”

Thus, by starting from scratch, with no preconceived notions to box them in, the AFF began something truly special, and the film industry sat up and took notice.

“We were unique for what we didn’t do,” Morgan says today, sitting in her office, reflecting on this now institution that grew out of a lark of an idea. “We had no VIP rooms. It wasn’t about people being cool. It was about writers, and everyone was tossed in together. Everyone was drinking together at the bar, there was no bringing someone in the back door.” And that mindset continues to this day.

Known as the “Writer’s Festival,” the AFF recognizes the writer as the core of the creative process in filmmaking. Seeking out quality examples of written and visual storytelling, AFF screens the great films—last year’s offerings included Inside Llewyn Davis, 12 Years a Slave, Dallas Buyers Club,

and Nebraska, among others. Today, the festival boasts over 200 regional, national, and world premieres each year and embraces the great Hollywood studio fare equally with the gritty shoestring budgeted indie.



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KEVIN LYMANPUNK ROCK BUSINESS SENSEThe creator of Warped, Mayhem, and Down from the Mountain traveling festivals also has created an empire that is true to its roots.

By David John Farinella

KEVIN LYMAN IS GETTING USED TO BEING BACK AT HOME. OR, MAYBE BETTER SAID, KEVIN LYMAN’S WIFE IS GETTING USED TO HIM BEING BACK AT HOME.

For the 20th consecutive year, Lyman is returning from a summer out with a merry band of punksters in a traveling festival known as the Vans Warped Tour.

Over the double decades of fun, the Warped Tour has featured some of music’s best known bands: Green Day, Beck, No Doubt, Godsmack, Incubus, Descendents, Flogging Molly, Good Charlotte, Black Eyed Peas, Deftones, Gaslight Anthem, Thirty Seconds to Mars, Billy Idol, The Ataris, Bad Religion, Blink-182, Rancid, Social Distortion, and literally hundreds of others.

Reports peg Warped Tour attendance at nine million over the past 20 years and somewhere around 500,000 for this year. Based on that success, Lyman looked to bring his experience to the metal scene in 2007 with the Rockstar Mayhem Fest and to country music in 2010 with the Down from the Mountain tour. Lyman, along with his 4fini, Inc., production company, also spearheaded the Country Throwdown Tour, Rockstar Energy Drink Taste of Chaos Tour, The Watcha Tour, Down from the Mountain Tour, Sprite Liquid Mix Tour, and Great High Mountain Tour.

Q&A

Beyond booking bands and finding venues, Lyman has pushed the tours to become socially conscious by giving space to nonprofit organizations, hosting blood drives, collecting canned foods, and a handful of other initiatives. To honor those efforts, Lyman was named the Billboard Touring Awards Humanitarian of the Year in 2009.

Lyman’s also involved as an owner of SideOneDummy Records, a partner in SaintArcher Brewing Company and founder of the Unite The United Foundation that’s raised north of one million dollars to benefit organizations such as MusiCares, Skate For Cancer, Hollywood Heart,and Keep-A-Breast.

Shortly after returning from a month in Philadelphia tending to some family matters, Lyman picked up the phone in his Los Angeles headquarters.

Kevin Lyman

FEATURED > Q&A: MUSIC

I WOULD LIKE THE RECORD TO SHOW THAT IT IS 9:00 A.M. ON A MONDAY. THIS IS NOT VERY PUNK ROCK OF YOU.Kevin Lyman: Oh, no, Jesus Christ. I have a reputation for being up early like this…. The hardest part of being on the East Coast these past weeks is that I’m up at


“I started realizing that punkers and hippies are not too different.”

4 o’clock, 5 o’clock in the morning, and I’m emailing people here (on the West Coast), and it’s 2 o’clock in the morning. No, being up early is absolutely no issue at all. I’ve just got home after three months, so I’ve already reseeded the lawn and worked on my back yard for about two hours before I came into the office today.

IT’S BEEN ABOUT A MONTH SINCE THIS YEAR’S WARPED TOUR WRAPPED. HAVE YOU RECOVERED?

Oh, yeah. I think that most of the people on Warped Tour, if you gave them two, three days off and a good steam cleaning, they’d turn around and do it right over again.

HOW DO YOUCOME DOWN FROM THE ADRENALINEOF A TOUR?

I didn’t really have an opportunity to this year. I was home for three days, and then I had to head to Philadelphia for a month. People who come off the tour for the first time, I think, have that road rush. The road has always been this thing where you live a very fast-paced life in an insular bubble, and then you’ve got to get back in the real world.

It made sense to me when [I read a story] that Bono is not allowed in his own house for a week or two after tour. He stays at a hotel down the road, and his wife lets him come over for breakfast, hang

out a little bit, but he has to go back and forth to reassimilate into life. So,it does take a few days.It’s not as hard now, because I had both my daughters on the road with me this summer. It’s hard on my wife, because now she has three people coming home with road intensity all at once. We’re just normal and she’s like, “Geez, I’ve had my nice life here all summer relaxing, and now I have three of you guys running at the pace you run at.”

HOW MANY DATES WERE YOU OUT FOR THIS YEAR?

I’m on the whole tour. The Warped Tour has worked for 20 years, and I don’t know if one of the reasons is me being there every day, so I’m not going to mess it up. With Warped Tour, you have

about a thousand people on the road. So, there are a lot of little nuances and idiosyncrasies going on all the time out on the road with that big of crew that you want to be there to make those decisions, right or wrong. I think it’s why so many managers and agents are so comfortable with their bands out on Warped Tour, too, knowing that I’m going to be there to deal with stuff right away, versus a bunch of guys on the phone trying to connect through time zones and not knowing exactly what’s going on.


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TEASER 03 >

FOR THE GREATER GOOD: THE NEW ORLEANS JAZZ & HERITAGE FESTIVALBY KEVIN M. MITCHELL

If you think you know all about the New Orleans Jazz Festival, Scott Aiges wants your ear. See, you likely know that the festival attracts hundreds of thousands of visitors to the city, always has amazing headliners, has great food, and pumps $300 million a year into the local economy.

But you probably don’t know all the good that the money raised from the festival does.

“The New Orleans Jazz Festival is the only festival owned by a nonprofit foundation that then supports and promotes the arts,” says Aiges, director of programs, marketing, and communications for the New Orleans Jazz & Heritage Foundation. “Others have a do-gooder component like supporting music education or a food bank, but I have yet to encounter one that is doing as many different things as we are. It’s a unique model.”

The foundation runs a renovated historic building in the Tremé neighborhood that features seven classrooms for music education, plus a 200-seat performance hall for music and lectures. The school offers free

music classes for more than 80 burgeoning musicians (which has already produced stars—Troy “Trombone Shorty” Andrews was a student). They are awarding up to half a million dollars in grants every year to organizations that promote Louisiana indigenous culture. They also run another four festivals that are free to the public. And that’s just some of what they do.

ANATOMY OF NOJFHow the Foundation and the festival

work is, by his own admission, “somewhat complicated.” The nonprofit foundation owns the festival, and they work with the separate for-profit entity Festival Productions Inc., which has produced the festival since its first outing in 1970. Then in 2005, Festival Productions partnered with AEG, and those two companies contract to run the festival on the foundation’s behalf.

Photo courtesy of New Orleans Jazz Festival{Trombone Shorty}


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TEASER 04 >

SMOKIN’ JAZZ: THE NEWPORT JAZZ FESTIVALBY ROBERT LINDQUIST

As this past July segued into August, The Newport Jazz Festival celebrated its 60th anniversary.

If you didn’t know it had been around that long, you’re far from alone. Truth is, its origins can be traced all the way back to 1760. That was the year that Pierre Abraham Lorillard founded the tobacco company that, to this day, bears his name. In the days long before pads, pods, phones, and phablets, possibly the most direct route to amassing a fortune was through the sale of tobacco products. While it’s not clear how much dough Pierre (a.k.a. Peter) had when he died in 1776 at the hands of Hanse mercenaries during the Revolutionary War (thepeerage.com), it’s said that the first time the word millionaire appeared in print was in his obit. Oh, and he had a summer home in Newport, Rhode Island.

Jumping forward 170 years (give or take), we meet Elaine Guthrie, a red-haired beauty from Maine with a musical bloodline (her mom was a classical singer). After attending the New England Conservatory of music, Elaine got her first gig—in Naples, Italy—

as a volunteer for the Red Cross teaching Neapolitan orphans how to properly tickle the ebonies and ivories. More important, Naples is where she first became addictedto jazz and her future hubster, Louis Livingston Lorillard, whose greatgranddaddy was Mr. Tobacco.

Once back in the States, Mr. and Mrs. Lorillard became regulars at New York’s Storyville Nightclub and soon got to know the owner, jazz pianist and vocalist George Wein. Just as Pierre, the couple had a home in Newport, and on several occasions, Elaine had talked down the town saying, “Oh, it’s terribly boring in the summer. There’s just nothing to do.”

She was a big fan of jazz and was convinced that a festival focused on jazz creation and appreciation would really bring in some interesting people.


Photo courtesy of The Newport Jazz Festival{James Brown}

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LASTLY > UP AND COMERS

U P & C O M E R S

by Linda Evans

Photos courtesy of The Clydesdale

Now that summer is over, and nearly all the 2014 music festivals have come and gone, I am left with thousands of great musical moments in my mind and images on my hard drive. The good news is that most festivals did a good job at curating creating audible smorgasbord lineups that exceeded audience expectations. Some did, however, miss the mark a bit by making too-safe choices. I mean Kanye West at what seemed to be at every U.S. festival you can name? Really? But no sense in dwelling on that. Hopefully, there will be fewer safe and a bit more creative lineup choices in 2015.

The CandidatesAnyway, the list of artists scheduled in those midday

festival slots in 2014 that I did find interesting is pretty short, and most are nowhere near ready for prime time. Those who ARE ready (or nearly ready) to be headliners fall mostly into the indie rock category with a sprinkling of electro-pop. For example, at Summerfest, I thought The Pretty Reckless (fronted by Gossip Girl actress

Taylor Momsen) and PictureYes were noteworthy, and that at Lollapalooza it would be Into It. Over It. and Irish rockers Kodaline. At Coachella (and Bonnaroo and Lollapalooza and a crap-ton of European festivals), it would most definitely be Glaswegian electro-pop trio CHVRCHES. In fact, I was planning on writing this column about them (with an honorable mention going to Lorde), but something happened the other night at Brooklyn Bowl that made me completely change my mind. So the story goes like this…


I get invited to this midweek show by this casually odd and completely cool Las Vegas-based alt country/cowpunk indie band that was celebrating its 10-year anniversary. Being a big fan of both the band and the venue, I hauled my hubby out to the show. It wasn’t a hard sell…he’s a big fan, too. Then about halfway through the third song, I turn to him and say, “It’s a real shame these guys can’t seem to get beyond the regional festival circuit. They are just too good to be stuck there…,” to which my oh-so-wise hubby replied, “So write about ’em….”

OK then.

>

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I first ran into The Clydesdale (theclydesdalemusic.com) while in the photo pit at the Nevada Wild Festival in Fall 2011. Since then, I have seen the band quite a few times at various smaller festivals and venues around town. They are so entertaining that I keep going back…even when the gig starts at midnight in a sketchy dive bar in Downtown Vegas.

I have been trying to describe their sound to people for years, but can’t quite get it right. But then again neither could Rolling Stone, because they described The Clydesdale’s sound as “bluegrass rock,” which tells me that the writer was not really listening to the music. The only musical touchstone I can come up with for you is ‘80s cowpunk pioneers Lone Justice.

(Google ‘em, I’ll wait...) But Lone Justice had its short day in the sun when the members of The Clydesdale were infants, at best.

Imagine if you will, Patsy Cline fronting the Clash on the set of a Spaghetti Western directed by Quentin Tarantino. Their songs range from stuff like “You’re

Mine” (clydesdale.bandcamp.com/track/youre-mine), in which the protagonist chains her boyfriend to a basement radiator and feeds him scraps, to an ode called “Please Get Your Butt Out of My Food” about a truck-stop waitress whose ample posterior hangs over the adjacent table when she bends to serve food (clydesdale.bandcamp.com/track/please-get-your-butt-out-of-my-food), to a “love song” called “Dale Toro” (clydesdale.bandcamp.com/track/dale-torro) about a guy burying his girlfriend alive which ends with the line, “Cuz breaking up is hard to do.”

I know, right?

The Clydesdale members (who usually perform dressed in Western wear) are: bassist Jason Aragon (co-creator of Las Vegas’ Neon Reverb Music Festival), drummer Courtney Carroll (who played with several Las Vegas bands, including Venus Diablo/Smurfette’s Whorehouse), guitarist/vocalist Andrew Karaza (a

LASTLY > UP AND COMERS


carpenter by trade who built his own guitar and who—legend has it—once cut his middle finger off with a table saw a mere week before performing with the band). The beehive hairdo-shaped cherry on top is frontwoman/vocalist/guitarist Paige Overton. She is a powerful and utterly captivating singer. It’s like hearing Annie Lennox and Linda Ronstadt. In a knife fight. Trust me…that’s agood thing.

They often are touted as one of the best live acts in Southern Nevada, but they don’t play a lot. They have a Facebook page (www.facebook.com/TheClydesdaleMusic), but are not real active. Ditto with their Twitter (twitter.com/clydesdalemusic), BandCamp (clydesdale.bandcamp.com), and Instagram (instagram.com/theclydesdale) pages. In other words, they are doing nothing “by the book.” And that is one of the things I love about them.

They’re quirky and weird, but they’re real.

The best way to describe everything from the people to the personalities is “casually odd.” Not odd as in, “Look at us. We’re weird. You’ll like us cuz we’re weird.” More like odd as in, “This is who we are. We like it, and maybe you will, too. And maybe not.”

They have an odd sense of humor. On a Halloween gig (at that sketchy downtown Vegas bar I mentioned earlier), the band decided to dress up as “cowboys and Indians.” So everyone showed up in un-PC, stereotypical, bad movie Native American attire—except Andrew the guitar player, who wore a football uniform. I’ll leave it to you to figure out which team.

In a slightly earlier music biz era, this is a band that would not have been allowed to exist. When record companies were in charge, some exec would have signed Paige to a deal and ditched the band. But,

here’s the rub. There is a long list of bands where that happened—and once separated, neither the band nor the singer with the star presence ever did anything of note (including Lone Justice). The Clydesdale is one of those magical instances in which the band would be nothing without this particular singer, and this singer NEEDS this band toreally shine. And everyone in The Clydesdale seemsto get that.

So, while you are heading into 2015 and planning out your lineup strategies, will you play it safe and continue to book the mediocre acts with the familiar names, or will you perhaps think outside the box and discover an act worthy of creating a magical musical moment on your stage?

If you have read this far, then you want The Clydesdale on your lineup.

Go ahead and embrace the quirky and book the band for your festival.

[email protected]

“touted as one of the best live acts in Southern Nevada...”

40 L I N E U P > W I N T E R 2 0 1 4

Part of the NewBay Media Pro Audio Group, which also features:

Covering the Entire Pro Audio Industry

Unmatched Access To Audio’s Best Viewed by users in over 225 countries Mix is the world’s leading magazine for the professional record-ing and sound production technology industry. Mix covers a wide range of topics including: recording, live sound and production, broadcast production, audio for film and video, and music technology.

Dedicated To The Business Of The Professional Audio IndustryPro Sound News is a monthly news journal dedicated to the business of the professional audio industry. For more than 30 years, Pro Sound News has been — and still is — the leading provider of timely and accurate news, industry analysis, features and technology up-dates to the expanded professional audio community — including recording, post, broadcast, live sound, and pro audio equipment retail.

The Review Resource For Sound ProfessionalsPro Audio Review is the only American audio magazine to focus exclusively on the evaluation of professional-grade studio and sound reinforcement products. PAR provides timely and authoritative peer reviews of pro audio equipment and software. Review coverage is blended with new product information and opinion that focuses on the technology behind creativity and productivity for audio pros working in recording, live sound, post production and broadcast.

Make sure you are in the know — subscribe to print and digital editions and the daily eNewsletters by visiting the publication’s websites or www.nbmedia.com

Charlie Weiss • Group Publisher • AV & Pro Audio GroupDirect - 212.378.0478 • [email protected]

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TEASER 05 >

HOW TO THROW A CLEAN FESTIVALBY TUCKER GUMBER

My name is Tucker Gumber. I’ve spent the last four years reviewing festivals across North America for my website www.TheFestivalGuy.com. I also founded the mobile app FestEvo.

My goal is to find ways to improve the festival-going experience. Lineup Live has given me the opportunity to share with you what I’ve learned. You can reach me at [email protected], if you have any questions.

HOW TO THROW A CLEAN FESTIVALCreating a green festival is not only

something you should try to do, it’s imperative to the success of your festival. If your festival is covered in trash, it will not be fun to attend, and your attendees will not come back next year. Thankfully, creating a clean festival environment is not guesswork, it’s a science — one that I have been researching for the last four years. I’ve dis-covered many ways that festivals can activate their audience members to do their part in keeping the venue clean and green.

The first way to create a clean festival is to inform your attendees that it is their responsibility to properly dispose of their waste. Attendees pay you to book the music, provide bathrooms, create a world-class music viewing experience, and empty the trash and recycle bins. The at-tendees’ only responsibility is to fill the bins. To remind your attendees of this responsibility, make a few posts before the event via social media, email them a reminder the day before the event, and put up some signs inside the festival so they know that you need their help in keeping the venue clean for everyone to enjoy. I also recommend using your video screens before and after shows to remind your audience that everyone makes a difference.



Part of the NewBay Media Pro Audio Group, which also features:

Covering the Entire Pro Audio Industry

Unmatched Access To Audio’s Best Viewed by users in over 225 countries Mix is the world’s leading magazine for the professional record-ing and sound production technology industry. Mix covers a wide range of topics including: recording, live sound and production, broadcast production, audio for film and video, and music technology.

Dedicated To The Business Of The Professional Audio IndustryPro Sound News is a monthly news journal dedicated to the business of the professional audio industry. For more than 30 years, Pro Sound News has been — and still is — the leading provider of timely and accurate news, industry analysis, features and technology up-dates to the expanded professional audio community — including recording, post, broadcast, live sound, and pro audio equipment retail.

The Review Resource For Sound ProfessionalsPro Audio Review is the only American audio magazine to focus exclusively on the evaluation of professional-grade studio and sound reinforcement products. PAR provides timely and authoritative peer reviews of pro audio equipment and software. Review coverage is blended with new product information and opinion that focuses on the technology behind creativity and productivity for audio pros working in recording, live sound, post production and broadcast.

Make sure you are in the know — subscribe to print and digital editions and the daily eNewsletters by visiting the publication’s websites or www.nbmedia.com

Charlie Weiss • Group Publisher • AV & Pro Audio GroupDirect - 212.378.0478 • [email protected]

PRO12_GroupAd_Standardfull.indd 1 11/3/14 5:07 PM

42 L I N E U P > W I N T E R 2 0 1 4 ©2014 DARK HORSE WINES, MODESTO, CA. ALL RIGHTS RESERVED.

#[email protected]

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TEASER 06 >

TEASER 08 >

TEASER 07 >

Q&A WITH LIVE NATION’S MAUREEN FORDBY LARRY JAFFE

ARE YOU EXPERIENCED?JUST A GUESS, BUT...BY ROBERT SCOVILL

TWO ESA-ENDORSED SAFETY TRAINING PROGRAMS TO DEBUT FALL 2014BY JACOB WOREK, EVENT SAFETY ALLIANCE

Okay, I’ll say it. Yep, I like the Internet. I like email. I like Facebook. I like Twitter. I like Spotify, even iTunes. I like Smart Phones. I like cable and satellite TV and, yes, I like YouTube. Nope, I’m not scared, embarrassed, or too insecure in my own identity to say it.

And unlike what is apparently fashionable by the conveniently nostalgic of my generation these days, I’ll actually claim that I like all of these entities more than their old school counterparts of newspapers, magazines, snail mail, neighborhood gossip, terrestrial radio, cassette tapes, phone booths, and local network TV.

No, with few exceptions, I don’t long for the past on too many things really. I live by the mantra that “life is change.” Life without change, while stable and oft times secure, is also boring, repetitive, and unchallenging. If it is indeed true that “the journey is the reward,” then fill my trip with ever-changing landscapes, please, and ever-changing people. And most important, even though I’ve adopted all the elements of the virtually connected world, let my journey be filled with real faces in real places.

The virtually connected world can serve many needs. Our current behaviors suggest that we desire to live vicariously through the lives of others. We apparently have a healthy appetite to learn about others’ lives and to watch them live them from afar. Also through these channels, we’re often encouraged to examine and think differently about our daily lives through the exploration of art and news, regardless of where we get it, and regardless of our social stature or geographic location.





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TEASER 09 >

AVOID FESTIVAL FAIL: KEY TO BUILDINGA THRIVINGMUSIC FESTIVALBY MICHAEL PLIHA

“Hey hey, my my,Rock and roll can never die,There’s more to the picture,Than meets the eye.Hey hey, my my.”

Those lyrics close out the song “MyMy, Hey Hey” by Neil Young from his1979 album Rust Never Sleeps. And theygot me thinking about the live music festival scene and how wobbly the whole enterpriseis at this point.

As Young so eloquently sings, rock may never die, but can we say the same about music festivals? Nope. Unfortunately, we can’t. In fact, about 70 percent of music festivals fail. Those aren’t pretty numbers, and yes, there is more to the picture than meets the eye. Building, main-taining, and growing a festival is possible, but the odds are clearly stacked against success. So, why is that, and more important, how can we keep these festivals alive? I mean, who doesn’t love a good festival?

We can start by taking a look at the big names and how they so effectively do what they do. It seems that live music festivals that stick around for the long haul are not only unique in their own ways, but also share some best-practices. They also have a lot in common (outside of Skrillex playing at all of them). Live festivals and events that are big year after year share one thing. They’re more than festivals. They’re experiences. And they have something for everyone.


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Lineup Magazine Winter 2014

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Transcript of Lineup Magazine Winter 2014