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Artist Management: Funding Artists and Protecting Art In The Modern Music Industry

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Hvenær hefst þessi viðburður: 
3. nóvember 2016 - 12:00 til 13:00
Staðsetning viðburðar: 
Nánari staðsetning: 
HT-105
Háskóli Íslands
Viðskiptafræðideild býður til opins hádegisfyrirlesturs.
 
Andy Inglis hefur starfað sem umboðsmaður fjölda frægra tónlistarmanna, skipulagt tónleikaferðir, stýrt tónlistarhátíðum o.fl. Hann er þekktur fyrirlesari í tónlistargeiranum og nýlega stofnaði hann mentorakerfi fyrir ungar konur í tónlist.
 
Andy fer yfir þróun á tónlistarmarkaði frá 2001 til dagsins í dag og fer yfir tækifæri fyrir nýja tónlistarmenn sem eru að koma inn á síbreytilegan markað.
 
About Andy Inglis:
Andy’s career started in Scotland in 1990, DJing and running raves around the country. He began managing bands and small electronic labels, moving to London in 1997 to continue the work.
 
In 2005 he co-founded The Luminaire which won London Venue of The Year and UK Venue of The Year in the first two years. He booked Quart – Norway’s biggest and oldest music festival – and spent two years travelling the world with Savages as their Tour Manager.
 
He now does the same for Jenny Hval, Mercury Prize-nominated artist William Doyle (East India Youth) on XL Recordings, whom he also manages, alongside rapper/producer Denzel Himself, improvisational pianist Tom Rogerson, composer John Uren and artist and sound designer Novo Amor.
 
He recently co-founded a mentoring initiative to help young women into the music industry. He would ban guest lists, encores, cover versions, jazz-funk and Nestlé chocolate. 
 
 
Description of lecture:
 
Andy will take us from October 2001 (the launch of the first iPod) through June 2007 (the first iPhone), October 2008 (the launch of Spotify) to the present day, where the major labels (who were supposed to lose power due to so-called ‘disruptive innovations') are as powerful as ever, and have actually increased their market share.
 
And with high speed internet penetrating almost every corner of the developed world (81% of the total population of the US and Europe is now online), how does that alter not just the music economy, but what humans spend money on.
 
And while Drake - whose music has been streamed 1.5 billion times in 2016 so far - probably isn’t short of rent money, how are things at ground level, where most of the world’s artists exist operate?
 
We’ll take a look at some of the options for new artists in a musical landscape that’s changing so quickly, it’s almost impossible to keep up. 

 

 


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