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Make Your First Festival Show Rock! Are you playing your first green-field music festival or outdoor show soon? Not quite sure how it all works on the other side of the 'Artists Only' sign? Don't worry; help is at hand. My name is Andy Reynolds, a concert tour manager & live sound engineer. In this printed, paperback, mini-guide, I will give you my tips on making the most of your first festival slot. I have toured with bands and singers for more than 25 years, and work on loads of open-air, 'green-field' type festivals, such as Glastonbury, Roskilde, Coachella and Bonaroo, each summer. I know how bands can have a good show at a festival - and how they can mess up their chances by not being prepared for that all -important music festival slot. It is very important to your musical career that your festival appearances happen with no hitches, dramas or technical problems. Audiences go to music festivals to see and hear great bands. If they happen to catch you, and you are totally on fire, playing a great set and full of confidence, those people are likely to become fans. There is so much competition at each festival, and every band has that once chance to ignite the crowd, even if they are a well-known and successful act. None of the bands can afford to be ill-prepared or leave things to chance. But you need not worry about any of that - you will hit the stage looking like a pro after reading this book!
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ls"Festivals, Affect and Identityrs" offers an outline of areas of continental philosophy and critical theory, which involve high levels of abstractions, yet become more accessible when related to specific events and their detailed analysis. The case study material enables theories to become more understandable in relation to application, triangulation and comparison with different theoretical frameworks. It puts flesh on the ls"hard to get hold ofrs" nature of continental philosophy.Maintaining continuity in the face of problems and ruptures and the interplay of fluidity and structure are central aspects explored and illustrated by ethnography focused on the affective dynamics of four festivals: the Palio in Siena and the Bravio in Montepulciano, both based on competitive territorial divisions; the Bruscello in Montepulciano and the Teatro Povero in Monticchiello, both theatres with links to sharecropping, a long established agrarian practice vanquished by modernity. The detailed analysis applied to this selection of case studies offers a grounding of theoretical concepts and an example of how these may be applied to analyse different phenomena. This approach sees the imprint of environmental and historical conditions as generative of a dynamic process of ever evolving community identities for which festivals provide expression, while also providing a way of living with them.
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