Something Wicked… Kasade, Nero, Flux Pavillion and More Headline a Spooky New Festival this Weekend.

NightCulture Inc.’s First Branded Music Festival “Something Wicked” Takes Place This Saturday

HOUSTON, Oct. 25, 2012 (GLOBE NEWSWIRE) — NightCulture Inc. (OTCBB:NGHT) and SFX-Disco Operating have confirmed world renowned Producer & DJ Kaskade to headline Houston’s largest electronic music festival, this Saturday, October 27th, at Sam Houston Race Park (

The Halloween themed electronic music festival will also feature global heavy weight electronic acts Nero (DJ set), Flux Pavilion and Zedd, as well as other international performers such as Danny Avila, Deorro, Jack Beats, Killsonik, Le Castle Vania, Modestep, Tritonal, tyDi, W&W, and Zomboy.

Watch the Something Wicked Official Festival Trailer

“We are thrilled to add our first branded festival “Something Wicked” to our family of products, as well as create jobs and an economic impact for the city of Houston,” stated Mike Long, CEO of NightCulture Inc.

Something Wicked, event details:

  • Saturday, Oct. 27, 2012 / 2 p.m. – Midnight / Ages 18+
  • Sam Houston Race Park, 7575 N. Sam Houston Parkway West, Houston, TX 77064

Contact: 800-211-3381 /

Tickets are now on-sale to the general public and tickets and more information can be found at or can be purchased in person at the Stereo Live Box Office located at 6400 Richmond, Houston, TX 77057, between the hours of 10 a.m. and 6 p.m. Monday through Friday. For phone orders, call 832-251-9600. For hard ticket orders, please email

More information is available at: / /

About NightCulture Inc.

NightCulture Inc., “Concerts that Change Your Life”, is a premier producer of live concerts and events. NightCulture operates in the following markets: Houston, TX, Austin, TX, Dallas, TX, San Antonio, TX, & Oklahoma City, OK.NightCulture is the first Electronic Music company to trade in the public markets.

Stereo Live, LLC, a wholly-owned subsidiary of NightCulture, operates Stereo Live, a 25,000 square foot venue located on 2 1/2 acres of land at 6400 Richmond Avenue in Houston, Texas.

NightCulture, Inc. has produced hundreds of concerts featuring world class artists such as: Tiësto, David Guetta, Deadmau5, Skrillex, Armin van Buuren, Benny Benassi, Kaskade…

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SCOPE and Fuse Hit VOODOO Music + Arts Experience with Crowd Courage Crusade

SCOPE and Fuse Hit VOODOO Music + Arts Experience with Crowd Courage Crusade

– SCOPE Mouthwash Challenges VOODOO Music + Arts Experience Fans to be Socially Courageous –

CINCINNATI–(BUSINESS WIRE)– SCOPE, the tingly, fear-destroyer that freshens breath and provides consumers with “kiss-ready” confidence, and Fuse, the national music television network of The Madison Square Garden Company, have teamed up as official partners of the 2012 VOODOO Music + Arts Experience – a 3-day music and arts festival in New Orleans over October 26th through the 28th. This year, to ensure festival-goers fill up with confidence before they hit the dance floor, SCOPE and Fuse have developed a unique experience both at the festival and online, helping to unleash courage in fans across the country.

The party will begin even before the artists hit the stage in New Orleans. SCOPE’s Facebook page and “VOODOO: Crowd Courage” tab will be a hub for exclusive interviews, line-up information and videos from 2011 and 2012 headliners. Fans will also be able to post comments and participate in daring polls and a photo caption contest on Twitter using #crowdcourage.

“The VOODOO Music + Arts Experience is one of the country’s most talked about music festivals of the year, and SCOPE is thrilled to be part of this cultural event,” said Rishi Dhingra, Marketing Director, Procter & Gamble. “SCOPE has created an exciting on-site experience so festival-goers can grab free swag and participate in challenges, photo dares and flash mobs with SCOPE as their partner each step of the way.”

Aimed to inspire confidence in all, festival-goers will be tasked with different dares such as, taking a photo with their doppelganger or capturing the most courageous (or outrageous) outfit, to forming a group hug or joining in on the world’s largest conga line. SCOPE will reward those that step outside their comfort zones with great prizes, including VIP ticket upgrades and fun SCOPE swag.

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Interested in learning more about music festival sponsorship strategies? Join Lagunitas, C3 Presents, Sunfest, Riverbend Music Festival, Bonnaroo, Forecastle Festival, Moogfest, Big Ears as they discuss the same topics during their panel, “Festival Sponsorship Strategies” at the upcoming International Music Festival Conference in Austin, Texas at the Hyatt Regency Austin, December 2-4.

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Interview with Dean Budnick, co-author of Ticketmaster: The Rise of the Concert Industry

  Dean Budnick, who holds a Ph.D. from Harvard’s History of American Civilization program and a J.D. from Columbia Law School, is Executive Editor at Relix Magazine. His latest book, which he co-authored with Josh Baron, is Ticket Masters: The Rise of the Concert Industry and How the Public Got Scalped. Ticket Masters chronicles the previously untold story of the modern concert industry, revealing the origins, development and ongoing strategies of companies such as Ticketmaster, Live Nation, StubHub and the efforts of numerous independent competitors.


What do you think is the future of the live music industry?

Wow that is the big question, isn’t it? First off let me just say that despite broader economic concerns and the distractions brought on by mobile phone video capture, I am confident that live music will survive and thrive. I think that increasingly the emphasis will be on live music as an in-the-moment collective experience. There is a tangible, vital difference between watching a song on YouTube and engaging a performance in its many layers in the live setting. There may be some added pressure on artists and promoters for additional performance craft and production elements but I feel there’s a real opportunity. This also bodes well for festivals, which not only provide value in terms of the scope of music that is presented but also add a range of additional elements that elevate the context beyond just that of an audience member watching a musician on stage.


Online ticketing is a big business, what are some trends you have noticed within the industry?

The proliferation of secondary sales platforms has very much changed the game. What I think sometimes eludes people is not just that this has made it easier for professional ticket brokers, although that certainly is the case. What’s more significant though is the awareness and the ability for interested amateurs to make some pin money. When Bieber tickets go on sale, anyone from a soccer mom in Nebraska to a college student in Montana to a retiree in Maine, can make a little quick dough if they score some seats and then flip them on StubHub or TicketsNow. This has changed everyone’s perceptions about how to secure tickets and also how to monetize them as well.

Meanwhile, the online world has opened doors for venues and promoters to take charge in a new way. There are so many more opportunities to connect directly with a potential audience, share information and then ultimately sell tickets. Also, while customer data was once out of reach, in many cases it is now available and can be utilized for marketing purposes and to nurture relationships with fan communities.


What band revolutionized online ticket sales?

I’d have to start things out with the Grateful Dead. Josh Baron and I devote an entire chapter of our book to the origins and growth of Grateful Dead Ticket Sales. The Dead really were at the fore in terms of securing 50% of the inventory to all of their shows and then selling them to fans. Of course this raised the ire of Ticketmaster in the face of the company’s exclusivity agreements with venues but as we detail, the “Wooly Freaks” as Bob Weir described them held their own after a sit-down with CEO Fred Rosen.

Still, while the Dead changed the nature of what could be accomplished, they were selling hard tickets. Once we move into the online realm, it was groups like Phish and Dave Matthews Band that really picked up the mantle. In this context, I also think it’s important to single out the String Cheese Incident. We devote a chapter to their story in Ticket Masters. They too were selling online and also had been able to receive 50% of the seats but in the summer of 2003 they were shut down resulting in their decision to sue Ticketmaster. They eventually settled out of court and were required to abide by a non-disclosure statement but they were allowed to keep their allotment.

How has social media affected ticket sales?

Social media has facilitated a new ease and grace of communication. Information can flow directly from bands, promoters and festivals to fans and enthusiasts. Not only does this assist with ticket sales and related opportunities but it draws audience members into the circle earlier and more directly, creating an enduring connection for many people. The ability to have an exchange with one’s favorite artist or receive answers from a promoter or festival insider just makes for a deeper, more satisfying experience all around.

Sundance London Festival to Return for Second Edition in 2013

By Stuart Kemp, First Posted on Holllywood Reporter, October 22, 2012

Robert Redford, the Sundance Institute and AEG Europe re-team to bring the festival back to London’s O2 Arena in April 2013 and again in 2014.

LONDON – Robert Redford, the Sundance Institute and AEG Europe said Monday that the Sundance London film and music festival would return to the British capital in 2013 and 2014.

The backers of the inaugural film and music event earlier this year said the festival would return to the O2 Arena on the banks of the river Thames in Southeast London.

Next year’s event will run April 25-28 and will once again aim to program the international and U.K. premieres of U.S. independent movies fresh from the 2013 Sundance Film Festival in Park City, as well as live music performances, panels and events.

Organizers said the 2013 program aims to continue the 2012 focus on presenting “new work by American filmmakers and music artists.”

Sundance Institute will select the titles and related programming.

The inaugural Sundance London featured screenings of 27 films and performances by 17 musical acts. Highlights included the premiere of Harmony: A New Way of Looking at Our World, attended by Prince Charles, an intimate performance by Rufus and Martha Wainwright following the world premiere of Lian Lunson’s film about the music of their mother and an opening night event called An Evening With Robert Redford And T Bone Burnett.

Redford said: “The vibrant arts community in London has informed this decision [to bring back the festival] as much as anything. Seeing what comes of nurturing a broader global community for new voices and varied perspectives in American independent film and music seems a worthy 21st century endeavor.”

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Interested in learning more about combining music and film at your festival? Join The Creative Coalition, SXSW, The Mountain Jam, D & E Entertainment and Van’s Warped Tour as they discuss the same topics during their panel, “The Best of Both Worlds: Combining Film & Music at your Festival” at the upcoming International Music Festival Conference in Austin, Texas at the Hyatt Regency Austin, December 2-4.

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33rd annual event features theme “Music and the Physical World”

By Zach Napp, First Posted on BGNews, October 22, 2012

Where music starts and nature begins was the big question that John Luther Adams, the featured guest composer, was addressing at the 33rd annual Bowling Green New Music Festival: Music and the Physical World.

Kurt Doles, festival director and musical arts dean at the University, said the festival, presented by The Mid-American Center for Contemporary Music, featured contemporary music and lectures by guest composers, artists and writers, centered on the theme of “Music and the Physical World.”

 Highlights of the festival included performances and lectures by the three featured guests: Adams, Marina Rosenfeld, artists, and Barry Lopez, author, Doles said. Along with the feature guests, other guests made up the festivals.

“We were very pleased to get the guests that we did,” Doles said. “This is the first year we were able to get a composer, artist and writer—and the first year we were able to get a writer.”

The diverse group of featured guests was important to Adams, who helped organize the event with Doles and suggested the theme around the “Music and the Physical World”.

“We are all kind of doing the same thing in different forms of media,” Adams said. “We are just trying to share our gift to a troubled world.”

The theme for this year’s festival was intended to be very broad in order to make for a unique festival experience. Adams’ music has been influenced by his connection with nature and its sounds. It has been performed in the Anza-Borrego desert, the New England woods and the tundra of the Alaskan Range, Adams said.

The University Lawn was scheduled to be the next outdoor venue for Adams’ experimental music undertaking, with a performance of his piece “Inuksuit” on Friday. Whether the music students hear is the planned, the eccentric beat of drums or the melody of birds chirping in the background, the unpredictable influence of nature is what the piece is all about, Adams said.

“The music is a vehicle for hearing and reconnecting with where we are at the time,” Adams said. “The piece is intentionally porous, so you do not know where the piece begins and where it ends, what is music of the place or piece.”

However, due to inclement weather, the performance had to be moved to Kobacker Hall, Doles said. Prior to the performance, Roger Schupp, professor of percussion and project coordinator for the piece said the University will try to host the festival outdoors this spring.

“Our students and other guests, who traveled here to perform, put a lot of work into the performance. Obviously we wanted to do it outside, but it is better to do it in a place that may not be ideal, than to not do it at all,” said Schupp.

Schupp set the tone for the performance in his introduction to the audience.

“This is not a piece where you will be sitting down in your chairs,” Schupp said. “I want you to move around, lie on the floor and sit on the stage during the performance … You are an interval part of this performance.”

The audience followed suit. As the performance slowly built momentum, progressing from the atmospheric sound of conch shells, to the clanking of rocks and, finally, the thunder of percussions, the audience spread around the hall. Performers and audience members were behind the stage, up in the balcony, and amid the medley was Adams, quietly sitting with his eyes closed.

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10 Things We Learned From the Atlanta Hip Hop Festival, A3C

Over the years, A3C has not only become a staple in the hip-hop community, but a one-of-kind, interactive experience that helps further the culture on numerous levels. This year’s event was no different as the 8th installment of this Atlanta-based music festival was bigger than ever. The weekend provided unparalleled insight from industry insiders as well showcases full of future stars and current legends alike. Since we know not everyone could make the trip, here are ten of the most renown themes from the long and eventful weekend.

Supa Hot Beats Only Works With Supa Hot Artists – There was a stage during the closing ceremonies of the weekend that featured Tech N9ne, YelaWolf, Emilio Rojas, Rittz, Nikkaya, Gangsta Boo, Diamond, Will Brennan and Jackie Chain. When I walked up, I assumed the line-up was just well put together by hosts DJBooth and iHipHop. Then, an extremely grateful Will Power was brought to the forefront and I realized the high-octane set list was actually a showcase of artists he produces for. That’s also when I realized his Supa Hot brand of beats doesn’t get as much credit as it deserves.

Cell Phones Are An Essential Part Of Music (Whether You Like It Or Not) – Everyone knows cell-phones are permanent fixtures in today’s tech-savy society. But, until you go to an event like this, you don’t realize how much the actual music caters to them. Between seeing rappers in Stankonia studio writing and rapping directly from their palm, learning of a renown guitar-player that only uses his iPhone and seeing how crowds continuously prefer watching live shows they paid money to see from a small-screen, it’s glaringly apparent hand-held devices are overtaking even our most creative forums. Oh, and did I mention I paid five dollars for a 30% phone battery, three times? Damn you, Alexander Graham Bell!

Studio Time Is More Hanging Out Than Actually Recording – TSS was lucky enough to be able to go Outkast’s legendary studio and see The Flush facilitate the creation of Stankonia Sessions Volume 2. We learned quite a bit about the recording process, and well, how little recording actually takes place. In the three hours we spent, everyone in the room was mostly busy socializing and hanging out, rather than focusing on the music. It’s not necessarily a bad thing, just something we didn’t expect. The atmosphere in there is a lot more casual than professional and it’s evident how easily good relationships can form through a little chatter in front of the mixing boards.

More Exposure Means More Hassle – While the 8th installment of A3C peaked this year in regard to talent and visibility, the growth made the festival quite a bit more difficult to navigate. Instead of all the action being located in one central hub, the event was sprawled throughout different venues across the city. While that expansion may have been necessary to accommodate all the acts, it made seeing everyone impossible and having a car completely necessary. Plus, who the hell decided to close the parking lot next to the Masquerade? Inviting the entire country to an event, then having everyone park in residential neighborhoods two blocks away is never cool.

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Goldenvoice Keeps Music Festivals in Indio

The new proposal could mean more music festivals throughout the year

By Breanna Harry, First Posted in the Chaparral, October 1, 2012

Last month music promoter Goldenvoice submitted an application to the City of Indio that proposes holding up to five concerts a year at the Empire and Eldorado Polo Clubs for a period of 18 years.

It was just this past summer that Goldenvoice threatened to move Coachella and Stagecoach music festivals out of Indio if a proposed ten percent tax on admission was passed. Not long after news broke on Goldenvoice’s threat Indio City Councilman Sam Torres, who was the main backer behind the tax, said he would no longer pursue the petition to get the tax on the ballot in November.

The new proposal by Goldenvoice includes the following changes:

1. Increased attendance, from 95,000 to 99,000 per day for the three spring festivals, and from 65,000 to 75,000 per day for two possible fall festivals.

2. The current maximum attendance, including concert staff, is 95,000 per day for Coachella and 65,000 for Stagecoach.

3. The festival site would increase under the proposed plan, from the 535 acres currently used to 601 acres, most on the Empire and Eldorado polo club sites between avenues 49 and 52 and Madison and Monroe streets.

In an informational meeting held at the Indio City Council Chambers on Tuesday September 18, Skip Paige, vice president of Goldenvoice, said “I don’t have any intent right now to do any more shows. I want to be entitled to do other concerts if the opportunity arises.”

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Interested in learning more about the music festival industry? Join industry leaders and entertainment professionals like Bonnaroo, SXSW, Harmony Festival and many more as they discuss the industry at the upcoming International Music Festival Conference in Austin, Texas at the Hyatt Regency Austin, December 2-4.

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