POP-UP POSITIVITY TOUR Launched With Atlanta’s Super Hip-Pop-Duo BLAZIAN

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LET BLAZIAN BRING SOME POSITIVITY, INSPIRATION, AND FUN TO YOUR SUMMER YOUTH PROGRAM – ALL AGES ARE INVITED TO THE POSITIVE MOVEMENT

The Pop-Up Positivity Tour is a free, one-hour program – for all ages, full of passion, positivity, and fun presented by Atlanta’s hottest new teen Hip-Pop group, Blazian. The tour kicked off June 16, 2017, and will end on August 1, 2017.

Blazian will be taking over summer programs across metro-Atlanta and surrounding areas with a positive message and the tools necessary or youth to engage in powerfully positive activities that will improve their lives and lives of those in their families and communities throughout the summer and upcoming school year.

Using their newly released single, Miyagi as music motivation, each tour stop will be filled with dance, exciting youth engagement, and inspiration!

“We are so excited to spend our summer promoting our new music and inspiring kids to get out there and do some good things for other people,” said the teen brothers.

With the negativity that so many kids face in today’s school environments and online – the Pop-Up Positivity Tour provides a unique opportunity for young people to motivate and challenge OTHER YOUNG PEOPLE to look in the mirror for the positive changes they seek in their lives, their communities, and their cultures.

To Book Blazian for your camp, program or event, please email BookingWeBlazian@gmail.com

For Media Inquiries, contact Kimberly Wilson  at  WishCreativeMedia@gmail.com 

 

ABOUT THE POP-UP POSITIVITY TOUR
This tour was inspired by Blazian’s national news feature on Headline News Network (HLN) – Moment of Sunshine with Robin Meade a few weeks ago, where the teen brothers noticed a young woman walking to a bus stop, wearing shoes that were literally “falling apart”.

They stopped their vehicle to ask her shoe size, and in a span of 15 minutes, they went to the nearest shoe store, bought a pair of shoes and raced back to the bus stop (just in time), as the bus was arriving, and handed her the shoes as she boarded the bus.

It was then, they decided they would be the catalyst to push young people to do “something” – “anything” positive (no matter how big or small) over the summer….and the tour was formed!

ABOUT BLAZIAN
Blazian is an American hip-pop group comprised of brothers, Charlie Walker III (CJ), and Darius Walker (DJ). Natives of Atlanta, GA, these young, gifted entertainers are truly on the rise. They have performed on some of the biggest teen concerts in the country and alongside many of today’s hottest talents. They have recently released their new single and are quickly building a global fan base both on and offline.

Blazian prides themselves on uniting cultures and promoting positivity to the masses. They are a unique gift to today’s saturated industry and with their talent, passion, and energy they will rise above the noise to be leaders of this new generation in entertainment.

Follow Blazian Online Everywhere @WeBlazian

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Blazian at Sparkles June2017

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The 2017 Teen B.E.A.T. Summit Is On The Way…April 3-9, 2017 Atlanta GA

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The B.E.A.T. Summit will bring together the most creative young songwriters, performing artists, visual artists,future executives, djs, and music producers…for seven (7) days of captivating workshops, engaging experiences, provocative panel discussions, artist showcases, hands-on-training, daily business luncheons, celebrity appearances, new product demonstrations – a full range of exciting events!

Visit www.TeenBEATSummit.com and sign up for updates, early registration announcements, special give-a-ways, and passes for exclusive pre-B.E.A.T. Summit events.

Email us at TheTeenBEATSummit@gmail.com for sponsorship opportunities, group registrations, volunteer sign up, and media requests.

10 Guiding Principles for Effective Brand Building

10 Principles For Effective Brand Building

In “The Unexpected Universe” naturalist Loren Eisley tells of coming upon a spider in a forest spinning the sticky spokes of the web that extend her senses out into the world. Just so, brand planners need to find ways of extending their senses far beyond what can be directly perceived by their ears and eyes. Like the spider, brand planners sit in the middle of a complex web, listening, watching, waiting.

At the heart of brand building is the search for more meaningful ways to connect with customers or end consumers. Getting good at connecting with consumers and building strong and relevant brands requires an end consumer orientation regarding how you frame problems and ask questions. The brand planner needs to become the in-house consumer advocate, always taking the consumer perspective in evaluating all aspects of brand performance.

In my years of building the Nike, Starbucks and NBC Entertainment brands I discovered ten principles that proved helpful in the brand planning process.

1. Be Analytical

Annually tear down internal strengths and weaknesses in regards to how you are approaching the marketing process. What has worked? What has failed? What needs to change? There are often tacit assumptions (hidden but operative) about the way things should be done. Have the important hidden assumptions been exposed and scrutinized? Are we more concerned with being efficient than effective? As we look outward at the marketplace where are the emerging opportunities? Where are the threats coming from? Have realistic scenarios been generated that factor in the forces that are changing our business model and marketing effectiveness?

2. Be Mindful

Where is the emotional high ground in this category? Are we anywhere near it?
Do we really understand the consumption moment when it’s “as good as it gets”?
What situations, settings, moods, and feelings really define this high ground?
Be mindful of the deep insights around dream states. These can suggest unique brand points of view for connecting with the emotional high ground.

3. Be Curious

How can we more favorably alter our value proposition?
How can we enhance the brand persona/image? How can we generate buzz?
How can we take the high ground?
What passes for breakthrough advertising today in our category? Across categories?
What past positioning approaches have broken through? Does any of this past work contain deep insights that can be reinterpreted in a new light today?

4. Be Observant

Are any competitors more favorably positioned with groups that matter to us?
Who are we appealing to? How are these consumer groups defining our brand?
Do channel partners present our brand in it’s best light?
Is our storytelling in touch with the zeitgeist (spirit of the times)?
How do our views differ from the views of the people we’re trying to reach?

5. Be Human

All brand impressions work to build image. Do we project a human face? Are we seen as a good citizen? A company that cares? Does the brand seem to have a conscience? Are there warm human attributes and connection points in our story? Part of becoming more human as a brand involves understanding how to strengthen the connection in our customer relationship. In our messaging are we selling functional benefits, emotional benefits, values or personality? Which of these positioning choices are most salient, resonant and relevant – from an end consumer perspective?

6. Be Imaginative

Crafting a brand vision requires going beyond the logical into the imaginative. Creative teams tasked with envisioning the future need the freedom to take imaginative leaps. The essence of this kind of creativity is in seeing new connections between things where no apparent relationship existed before.

To expand the brand concept – expand the ways of looking and thinking about new brand opportunities. In early stages idea generation workshops can be productive. Special rules apply for getting the most out of ideation workshops. Rules like: get offsite, have some fun, think like a kid, relax old rules, keep the group small, invite a range of creative thinkers, use creative exercises and pre-planned stimulus to generate lots of ideas, no killing of ideas during ideation. Screen the ideas later for those with most potential, build and bulge on these ideas. Put them through a rigorous new business development filter.

There is an art to getting the ground fertile for really great concept generation workshops. Learn the art, create great group dynamics….push the edges of thinking. If there is a dearth of really great ideas bring in ideation experts. Explore how to add more meaning to your brand. What kinds of new stories, images and myths would add a great chapter to your brand history? What kinds of new products and services would connect with the brand essence? Can your brand presentation be elevated to the next level? Explore ways to layer on qualities that will add to your products perceived value. Imagine how to better connect with important consumer subcultures or activities.

7. Look For Integration Possibilities

Can communications be improved in regards to tying together brand equities, celebrity equities, and brand positioning themes? What creative ways are there to extend branding activity working with co-brands or creative partners?

8. Be The Storyteller

At the highest level brand planners are concerned with storytelling excellence. Is our approach to storytelling breaking through? How can we make our stories arresting, relevant and resonant so that they build better brand affinity?

9. Be Realistic

No brand or product is at the center of how consumers live their lives. Yet this assumption is often made in consumer research projects where a narrow set of options are presented for exploration and validation. Realistic context for understanding the consumer’s involvement and interest in the category is a prerequisite for effective brand planning.

10. Be Patient

Movement in brand image in very mature categories can be glacial in nature – taking years to accurately measure shifts in feelings towards the brand. A continuous stream of breakthrough advertising can accelerate the shift in feelings, if it’s creating cultural buzz then affinity and image measures can move in months or quarters.

If the original insight that connects the brand with the consumer is unique, favorable and strong and that insight is driving your communications then fast improvements in brand strength can be expected. A brand strength monitor with sensitive brand image descriptors is the best way to track a brands positioning efforts over time.

via Branding Strategy Insider

 

The Top 10 Most Remarkable Marketing Campaigns EVER!

10) The Whopper Sacrifice 

Brand: Burger King / Creative Partner: Crispin Porter & Bogusky

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The OMFG! Factor:

Sacrifice ten Facebook friends. Get a free Whopper.

Sounds simple enough, right? But what made this campaign particularly remarkable is that it challenged the very nature of the platform on which it played out, and tapped into the essence of how social networks have changed our ideas of what “friendship” means. Whopper Sacrifice (a Facebook app) launched in early 2009 with little fanfare and almost no media support — and lasted only 10 days before Facebook shut it down on the basis of “user privacy violation” (the app notified friends when they were deleted). Sure, they gave away 20,000 free Whoppers. But the infamy and buzz they gained? Priceless.

Steal This:

  • Use a really, really, really simple call-to-action.
  • Don’t be afraid to push the envelope.

9) True Blood: Revelation

Brand: HBO / Creative Partners: Campfire  And Company

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The OMFG! Factor:

What made the marketing campaign for HBO’s first season of True Blood so remarkable was the way it was woven into the mythology of the show itself. Vials of a mysterious red liquid with messages in a “dead language” were mailed to goth and horror bloggers, leading them to a “vampire-only” website called BloodCopy.com. Videos featuring “real vampires” debating whether or not they should reveal themselves to an unsuspecting human populace were “leaked.” An outdoor poster campaign promoting a new beverage called TruBlood (available for sale at http://www.trubeverage.com) and featuring PSAs supporting equal rights for vampires appeared in major metro areas — none of which ever mentioned the TV show.

By creating a complex backstory about a synthetic beverage that enabled vampires to “live among humans,” HBO and its creative partner, Campfire, were able to tap into an existing community of horror aficionados and organically build an audience that made True Blood one of HBO’s most anticipated and successful show debuts.

Steal This:

  • Find the “niche” audience that is super passionate about your product or mission, and explore ways to intrigue, inspire, and deeply entertain them.
  • Invest in really good storytelling.

8) The REFRESH Project

Brand: Pepsi / Creative Partner: TBWA Worldwide

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The OMFG! Factor:

After 23 years and hundreds of millions of dollars spent on Super Bowl ads, one of the world’s biggest brands broke new ground in 2010 by opting out of the Super Bowl and pouring 1/3 of
its annual marketing budget into a cause-driven social marketing campaign called “The Refresh Project.”

The Refresh Project featured a pledge from Pepsi to hand out more than $20 million in grants to do-good projects in six categories and in what has since been coined “crowd-sourced philanthropy” (the audience voted on who got the grants). Sadly, the campaign was pulled after 10 months due to fraud allegations and slipping market share — yet the influence of The Refresh Project as a remarkable example of behemoth brands committing more dollars (and brain cells) to digital and social media continues to be felt.

Steal This:

  • Been doing the same thing for 23 years? Surprise the hell out of everyone by not doing it. At least once.
  • Even high-profile, high-budget “do good” programs don’t do much good if they’re not authentic and brand-relevant. Learn from Pepsi’s mistakes.

7) Elf Yourself

Brand: Office Max / Creative Partners: Jason Zada  EVB  Toy  Maccabee Group

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The OMFG! Factor:

Who knew uploading images of yourself, friends, or loved ones — then watching them dance as Christmas elves — would be so remarkable? It was a simple idea, but at the time of its launch in 2006, a groundbreaking one. Let people star in their own interactive ecard? Virtually unheard of … but totally awesome. Six years and over half a billion shares later, Elf Yourself can boast not only of being a viral phenomenon, but also an enduring success — one that has literally become a holiday tradition.

Steal This:

  • Give your audience opportunities to “star” in your marketing.
  • Create an annual tradition (that gets better every year!).
  • Make it wicked easy to participate, and just as easy to “share.”

6) The Man Your Man Could Smell Like

Brand: Old Spice / Creative Partner: Weiden + Kennedy

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The OMFG! Factor:

The Old Spice Man debuted in a 2010 Super Bowl ad, bringing humor, sex appeal, and intrigue to a brand that was all but forgotten. Five months later, he made marketing history by appearing in a series of 180 near real-time videos that not only got the attention of celebrities like Demi Moore and Ellen DeGeneres, but also helped Procter & Gamble amass over 40 million views on YouTube and enjoy a 107% increase in body wash sales within 30 days of the campaign launch.

Steal This:

  • Got a spokesperson for your brand? Make sure he/she appeals to and entertains both genders, and provide opportunities for your audience to engage with him/her both on and offline.
  • Short, frequent, episodic, and highly shareworthy content will be shared more than the usual marketing fodder.

5) The Best Job in the World

Brand: Queensland Board of Tourism / Creative Partner: Nitro

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The OMFG! Factor:

Wait … you want to pay me $150,000 to spend 6 months cleaning the pool, feeding the fish, collecting the mail, and exploring a gorgeous, little-known island off the Great Barrier Reef? And all I have to do is submit a one-minute video about why I should get the job? Yes, yes, that’s exactly what the Queensland Board of Tourism did in 2009 in a remarkable campaign that relied on a most unlikely media channel — the “Jobs” section of newspapers.

Fueled by an extraordinary streak of PR and clever use of social media, the Board received over 7 million visitors, 34,000 applicants from 200 countries, and 500,000 votes for this once-in-a-lifetime job. And the lucky winner? Well, he continues his reign of Remarkableness as the Ambassador of Queensland Tourism. Lucky bastard.

Steal This:

  • Experiment with non-traditional marketing channels.
  • Remember that no brand is too small to make a giant, remarkable splash.

4) In Rainbows

Radiohead

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The OMFG! Factor:

The music industry used to have a really simple formula: talent + record label + plastic discs = dollars. But digital and social technology completely disrupted that formula — and a few risk-taking, innovative folks like Thom Yorke of Radiohead, disrupted right back. In Rainbows, which was the band’s seventh album, was released directly to fans with an offer that was altogether unheard of: Pay what you want.

To date, the band reports that their OMFG! strategy paid off — with 3 million downloads in the first year and a cool $10 million in revenue — by far, the band’s biggest commercial success EVER. It’s no wonder The New York Times hailed this establishment-bucking quintet from Oxfordshire as a band “fast becoming as
synonymous with technological mischief as they are with music.” BOO-YA!

Steal This:

3) Let’s Motor

Brand: Mini Cooper / Creative Partners: Crispin Porter + Bogusky

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The OMFG! Factor:

In Europe, the Mini Cooper had long been an icon. But in the gas-guzzling, SUV-loving USA, the teeny weeny Mini had only 2% brand awareness and even less market share. So what’s a clever marketer to do? Why, accentuate that difference, of course!

Rather than pursue the same-old, same-old TV/print/radio ad formula that most car brands were following at the time, Mini and its ever-innovating agency partner decided to eschew traditional media in favor of playing up the fun-factor of the car itself — in shopping malls, on street corners, glued to billboards … and other unlikely places where only a tiny vehicle with awesome gas mileage and a kind price tag could shine. Ten years later, Mini had not only far surpassed its goals of market share and sales in an indisputably disastrous automobile market — it also saw the U.S. surpass the UK as the brand’s biggest-selling single market in the world.

Steal This:

  • Focus on the one thing that makes you undeniably different from all your competitors. Double down on that one thing.
  • Screw the cow path. Blaze your own trail.

2) The BLAIR WITCH PROJECT

Brand: Artisan Entertainment

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The OMFG! Factor:

Arguably the very first online “viral” marketing campaign predating YouTube, Facebook, MySpace, and even Friendster, The Blair Witch Project remains an often-imitated, never-duplicated runaway success. Shot on a shoestring budget of just $22,000, the film raked in over $250 million, thanks in part to its novel approach of terrifying audiences into believing that the fictitious story of three missing film students was 100% real. The key? A deft combination of “found footage,” strategically seeded rumors on online message boards, and a series of low-budget ads and trailers that perpetuated the legend.

Steal This:

  • TELL GREAT STORIES! (Sound familiar?)
  • It doesn’t have to cost a fortune to be remarkable.

1) 2008 Presidential Campaign

Barack Obama

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The OMFG! Factor:

In early 2007, Barack Obama was a one-term senator with a funny-sounding name and less than 10% brand recognition. Eighteen months later, Obama went on to raise more money than any other presidential candidate in U.S. history, ultimately landing him the title of 44th President of the United States of America.

How did he achieve this? In part, because of a brilliantly executed marketing campaign that leveraged social technology and grassroots support in ways his competitors hadn’t even considered. He dominated not only YouTube with over 20 million views, but also claimed the most popular fan page on Facebook (with 2.5 million fans vs. McCain’s 625,000 at the time), broke down barriers with his social media-friendly campaign website that bestowed genuine, in-action photos, videos, and issue-oriented calls-to-action upon its visitors daily — and ultimately, rode that online popularity all the way to the White House, becoming not only the first U.S. President to have a presence on social media, but also the first one to fully grasp and connect with his constituents across ALL of the channels that matter to them now.

Steal This:

  • If the freakin’ president of the USA can master this social media stuff, so can you.

Let’s Add YOU to this list…….WishCreativeMedia@gmail.com

Thanks Hubspot for the Post!

SoundExchange Hits $3 Billion Payout Milestone

Let’s Show SoundExchange Some L-O-V-E

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The popularity of digital radio services in the United States has turned into big money for the record industry. SoundExchange announced Wednesday it has distributed over $3 billion in digital performance royalties to record labels and performing artists since 2003.

“Three billion dollars in distributions marks a phenomenal milestone not just for SoundExchange, but for the entire music industry,” said SoundExchange President and CEO Michael Huppe, in a statement.

Nearly half of these royalties have been paid in just the last two years. SoundExchange paid out $773 million — over 25 percent of the total — in 2014 and $590 million — about 20 percent of total distributions — in 2013.

In 2004, the first year SoundExchange paid royalties, labels and performing artists received just $6 million. Driven by growth in Internet and satellite radio, annual distributions reached $100 million in 2008.

Future distributions could be affected by a change in royalty rates. The Copyright Royalty Board, a three-judge panel that sets the statutory rates for the non-interactive Internet radio services that pay SoundExchange, will announce rates for 2016 to 2020 before the end of the year. SoundExchange has proposed a considerable rate hike. Pandora has proposed a decrease.

Not all distributions will be affected by the decision. Current rates for satellite and cable radio extend through 2017. And Pandora has privately negotiated rates with independent rights organization Merlin.

But a rate change would impact a large — and growing — share of U.S. record industry revenues. SoundExchange distributions accounted for 15.8 percent of U.S. recorded music revenues last year, up from 5.6 percent in 2010.

Story 1st Spotted at Billboard.biz August 5, 2015

Got Check? Indie Artist GET PAID!

TuneCore Paid $36 Million To Indie Musicians In First 3 Months Of 2015

tunecore logoEarlier this month, Believe Digital acquired flat fee D.I.Y. digital music distributor TuneCore, in a move that reshuffled the indie music distribution deck. Today, Tunecore shared its most recent payouts to indie artists.

image from www.hypebot.comTuneCore announced today that it paid $36 million to artists in the first three months of 2015. That’s a a 5% increase versus the same three months last year.  The earnings represent income from 2.8 billion downloads and streams.

Since 2006, TuneCore Artists have earned over $541 million from over 15.2 billion downloads and streams, according to the company.

International Growth

Growth in international music consumption is helping to drive income for more independent musicians.  Emerging markets including Chile, Guatemala, Hong Kong, Poland and Turkey experienced growth, seeing 134%, 70%, 48%, 68% and 180% increases respectively.

TuneCore now serves music to 150+ digital music partners; and in Q1 added Play.me (Italy) and Zvooq (Russia and surrounding countries).

Publishing

Artists using TuneCore Music Publishing Administration have now registers over 300,000 compositions – a 20% increase (Q1 2015 vs. Q1 2014).  Recent high-profile placements include: HBO’s hit series Girls, cable series Better Call Saul and the feature film Furious 7.

The company produced this infographic to illustrate quarterly growth:

image from www.tunecore.com

Story Appears via @hypebot

WELCOME TO 2015! LET’S START WITH SOME GOOD NEWS…….globalFEST is here!!!

I’d Like to Welcome You to 2015….and Some Good News and Opportunities for Your Band and/or Project!

2015 is the year of innovation, creativity, and partnershipsGLOBALFEST does all three, providing up to 50K in tour support and future opportunities to up and coming artists from all around the world.

It’s Going Down TODAY in NYC!

Globalfest, International Music Showcase,Puts $50k in Tour Support on the Table

Globalfest, International Music Showcase, Puts $50k in Tour Support on the Table

The importance of a buzzed-about show at Globalfest should not be underestimated. When the twelfth annual international music showcase kicks-off this Sunday (Jan. 11) at New York’s Webster Hall, the stakes will be high for artists such as Kenyan “disco-funk-house” group Just a Band, Columbian rebel Cumbia group Puerto Candelaria and the electro-influenced Emel Mathlouthi from Tunisia among the dozen artists performing.

Each year here, amongst the sold-out audience, are hundreds of music agents, curators and promoters in town for the annual Association of Performing Arts Presenters Conference. With the power of the purse for a large swath of the nation’s performing arts centers, these music industry professionals are looking to fill-out their 2016-2017 seasons with sounds from across the planet. A hot show here can mean future bookings at music halls from Cincinnati to Little Rock to Fresno and beyond.

While many Globalfest artists have gone on to larger U.S. tours, the non-profit festival itself is doing its part to ensure world artists can tour their unique sounds across the U.S. Over the past four years, thanks to a grant from the Ford Foundation, Globalfest has awarded nearly $50,000 to Globalfest alumni as part of its Globalfest Touring Fund (GFTF). Such artists as Brooklyn Qawwali Party, Debo Band, Canzoniere Grecanico Salentino, Red Baarat and MAKU SoundSystem have been able to hit the U.S. roads with grants between $1,000 and $4,000 which for bands traveling on slim margins can mean the difference between profit and loss.

“Brooklyn Qawwali Party was the first band we funded and it was really interesting for us,” says Isabel Soffer of Live Sounds, one of Globalfest’s three volunteer co-producers (along with Bill Bragin and Shanta Thake). “They were touring in New York State and they’re a New York City-based band, but there are twelve of them. Just to rent vans to get upstate, pay hotels–they just didn’t have enough money from the venues to even cover those costs. The bandleader wasn’t even paying himself and didn’t even take into consideration that the group should be including an artist fee in the budget — which was sort of a shock to us. We actually ended up changing the criteria for the Globalfest Touring Fund because we wanted to make sure artists were actually paid. It was really a wake-up call to see how difficult it is for artists to travel — even within one state.

Soffer, Bragin and Thake along with a three-person panel of arts presenters from different regions and arts spaces score the applications based on “financial need, artistic excellence, the importance of the events and the potential impact on the career of the artist.”

“We try to make it a simple process, “says Soffer, “because artist aren’t used to writing grants or asking for a money. Artists don’t put together budgets and there’s a bit of a learning curve when they apply for a grant.”

Started in November of 2011, the Globalfest Touring fund has funded 17 groups, totaling of $47,060 enabling artists to reach 86 U.S. cities or towns and 54 new markets. Three GFTF recipients Billboard contacted for this story unequivocally endorsed the GFTF and the touring opportunities it afforded them. Martha Redbone said the grant allowed her to “perform in parts of the country we wouldn’t have been able to reach due to prohibitive travel expenses” and the ability to “return to these markets on our own steam.” The Debo Band’s Danny Mekonnen spoke of bringing “diversity to culturally homogenous places like Butte and Cedar Rapids.” And Scott Kettner of Nation Beat was able to add an extra date and two workshops to his group’s tour. “It enabled us to do community outreach workshops for underprivileged children,” he said.

While Globalfest itself lends support to its touring fund through crowdfunding efforts on Indiegogo and Kickstarter, the operation would not be possible without the support of the Ford Foundation, which this past September renewed its commitment to the program for the next three years.

“On a practical level, given the expense and challenges of crossing borders, it makes sense to build on that investment and make possible touring — giving more US audiences a chance to hear from these brilliant artists and giving artists more opportunities to make a living,” says Roberta Uno, the Ford Foundation‘s senior program officer for arts and culture’s Freedom of Expression Unit, by email. “Globalfest is building on their considerable curatorial and presenting expertise to provide an innovative model that will benefit the arts sector and beyond.”

There is a larger way, too, of looking at Globalfest’s — and indeed music’s — ambassadorial role in bringing different cultures and people together who otherwise wouldn’t step near each other. It’s a dynamic Uno is well aware of. “We’re living in a time when it’s critical to learn more about other cultures and people,” she says, “not just from an older model of cultural exchanges of national pride (our orchestra, your folkloric dance troupe) which are also important, but from a more urgent, contemporary place of how culture, aesthetics, people, ideas are living in communities across the globe. Globalfest is that snapshot in real time of the current moment and future on its way.”

In terms of Globalfest’s future it’s worth noting how the non-proft, 501c3 organization has expanded over its twelve years of its existence. It now regularly hosts a stage at Bonnaroo and SXSW, hired its first time employee in Nicole Merritt of International Society for the Performing Arts who will start in February and next year is mounting its first GlobalFest on the Road Tour called Creole Carnival. The tour is being produced in association with Columbia Artists Management International and will feature Casuarina from Rio, Emeline Michelfrom Haiti and Jamaica’s one-stringed guitar virtuoso Brushy One String.

“Putting artists on road, paying them very fairly and getting more international music into venues really gets to the heart of what our mission is ” says Globalfest’s Soffer. “We want to make sure these global music groups are in all types of venues across the country and develop touring careers along with fair pay and exposure to different audiences.”

MAKE SURE YOU ARE A PART OF GLOBALFEST 2015-2016 

 

 

Thanks to Billboard.biz for this post – By