Sunday 29 September 2013

Lyndahere And ‘Oh Yeah’...Some thoughts.

@lyndahere or Lynda Elstad wrote the following on her blog post “There are sure to be more acting opportunities - Alan did, after all, write this long-awaited blog from the Republic of Doyle set, where he was reprising his Wolf Redmond role, and his big-screen turn as Villainous Dingy Worthington in the Valentines-Day-2014 release of Winter's Tale is sure to make a lasting impression - and given the quality of his work in the roles he's gotten largely via his friendships with more-established actors, the time is approaching when Alan will be sought out and offered roles based solely on his own accomplishments”. (Between the Rock and a Hard Place 27 September 2013).

I had to respond to this post I found on Twitter and her blog Between the Rock and a Hard Place. I was interested that the annual appearance of Alan Doyle and friends on Republic of Doyle only got twenty or so words and her comments that “he has gotten roles largely via his friendships with more established actors”. I absolutely totally 100 percent DISAGREE with her statement. He got all his acting roles based on his talent and the contribution he could make to the production and not his friendship with others.

Alan Doyle and Great Big Sea have been involved in Republic of Doyle since the beginning through their music. They wrote the theme song to the show ‘Oh Yeah’. Great Big Sea were well known in Canada and the United States and a Great Big Sea catchy song from Newfoundland would help promote the show and Newfoundland throughout the rest of Canada and the United States. So from the original episode they have had played an intricate part of the program’s success. Four seasons on the show is still popular and being produced by CBC. The fifth season is about to air in October.

Alan Doyle has always been an actor of sorts whether it is on the stage performing music or making music videos. Moving from a musician to actor and musician to actor is a kind of a natural evolution. Alan Doyle is not the first to do it (Elvis Presley, Justin Timberlake, Russell Crowe and Keanu Reeves come to mind and even the great Mick Jagger and the Beatles had a go at acting in movies). Reading past interviews from the movie Robin Hood, Alan Doyle was a natural inclusion because of his musical talent and his ability to play a particular instrument rather than a friendship he had formed with Russell Crowe. He is credited with writing and performing two songs for the Robin Hood movie “Row Me Bully Boys Row” and “Large Woman” and performing a third song “Sadness Sadness”. 

In an interview with Allen W. Wright titled “Interviews in Sherwood. Alan Doyle actor in the 2010 film Robin Hood” Alan Doyle said…

“AWW:    You got involved in the film because you had worked with Russell Crowe musically.

AD:      That's how I knew Russell. And when they were going through the cast of characters they needed for this film, there was one there for a musician - and ideally some guy who could play both lute and Celtic instruments and do a capella songs and stuff. And his name was Allan A'Dayle. So, I guess it's not that much of stretch for Russell to go "Hey, I know a guy who could do this." So, he called me up and asked me to come do a read for it. And off we went.

AWW:    Did you play the lute much in the movie?

AD:      Yes, I do. I don't want to give it away for people who haven't seen it or anything. But yeah, I play the lute live in the movie a few times. I think they wanted part of it to be as real as possible. They wanted to create, really for the first time, one or two plausible explanations for the origins of these characters. Why out of ten thousand soldiers in King Richard's army would four of them be remembered? What brought them together? Why these four? One of the things we try to establish in this picture is that they got together because they like to sing. Allan A'Dayle, you know, he's the magnet for it all late at night, because he's got the lute, man”.

Because one is friends with and works with a famous actor there is no guarantee of anything. A movie studio isn’t going to make movies for friends to have fun. It is a business deal and they want their movie to be a success. In an interview for the same writer Allen W. Wright interviewed Kevin Durand who has also appeared on Robin Hood and Republic of Doyle said

“AWW:    So, did you sing much in the film? I know Russell Crowe and especially Alan Doyle have done some.

KD:      I think that was a big part of Russell and Ridley's vision in finding the Merry Men. To be able to show people why they were labelled the Merry Men. And to him that has a lot to do with that we love to sing and drink and have a good time as well as the other side where we're great warriors. Singing was a big part of it. I've been singing for my supper way before I was acting for my supper. So, Scotty [Grimes, the film's Will Scarlet], Alan [Doyle, Allan A'Dayle], Russell and I, we all had a ball. We would set up at bars all over London, have a few beers and take up the guitar and start singing. We would have a really good time with the patrons. I don't think we had a bad show to date. We were pretty lucky.

AWW:    I know that you had worked with Russell Crowe and Scott Grimes before.

KD:      Russell, Scotty and I met on a movie called Mystery, Alaska which started back in 1998. That was my first movie. It was my first audition for a movie actually. I was a theatre grad up to that point. Then Russell and I also did 3:10 to Yuma together. Scotty and I did a movie together. It was called Throwing Stars at the time and then they changed the title to Who's Your Monkey?, a small independent. So, we were all very familiar with each other. And the connection with Alan was that I had been a huge, huge Great Big Sea [Alan Doyle's folk band] fan way back before Mystery, Alaska happened and I gave Russell and Scotty copies of his CD. And they all became big fans. Through the course of a decade of different things happening, we all ended up becoming good friends and becoming the Merry Men, so to speak. I'm grateful for the journey”.

I remember it was Alan Doyle who helped Russell Crowe get back into acting by introducing him to Allan Hawco on Republic of Doyle via Twitter and was instrumental in helping Russell Crowe do something I believe he loves more than acting music. Russell Crowe had a long lay off from making movies spending most of his time at the farm he owns in Australia. He was really overweight and had just begun his fitness regime. From then on Russell Crowe and Allan Hawco emailed each other, a role on Republic of Doyle evolved, a reunion with the cast of Robin Hood including Scott Grimes and Kevin Durand and the Indoor Garden Party in St John’s was born. The Indoor Garden Party helped get Russell Crowe the role for Les Miserables approximately 6 months later. Since then he has made several films and is currently directing a movie in Australia.

Lyndahere has always been dismissive of anything Alan Doyle does without her and here is another example. I find this interesting considering how much space the subject of Alan Doyle, his beard and this role on Republic of Doyle has occupied on her Twitter and social media pages and yet she is now not allocating any space or time to discussing it. 

I have been thinking about the present and in particular this week the episodes of Republic of Doyle that have been filming in St Johns. A lot of work goes into making every episode and a series before it gets to our television screens. I love following the filming of the show on social media from those involved and watching episodes mostly on DVD as I don’t live in a country where it is shown unfortunately. It has a wonderful talented cast and is great drama. I love Republic of Doyle and it is one of my favourite television shows.

I have walked on many of the streets, been to many of the places shown and talked about on the show. So every time I watch an episode it is a bit like walking down memory lane for me. Republic of Doyle is distinctly Newfoundland and St John’s and Alan Doyle and Great Big Sea are distinctly Newfoundland and St John’s. It is only natural there would be a connection built on promoting Newfoundland and creating employment for their actors and artists in their home island rather than anything to do with friendship. Doyle and Allan Hawco on the set of Republic of Doyle in St John's Newfoundland.


Monday 23 September 2013

Lyndahere And Beware Of The Superfan...Revised.

Beware of the ‘superfan’…

After a re-read and rethink…

The attached article was written in a blog titled musicclout.com about how to engage ‘superfans’ and retweeted by @lyndahere or Lynda Elstad. I am wondering where these people get their information about marketing from because they clearly are not familiar with the destructive nature of fandom and in particular those ‘superfans’ like Lyndahere.

“Create exclusive content and experiences for your passionate fans”(Musicclout.com part 1). It sounds like the Lyndahere guide to marketing and how to improve her own position but also to validate it with Alan Doyle and Great Big Sea.

Firstly, if a musician, artist or band has a great product including music and a concert performance it will sell itself.

Give your most passionate supporters the attention they deserve. Their loyalty has helped you create a sustainable career so hail their level of support as the benchmark. Recognizing the value of the individual fan reinforces the bond with your top-fans and encourages “fringe-fans” to increase their support and join the party” (musicclout.com part 3).

Lyndahere and her actions have made it difficult for Alan Doyle and Great Big Sea to trust their fan base and for any fans to get close let alone fringe fans. Lyndahere for example, has been involved in dubious bootlegged recordings and music piracy of a band’s music, giving their music away for free on mp3 downloads, flooding the internet with poor quality photography, bootlegging publicity appearances and interviews in which people pay and sign contracts with them for exclusive rights, bootlegging, recording and releasing any new material before it was released and bootlegging and music pirating specials. She was also prepared to bootleg a whole album before it was released. She is a ‘superfan’ at their worst.

“Empowering your top-fans to be ambassadors in your band’s marketing campaign”. Superfans like Lyndahere come with personal agendas. ‘Superfans’ get caught up with their fame as a ‘superfan’ but also the money they can make off a musician, band or artist. ‘Superfans’ can on one hand attract new fans but also piss others off with their personal agenda and their unprofessional approach to marketing and biased presentation of information and a reality. 

From my research using 'superfans' as promoters/marketers, these 'superfans' get into issues with other fans and don’t send them information and the fan ends up getting excluded from events because the 'superfan' doesn't like them for some reason. There is lots of bullying in particular on social media when fans get into disputes with the 'superfan' or someone gets too close to someone the 'superfan' likes. Once a musician or artist or band loses a fan it is very difficult to get them back.

“Recognizing the value of the individual fan reinforces the bond with your top-fans and encourages “fringe-fans” to increase their support and join the party….Start releasing content (behind the scene videos from the tour bus or the recording studio) or creating interactive experiences (private shows, backstage passes) which fit your overall brand image you’ll be fine” (musicclout.com part 1).When this blog writes about creating a core group of fans as ‘superfans’ the writer forgets that not all fans can get involved as they would like because they simply don’t live in the country where the musician artist or band play and live, they don’t have equal rights to content because of distribution and copyright laws, nor do they have the opportunity to travel because they don’t have the money. Why reward fans because they have more money and opportunity to travel, to purchase goods and music?

Unequal access is a social justice issue. How do musicians, artists and bands monitor this to ensure fair and just access and rewards? The writer fails to recognise that music is a global phenomena. All countries have access to buying music online even if it is not in the format a consumer may like, merchandise, and fans can be involved on online social media interactions. In past blog posts I have raised the issue of rewarding fans like Lyndahere who are involved in illegal activities such as bootlegging and music piracy. And while she may buy tickets to concerts and show a kind of support why should fans who commit illegal activities be rewarded as against someone who does the right thing and may not spend as much money as she does?

“Reward your most passionate fans with unprecedented access to you”(musicclout.com part 2). There will always be fans like Lyndahere who will want to monopolise a musician, band or artist to the exclusion of others. “Be generous, your fans will love you for it” (Musicclout.com part 2). There are many musicians, bands and artists who are generous and share content and there are always fans like Lyndahere who are never satisfied with what is on offer from the likes of Alan Doyle and Great Big Sea. It gets back to the issue of the product. If a fan loves the product the artist, musician or band they will buy it regardless of any promotional opportunities and opportunities to become 'superfans'.

Every musician, artist and band needs professional people to manage them and their fans. 

'Superfans' Key to a Sustainable Music Future by Brandon Chiat posted on the blog Musicclout.com on September 3 2013


How To Engage Superfans. Superfans are the key to a Sustainable Future Part 1


In the truest and most basic sense fan engagement is about building deep, long lasting relationships with your audience. In our first content series we’ll explore this idea and how independent artists and their teams can:

·         Create sustainable careers based on the support of an inner-circle of       superfans,


·         Craft a genuine dialogue with your audience to earn the support of fans,

·         Nurture fan support into a life-long relationships,


The artists who are thriving in this uncertain digital music industry are the ones who have earned the continued support of an “inner-circle” of committed and passionate fans.


These fans don’t just love your music – they love your band and crave personal connections with you as individuals. Superfans have a personal investment in your career and feel they play an active role in your artistic journey.


Superfans form the core of your audience and will directly support you by purchasing content, merchandise and concert tickets.


A recent Nielsen study confirms that fans are willing to pay for content – and that is great news if you’re an independent musician. While superfans make up only 14% of the total population of music consumers, they are responsible for a mind-blowing 34% of all music purchases – the most of any supporter.


Face it: all fans are not created equal.


The majority of your support comes from a small segment of fans.


This small segment represents the highest-value to you as an artist. Recognize the importance of their loyalty and reward those fans with unexpected value.


Enhance the live music experience by offering upgraded ticket packages that could include meet-and-greets or merchandise bundles. Digital content, like unreleased tracks or behind the scenes videos also help to grow a community of superfans.


Nielsen has found that the superfan spends more than $422 each year on music,concerts and merch. Artists can earn a share of that annual spend by creating content and experiences for an inner-circle of superfans.


Create exclusive content and experiences for your passionate fans.


Name your fanbase and provide content just for those fans. The more value you offer in upgrades and incentives, the more your core fans will be willing to purchase.


Consider that the Nielsen study found that over half (53%) of (superfans) said they would be willing to pay to get exclusive content from their favorite band.


This is huge considering your fans, especially younger ones, feel they shouldn’t have to pay for your music. Interestingly, most fans understand and expect that in order to get free music, artists will have to make their money elsewhere and are willing to spend on high-value experiences and content.


There is no such thing as “selling-out” anymore.


Once you realize this, you’ll be free to apply as much creativity to your marketing efforts as your recording efforts. Start releasing content (behind the scene videos from the tour bus or the recording studio) or creating interactive experiences (private shows, backstage passes) which fit your overall brand image you’ll be fine.


In our next post we will focus on how your messaging and presentation of this content is crucial when developing the inner-circle of your audience.


How To Engage Superfans. Superfans are the key to a Sustainable Future Part 2


In the last post we talked about the importance of cultivating an inner-circle of superfans.


These passionate fans form the core of your audience and are the most likely to support you by purchasing exclusive content, merchandise and live experiences. Today, we’ll explore how to earn the support of those superfans. Fan acquisition starts with your message.


In a nutshell, fans want to be included in an on-going dialogue with their favorite artists. Fans need to feel like they’re a part of your artistic journey, so establish a meaningful relationship with them.


 Be authentic, fans don’t want to be spammed.


In a digital space where countless artists compete for the attention of music consumers, spam is the fastest way to alienate even the most loyal supporters.


Your fans, especially superfans, don’t want to hear from managers or record companies – they want to talk to you. Whether it comes to sharing tour announcements or mundane updates, the message should be in your own voice.


Sustainable music careers are just as much about fan interaction as writing, rehearsing and performing your music.


MTV Research arrived at some really interesting conclusions about how fans want to interact with artists:


Constant contact at zero-distance: over 75% of music fans polled said they “feel a strong connection to musicians who are open about who they are,” and 53% say the more an artist shares, the closer they feel to them.


Selling content is ok, selling yourself is not: 68% of fans polled say there is “no such thing as selling out” so long as the artist is perceived as “real and not fake.” This means that digital content, concert tickets and merchandise are all fair-game so long as they fit your overall image.


Not surprisingly, fans don’t want to be sold to, so in addition to crafting an authentic message, consider offering free digital content, like behind-the-scenes videos or pictures, which help to tell the story of your band.


Be generous, your fans will love you for it.


Superfans will spend money on your band, but they expect more in return. Namely, they expect the unexpected.


Music fans chase those singular, transcendental moments. Much in the same way that superfans are attracted by exclusive access to their artists, your most loyal supporters will attend live shows and consume your music just for the chance to be a part of something they’ve never experienced before.


Reward your most passionate fans with unprecedented access to you.


Invite them to watch your soundcheck or hang-out with you backstage. Offer digital content like live-show recordings or unreleased material to strengthen the connection between audience and artist. Offering free content alongside premium “for-sale” content is a great way to allow your fans to support you without spamming them.


Create amazing experiences for your current fans and new fans are sure to follow


Those “you-had-to-have-been-there” moments cause fans to feel a deep connection with you as an artist. The core of your message should convey this sense of exclusive inclusion.  Make membership in your fanbase so valuable, that “fringe fans” feel that they’re “missing-out” by not supporting you to the fullest.


Marketing for musicians used to be about building awareness of your music in hopes of attracting new fans. Now superfans are the marketers, preaching the gospel of your band to potential new fans.


When your story is authentic and your content flows generously, you’ll attract new fans who want to be part of your community.

How To Engage Superfans. Building lifelong Relationships With Your Audience. Part 3

Artist and managers are in the business of building awareness.


New tracks need plays on Spotify and views on YouTube. Shows and tours need to be announced on Facebook. And if you’re lucky, you’ll start to build some “buzz” in the blogosphere’s hype-machine.


Plays, views, shares, likes and followers have become the holy grail for music marketers. And because metrics like followers on Twitter and Facebook likes represent individual fans, these social benchmarks are believed to indicate the relative size of your audience and the effectiveness of all that buzz-building.


But is amassing a huge following on social media the best way to build a fanbase? Are all those likes and followers really that important?

Clyde Smith wrote a great post about why Facebook “likes” are the wrong thing to focus on (he’s even referred to the Facebook “like” as nothing more than a “grunt of acknowledgement.”)

Building awareness of your band, music or live shows should be a part of your on-going dialogue with a group of committed fans. There’s little to gain from blasting content to a large audience on social platforms, many of whom won’t find that message relevant or meaningful.


Focus on your inner-circle of fans, what those fans want from you, and how your message can strengthen the relationship you’ve developed with your community of superfans.

Recognize and Reward Loyalty


Like we talked about in the last post, superfans give more to your project but expect more in return. These fans want to be recognized as an invaluable member of your community.

Give your most passionate supporters the attention they deserve. Their loyalty has helped you create a sustainable career so hail their level of support as the benchmark. Recognizing the value of the individual fan reinforces the bond with your top-fans and encourages “fringe-fans” to increase their support and join the party.


Recognition can be as simple as interacting with fans in your on-going dialogue and as sophisticated as:


·         Featuring the most engaged fans from your audience in your blog or social media

·         Empowering your top-fans to be ambassadors in your band’s marketing campaign

·         Freebies don’t hurt – after all superfans are prepared to spend up to $422 every year on their favorite musicians, so show those fans your love with some free schwag

Encourage Co-Creation 

Incentives are the tangible manifestation of a fan’s support. Superfans take pride in supporting your band and the rewards you offer are tokens that represent their love for your band.


Some musicians are going a step further and including their top fans in the creative process. Artists like the Kaiser Chiefs gave their fans the opportunity to create and sell their own album using the band’s recorded material.

Other artists, like Umphrey’s McGee have invited fans to take an active role in the development of their band, encouraging them to do everything from promoting albums to curating setlists for live shows.


Focus on building lifelong relationships with existing fans.

Superfans love your music. This passion is active, enduring and focused. In this content series we have explored how to capture that passion and nurture it into a lifelong relationship, one that sustains your career as a musician.


It is better to have earned the support of 300 undeniably passionate fans who will buy everything you put out than 10,000 fringe fans who have a fleeting interest in you.

So put in the work to earn the support of these superfans – engage them in an honest and on-going dialogue, recognize and reward their loyalty and invite them to take an active role in your journey.



Thursday 19 September 2013

Terms And Conditions For The Removal Of This Blog...The means to an end.

It has been over 9 months since I wrote this post. The goals are the same and don't seem unreasonable except to some. They still apply. The goal of this blog has always been to explore music piracy and create awareness. It has diverted along the way to include other subjects I have found interesting.

@lyndahere or Lynda Elstad... The terms and conditions for the removal of the blog Fandom An Unexpected Journey are:
  • You will apply to the appropriate authorities and get a licence for recording at the concerts of Alan Doyle, Great Big Sea, their friends and any of the events they are associated with as per the law.
  • You will gain the permission of Alan Doyle, Great Big Sea and their friends before uploading any live recordings onto Youtube as per the Terms of Service or your blog.
  • You will remove any pirated videos for example the Live at Revival performance and interviews.
  • You will return any videos you have to their rightful owner to do with as they wish. Or you will obtain permission for them to be displayed on Youtube as per the Terms of Service or on your blog.
  • You will leave Alan Doyle, Great Big Sea and their friends alone when in private unless invited.
  • You will respect the terms and conditions on the tickets you purchase concerning the right to take photographs and video record in particular during Great Big Sea XX.
  • You will respect their right of refusal on any of the above points.
In return for complying you will receive :
  • There will be no threat of further action including possible legal action and complaints to the appropriate authorities.
  • There will be no more blog posts written.
  • If you comply with the conditions for an extended period of time the blog will be removed.
  • I will respect Alan Doyle, Great Big Sea and their friends right to use your videos to promote their music if they so choose.
If you establish an account under another name or use the account of a person known to you, you would have breached the terms and conditions.

You are welcome to respond to my blog. What ever you write will be printed in full.

Liz Smith

Friday 13 September 2013

And The Lyndahere Show Rolls On…More fandom reflection.

@lyndahere to @alanthomasdoyle Not quite sold out yet. Still some BBQ + concert tickets left. 31August 2013

@lyndahere to @alanthomasdoyle I want to see a full house for your AD Band. Each and every time out. Only 3 of those still available. 31 August 2013

@lyndahere to @alanthomasdoyle Just 1 lonely little Jackson-Trigg AD Band BBQ/Concert ticket left!... You could call “Sold Out” now. 1 September 2013

@lyndahere to @alanthomasdoyle Yay Alan! AD Band Jackson Triggs gig now officially sold out by any and all standards 4 September 2013

It has been hard to continue to ignore @lyndahere or Lynda Elstad and her recent activities which seem to have intensified around Alan Doyle and Great Big Sea. As talented Great Big Sea fans create wonderful photographs and share them via Twitter and other social media Lyndahere seems to have been left behind. Photographs from concerts long ago no matter how brilliant do not seem relevant well after the event. Her blog has not been attended to for nearly a month. So how does a fan stay relevant and ‘needed’ with so much competition and of course seek the attention she so desperately wants? She has reinvented herself as the unofficial ‘promotions manager’ and using her computer skills to extend her stalking more now than ever.   

With the unofficial title of ‘promotions manager’ officially assigned to her by herself Lyndahere  is now checking up on the sale of tickets and advertising events, any available seats, packages and options that remain unsold. These events include Alan Doyle’s last concert, charity work on Fogo Island in Newfoundland and the sale of new concert dates to Great Big Sea before the dates and links were made available on their official home page and they made the announcement on Twitter. Lyndahere has continued to bootleg any new music Alan Doyle may perform and to load it up onto You Tube.

@lyndahere Just one room left – one more chance to Go Wild with @alanthomasdoyle this weekend...

@lyndahere to @alanthomasdoyle Next time I’m sitting in front of a computer waiting for a big batch of show to go on sale let them be AD Band tickets. @alanthomasdoyle 11 September 2013

@lyndahere to @alanthomasodoyle Powerful performance of a beautiful new song at your sold-out @Jackson-Triggs Alan Doyle Band gig (on You Tube) 7 September 2013

@lyndahere Alan Doyle Band does great w. new gong debut @Jackson_Triggs (guessing title, unsure if co-write) (on You tube ) 7 September 2013

@lyndahere to @alanthomasdoyle I have missed hearing your songs live. Hearing your deadly band perform those songs. And you were so sweet tonight, Alan 6 September 2013

@lyndahere to @alanthomasdoyleI am so looking forward to your #BoyOnBridge songs @Jackson_Triggs tonight, Alan. Any of them, all of them (& Dance, Dance) 6 September 2013

@lyndahere to @alanthomasdoyle Yay Alan! AD Band Jackson Triggs gig now officially sold out by any and all standards 4 September 2013

@lyndahere Great Big Sea @ the Seneca Niagara Bear's Den Nov. 26th & 27th, tickets on sale at TM right now: 4 September 2013

@lyndahere A Wild Time. RT @alanthomasdoyle Very excited to be supporting the efforts on Fogo Island. Should be a Time...  September 2013

 @lyndahere to @alanthomasdoyle Just 1 lonely little Jackson-Trigg AD Band BBQ/Concert ticket left!...You could call “Sold Out” now. 1 September 2013

@lyndahere to @justmehurst According to the Jackson-Triggs site, all tickets except the BBQ/Concert combos are sold  31 August 2013

@lyndahere to @alanthomasdoyle I want to see a full house for your AD Band. Each and every time out. Only 3 of those still available. 31 August 2013

@lyndahere to @alanthomasdoyle Not quite sold out yet. Still some BBQ + concert tickets left....31 August 2013

Recently on Twitter Lyndahere challenged Alan Doyle as to whether his concerts were sold out. I do not know the specifics of how the tickets were sold but she tweeted him and said they were not all sold out. To find this information out Lyndahere would have been checking out the site selling the tickets and packages. So not only is she following him and Great Big Sea to concerts and other events, photographing and bootlegging their concerts but she is now stalking the Internet sites of events selling tickets to concerts and events. People fall into a false sense of security of getting information by following people on Twitter such as Lyndahere . She has proven to be unreliable and one who does not share a lot of the information she obtains with fans. It can leave fans feeling angry and resentful when they read her endless bragging and they have missed out something they may have liked to attend.

@lyndahere to @alanthomasdoyle I want to see a full house for your AD Band. Each and every time.out. Only 3 of those still available. 31 August 2013

A full house or sold out show in the way she imagines is not always in everyone’s best interests. And it is definitely not her call. Let me put it in an analogy she may understand, a full plane. It takes longer for the plane to load, longer for the plane and passengers and luggage to unload and places stress on the resources for example washrooms. As passengers take on increasing amounts of hand luggage it often gets put somewhere not close to the passenger or they experience delays as it is put in the hull with all the other luggage.

People who organise events and sell tickets need to manage their own events. There are always undesirable seats at any concert venue. It would have been totally frustrating for people being informed there were still tickets available and find out there were none they wanted in good seats. Often seats in an undesirable position cost the same as those in the desirable seats. The concert venue may have to employ extra staff and have different licensing requirements for the number of people the venue holds. The more people there the longer it takes to get served at intermission and people often choose to go without rather than miss out on some of the concert. There is extra pressure put on facilities such as washrooms. Unhappy event organisers and customers in undesirable seats or with packages they do not really want may not come back.

Just for the record Lyndahere and in case it hasn't occurred to her most people work hard for their money, don’t go to concerts every week and nor do they spend their life totally self-indulging themselves as she does.


Thursday 5 September 2013

Fandom, An Unexpected Journey...100 blog posts.

I was astounded when I realised it has been over two weeks since my last blog post. It is not very often I wait this long before writing a post, but this is my 100th post and I wanted it to be something positive. Another new word I had never heard of until a couple of weeks ago is “selfies”.The word started popping up on my Twitter timeline from people I follow and in newspaper articles so I decided to investigate this phenomena. While young people and celebrities have been taking selfies for a while, older people as usual have been a bit more reluctant to get involved. Now it seems everybody is taking them on a regular basis and putting them up on social media. That is except me because I may get one photo every ten years that looks slightly okay if I am lucky.

Our Great Big Sea boys are no different from other celebrities who take photos and post them on social media. They take the occasional wonderful and not so wonderful selfies to tell a story at that particular time and place and then distribute them via Twitter. I shouldn’t speak for all the fandom but I love receiving them. Selfies seem to have their own fandom of people of all ages and across all cultures. So what is a selfie, how did they become so popular and what does a selfie say about people involved in taking them?

I found this really interesting article on selfies in an Australian newspaper the Advertiser called “Me, my selfie and I” by Elizabeth Day on the August 16 2013. The article puts selfies within the historical and social context of popular culture. The article has been edited for copyright reasons and length.

Also included are seven of my favourite selfies from the Twitter pages of Great Big Sea over the last couple of years (@alanthomasdoyle @bobhallett and @greatbigsean). No copyright infringement intended. 
    
  


“Me, my selfie and I” by Elizabeth Day on the August 16 2013 at the Advertiser.com.au. (no copyright intended)

THE smartphone self-portrait or selfie has established itself as a form of self-expression. Is it a harmless fad or a dangerous sign of narcissism?

...This, then, is the selfie: the self-portrait of the digital age. We are all at it. Just type “selfie” into the Twitter search bar. Or look at Instagram, where more than 90m photos are currently posted with the hashtag #me.

Adolescent pop poppet Justin Bieber constantly tweets photos of himself with his shirt off to the shrieking delight of his huge online following. Rihanna has treated her fans to Instagrammed selfies of her enjoying the view at a strip club, of her buttocks barely concealed by a tiny denim thong and of her posing with two oversize cannabis joints while in Amsterdam. Reality TV star Kim Kardashian overshares to the extent that, in March, she posted a picture of her own face covered in blood after undergoing a so-called “vampire facial”.

In the same month, the selfie-obsessed model and actress Kelly Brook banned herself from posting any more of them (her willpower lasted two hours). The political classes have started doing it, too. President Obama’s daughters, Sasha and Malia, took selfies at his second inauguration. In June, Hillary Clinton got in on the act after her daughter, Chelsea, tweeted a joint picture of them taken on her phone at arm’s length.…

The trend has even reached outer space: in December, Japanese astronaut Aki Hoshide took what might be the greatest selfie of all time at the International Space Station. The resulting image encompassed the sun, the Earth, two portions of a robotic arm, a spacesuit and the deep darkness of the infinite beyond.

“The selfie is revolutionising how we gather autobiographical information about ourselves and our friends,” says Dr Mariann Hardey, a lecturer in marketing at Durham University who specialises in digital social networks. “It’s about continuously rewriting yourself. It’s an extension of our natural construction of self. It’s about presenting yourself in the best way … [similar to] when women put on make-up or men who bodybuild to look a certain way: it’s an aspect of performance that’s about knowing yourself and being vulnerable.”

Although photographic self-portraits have been around since 1839, when daguerreotype pioneer Robert Cornelius took a picture of himself outside his family’s store in Philadelphia (whether he had the help of an assistant is not known), it was not until the invention of the compact digital camera that the selfie boomed in popularity.

There was some experimentation with the selfie in the 1970s – most notably by Andy Warhol – when the Polaroid camera came of age and freed amateur photographers from the tyranny of the darkroom. But film was expensive and it wasn’t until the advent of digital that photographs became truly instantaneous.

The fact that we no longer had to traipse to our local chemist to develop a roll of holiday snaps encouraged us to experiment – after all, on a digital camera, the image could be easily deleted if we didn’t like the results. A selfie could be done with the timer button or by holding the camera at arm’s length, if you didn’t mind the looming tunnel of flesh dog-earing one corner of the image.

As a result, images tagged as #selfie began appearing on the photo-sharing website Flickr as early as 2004. But it was the introduction of smartphones – most crucially the iPhone 4, which came along in 2010 with a front-facing camera – that made the selfie go viral.….

Recently, the Chinese manufacturer Huawei unveiled plans for a new smartphone with “instant facial beauty support” software, which reduces wrinkles and blends skin tone.

“A lot of the cameras on smartphones are incredibly good,” says Michael Pritchard, the director general of  the Royal Photographic Society.  “The rise of digital cameras and the iPhone coincided with the fact that there are a lot more single people around [than before]. The number of single-occupancy households is rising, more people are divorcing and living single lives and people go on holiday by themselves more and don’t have anyone else to take the picture. That’s one reason I take selfies: because I do actually want to record where I am.”…


But Rebecca Brown, a 23-year-old graduate trainee from Birmingham, believes her penchant for selfies is neither degrading nor narcissistic. Instead, she explains, it is a simple means of self-exploration. “It’s almost like a visual diary,” she says. “I can look back and see what I looked like at a particular time, what I was wearing.

“It’s exploring your identity in digital form. To me it’s not about nudity or having a raunchy or raw kind of look… People think if you take pictures of yourself, you’re self-obsessed but that’s like saying if you write a diary or an autobiography, you’re self-obsessed. Not necessarily. A selfie is a format and a platform to share who you are.”

Does she feed off the social approval that a selfie can generate? “I suppose you take photos to see what you look like,” Brown concedes. “Before I go out, I’ll take a couple of pictures almost to see how I look in other people’s eyes. In the same way that if you wrote a really good piece of work and had people commenting about how good it was, or if you put something on Twitter that people retweeted, if people start liking your selfie, then obviously you’re going to get a natural buzz. It gives you a nice boost and you can walk with that little bit more confidence.”

There is nothing new about this, of course. Human beings are social animals and have long been driven by the need for approval and self-affirmation – albeit on a smaller scale. The desire for a pictorial representation of the self goes all the way back to early handprint paintings on cave walls more than 4000 years ago. In a fast-paced world of ever-changing technology, it could be argued that the selfie is simply a natural evolution of those hands dipped in paint.

“As with so many ‘new trends’, this one has a fairly distinguished prehistory,” explains essayist and author Geoff Dyer.  “In 1925 DH Lawrence was bemoaning the way that ‘each of us has a complete Kodak idea of himself’. This new phenomenon of the selfie has already been turned into a work of art which is also a sort of visual essay: Richard Misrach’s 11.21.11 5.40pm consists of him taking a telephoto shot of a couple on a beach taking a picture of the sea. Then we zoom in closer and closer on each subsequent page until we are able to see the screen of their phone in which is revealed… a self-portrait.”

The popularity of the selfie is, says Mariann Hardey, “an extension of how we live and learn about each other” and a way of imparting necessary information about who we are. By way of an example, Hardey says that when her father died suddenly last year, she took refuge in her Instagram feed.

“I couldn’t bear the conversations but one way to prove to friends that I was OK was to take a picture of myself,” she says. “That revealed something very important to my friends – one, that I was still functioning and, two, I was out doing stuff. An image can convey more than words.”…

A selfie can, in some respects, be a more authentic representation of beauty than other media images. In an article for Psychology Today published earlier this year, Sarah J Gervais, an assistant professor of psychology, wrote that: “Instagram (and other social media) has allowed the public to reclaim photography as a source of empowerment… [it] offers a quiet resistance to the barrage of perfect images that we face each day. Rather than being bombarded with those creations… we can look through our Instagram feed and see images of real people – with beautiful diversity.

“Instagram also allows us the opportunity to see below the surface. We capture a glimpse into the makings of people’s daily lives. We get a sense of those things that make the everyday extraordinary.”

The appeal for celebrities like Bieber, Kardashian et al is connected to this. The expansion of social networking has enabled them to communicate directly with their fanbase and to build up large, loyal followings among people who believe they are getting a real glimpse into the lives of the rich and famous.

“If you’re going for a younger audience, you’re expected to engage with every media channel available to you,” says leading PR Mark Borkowski.

“Every aspect of Rihanna’s life is about her letting people in. Some people are very natural and normal about it and completely comfortable with being ‘on’ and that’s fine. But it becomes unstuck if it’s not real. A selfie has to be ‘the real you’. It works if you can give people a manageable piece of reality which is who you are.”

The key is the idea of “manageable reality”: celebrities can now exercise more control than ever over the dissemination of their image. The paradox at the heart of the selfie is that it masquerades as a “candid” shot, taken without access to airbrushing or post-production, but in fact, a carefully posed selfie, edited with all the right filters, is a far more appealing prospect than a snatched paparazzo shot taken from a deliberately unflattering angle.

“It’s about self-exposure and control,” says artist Simon Foxall, whose work questions the parameters of individuality and self-expression. “A selfie blurs the line between ‘reality’ and the performance of a fantasy self, so one collapses into the other.”

Beyond that, a judicious use of selfies can make good business sense too: Alexa Chung and Florence Welch have both used selfies to post daily updates on what they are wearing, thereby cementing their position as modern style icons and guaranteeing, no doubt, the continuation of a series of lucrative fashion deals. (Chung, for one, has designed a women’s wear line for the fashion brand Madewell for the last three years.)

The website What I Wore Today began as a site that featured young entrepreneur Poppy Dinsey posing for a daily selfie, in a different outfit for every day of the year. It became an internet hit and has now expanded to allow users to upload their own images, as well as generating advertising revenue by featuring online links to clothing retailers.

“People like the control selfies give them,” says Dinsey. “Sometimes it’s just a practical matter of not having anyone around to shoot you and that’s why I always took my own pictures in mirrors for WIWT. But you’re deciding how to frame yourself – you’re not trusting someone else to make you look good. With front-facing cameras on iPhones, and so on, you can see the picture you’re taking and frame it perfectly to show yourself off as best as possible – your mate isn’t going to make the same effort when taking your picture. Plus, you can retake and retake without anyone having to know how much vanity has gone into that ‘casual’ pose.”

In some ways, of course, the notion of control is disingenuous: once a selfie is posted online, it is out there for public delectation. Future employers can see it. Marketers can use it. A resentful former lover could exploit it. You can use digital technology to manipulate your own image as much as you like. But the truth about selfies is that once they are online, you can never control how other people see you.

© The Observer 2013

SELFIE - A BRIEF HISTORY by Ian Tucker
2005 The term “selfie” is first used by Richard Krause in a “how-to” photography guide. “The guesswork that goes into selfies often results in serendipitous photographic surprises,” he notes.

Feb 2007 A user of the photo-sharing site Flickr creates a group called “selfie shots”, defining selfie as: “A photograph of oneself in an arm-extended posture. Not to be confused with a photo of oneself in a mirror or other reflected surface.”

June 2010 Apple releases the iPhone 4 featuring a very basic front-facing camera, which was included to enable users to take advantage of video-calling apps such as Apple’s FaceTime and Skype, but also allows users to frame their self-portraits.

Oct 2010 Instagram is launched, reaching more than 100 million active users by April 2012. The app enables people to share photos from their smartphones and enhance them with filters. Since its launch more than 23m photos have been uploaded to the app with the “#selfie” hashtag.

June 2012 Selfie joins the OED’s watchlist of words for possible inclusion. “This colloquial term for a photographic self-portrait has thus far appeared primarily in social media contexts,” it notes.

Dec 2012 Selfie appears in Time magazine’s top buzzwords of 2012. “Selfies are often snapped at odd angles with smartphones and include part of the photographer’s arm,” it observes.

Jan 2013
The Obamas’ daughters, Malia and Sasha, are pictured taking a selfie at their father’s presidential inauguration.

March 2013 The Daily Mail publishes its first moral panic piece about selfies, headlined: “The craze for pouting pictures I fear my daughters will end up regretting.” The writer adds: “It’s as though a whole generation of teenage girls has lost the ability to smile naturally.”

April 2013 The Samsung Galaxy S4 is released, featuring a 2 megapixel front-facing camera.

June 2013
Instagram launches the fourth version of its software, the app’s new 15-second video feature. The age of the selfie movie is upon us…

 

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