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dreamings-free · 11 months ago

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‘A dirty nightclub in an arena’ – behind Louis Tomlinson’s Faith In The Future World Tour

Louis Tomlinson and his tight-knit touring crew traverse the world in close to 80 shows, fulfilling a ‘dirty nightclub in an arena’ brief with a dynamic live campaign.

Production Profiles 5 January 2024

Following the success of his record-breaking Live From London livestream, which reportedly raised over £1m for touring and live events personnel and charitable organisations, Louis Tomlinson and his tight-knit crew have toured the world twice over. This time, visiting sold-out arenas in Europe and the UK with a cleverly networked live production with abstract video and lighting and a ‘no frills’ approach to sound, which guaranteed that every ticket holder experienced the same show, regardless of where they stood, sat, or screamed (more on that later). With close to 80 shows under their belt, TPi visited London’s O2 arena ahead of the production’s penultimate date of 2023.

Words: Jacob Waite Photos: Justin De Souza and Oli Crump

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“A team effort is required to get this show off the ground,” explained Technical Manager, Sam ‘Kenny’ Kenyon, who has been a fixture of Louis Tomlinson’s live output since joining as Lighting Crew Chief in 2019. “This has been a complete redesign, and the production has expanded and gotten more complex, which requires different solutions to make it happen.”

Kenny and the team oversaw the deployment of an A and B rig. “We’ve been fortunate for the European stint that the venues we’ve toured have, mostly, been arenas. The main difference between the A and B rig is the addition of IMAG and further lighting header trusses. Aside from that, the A rig fits everywhere. If anything, we’ve run into weight issues, which we can overcome swiftly by removing overhead trusses.”

For the first few shows, Riggers, Ian Bracewell, and Alex Walker incorporated load cells on trusses to get an accurate rate and account of the weight of the load of each truss. In the UK, The Brighton Centre had a particularly low-rate roof with weight limitations. Production Manager, Craig Sherwood and Tour Manager, Tom Allen’s vendors of choice included: Altour (travel), Beat the Street, BPM SFX, CSE Crosscom, Colour Sound Experiment (lighting, rigging, and video), Hangman UK, Boxcat Studio and Two Suns Creative (video content), LED Creative, Ox Event House (custom light housings), Sarah’s Kitchen, Seven 7 Management (artist management), Solotech (audio), Stardes Trucking, and TANCK (production design and video content).

There was no video director, as the show’s visuals were programmed and interspersed with live footage and triggered by a lighting console at FOH, thanks in part to an intricate network setup. “There’s a lot going on in racks that people never see, but it has been stable thanks to the quality of kit supplied by our vendors, who have invested heavily, and the team taking the time to programme the show,” Kenny noted.

Key to the success of the operation was the incorporation of Central Control software, which takes a signal from a lighting console, be it ACN or Art-Net, and translates it to talk to various products – in this case, video. “There is a giant brain that nobody knows exists other than those that have programmed it,” he added.

Additional crew members joined the tour in Europe to aid the video deployment and lead to far more efficient load-in an -outs. “We are close to 80 shows in and on days where we have access to multiple trucks, it comes out very quickly, which for a show of this scale is impressive and credit goes to the team,” enthused Kenny. “The biggest hurdle is when you’ve only got a two-truck dock.”

Prior to the tour, the team had five days of production rehearsals spent in Connecticut’s Mohegan Sun. “When we came to Europe a week later, we had a week of re-prepping with a day of rehearsals at Hamburg’s Barclays Arena, the day before a show,” he described. “It’s been a fun and long run,” added Stage Manager, Torin Arnold. “We’ve visited a good range of venues and countries – especially the Eastern European legs, visiting places you wouldn’t ordinarily tour and experiencing how they operate. This show is designed so it can be accomplished in any part of the world.” Carpenter, Harry Reeves was also on hand to support the build.

The routing, however, was sometimes challenging with some late arrivals and difficult border crossings. “There were a few times in Eastern Europe where we were doing a ferry back-to-back to arrive at 11am, sitting at a difficult border crossing. We usually start with a 7am mark out, so knocking hours off your load-in is tough but everyone pulled together to overcome it,” Arnold explained, noting that touring without staging, and instead, using venue stages (particularly rolling stages), was a blessing during those late arrivals. “As with any tour, as dates progress you build a rhythm while maintaining the safety of the build,” he noted.

Arnold also highlighted the benefit of Lead Truck Driver, Neil Thornton and Truck Drivers, Matt Marlow, Ben Woods, Sarah Goldsmith, Bob Miles, Alam Minshall, Franco DeRosa, and Ollie Thornton who “speed up the process” and maintained a level of consistency.

The transitions between support acts before Louis hit the stage was equally seamless, with ample downstage space for the singer-songwriter to traverse during his performance. “Having a clean frontline means we have space to get the bands on and off,” he added. “Our vendors have also provided everything from an audio package standpoint for support acts, which also speeds up the load-in and -out.”

Highlighting a ‘bucket list’ show at Hollywood Bowl, working closely with US union officials as a “fun” and “interesting” experience, Arnold reflected on the entire tour with crewmembers he now considers close friends. “This is a close team and I’ve made some great memories and stories. It’s been a fun year!”

A DIRTY NIGHTCLUB IN AN ARENA Production Designer, Programmer and Director, Tom Taylor, and Francis Clegg of TANCK have worked with Louis Tomlinson ever since he made the leap to solo artist. “The production design has evolved into an angular, grungy, asymmetrical setup, borne out of the ‘dirty nightclub in an arena setting’ creative brief I was given,” Taylor said, citing the creative influence of Matt Vines and Seven 7 Management. “Louis is a phenomenal performer, and the crowd is captivated the entire time. We started knocking ideas around, speaking to Louis about his inspirations and influences, which we then developed into a creative deck, which I sketched in Blender, and imported into WYSIWYG for visuals, to create stills and pre-visualise.”

Taylor spent 10 days programming the visuals at Colour Sound Experiment, a firm he shares a “longstanding” relationship with. “They are always a call away regardless of the day or time. Their team is easy to get along with and I like their whole ‘production sphere’ – sometimes it’s nice to split lighting and video, but for a show like this, aligning those departments with one line of communication is ideal,” he said, underlining the support of Colour Sound Experiment Account Handler, Haydn Cruickshank.

With production rehearsals under their belt and recordings from Louis Tomlinson World Tour (2020–22), where TANCK piloted Central Control software, the creatives understood how the singer and his band moved on stage, developing a rhythm and consistency of when to implement visual cues and which camera angle fit best. This allowed the team to pre-programme the visual content to timecode.

Video content was made by a combination of TANCK, Two Suns Creative, and Boxcat Studio, with the latter creating 3D models and rendered content, all of which was broadcast across a unique set of video surfaces. “Having the abstract video columns on stage makes it much more interesting than your standard slab of LED at the back of the stage,” Taylor noted.

On stage boxes created by Ox Event House housed GLP JDC Line 1000 strobes with reflective panelling and fabric that were printed to look like heavy concrete slabs, ladened with custom LED Creative solutions. These boxes then moved up and down using Wahlberg Motion Design winches to provide a “low-level, clubby feel” to the set.

“The winches can only carry 50kg and the lights alone are 35kg, so we had to be careful not to overload them, but the result was cool. We also have one single lightbulb on a winch which comes up and down above Louis to create a classic lighting moment,” Taylor said, further highlighting Ayrton Huracán’s prismatic colour wheel as a ‘fan favourite’.

The lighting design saw a wall of GLP impression X4 Bar 20s at the rear of the stage in 12 columns. Further lighting trusses over the stage carried the Wahlberg winches for several automated looks. The DMX winches were utilised for three or four songs, either statically or moving up and down, while JDC Line 1000s provided colour and strobe effects, to achieve varied looks, with a relatively minimal overhead lighting package.

Taylor elaborated: “There are some shutters for one specific track which go directly in-front of some of the GLP X4 Bars to get the aura of the lights, instead of the lenses, which I really like the look of. Lighting and video complement each other during this show – there’s also a section with flickering fluorescent tubes on the video content with the X4 Bar 20s behind the LED screens flickering in a similar way.

Taylor was delighted with the performance of the crew. “Overall, it has been a great run, executed flawlessly,” he commented, citing the support of Lighting Crew Chief, James Box; Dimmer Technician, Rick Carr, and Lighting Technicians, Amy Barnett, and Kieran Hancox.

The wider lighting rig comprised Ayrton Eurus, CHAUVET Professional Strike Array 4, Claypaky Mini-B eLumen8 Endura 1Q120, and Robe BMFL fixtures with robo cameras, all fixed on various HOF MLT3, Litec QH40 and Thomas James Thomas Engineering Superstruss. The lighting riser featured Ayrton Huracan LT and GLP JDC1 fixtures.

Robe Spiider fixtures were situated on the up and downstage video trusses, with the floor package boasting the deployment of further Ayrton Eurus, LEDJ Spectra Flood Q15 and Chroma-Q Color Force 72 units, the latter chosen for key light. Atmospherics came in the shape of Smoke Factory Tour Hazer 2, Martin Professional JEM ZR45 and MDG Atmosphere ATMe hazers with TMB ProFans. “We had some challenging shows, implementing an arena-scale design into sheds in the US, but it’s been good to return to Europe and witness the fans enjoying the show,” added Lighting Crew Chief, James Box, who pinpointed the use of the multicoloured glass gobo in Hurricanes as among his favourite looks.

“There is a lot of effort put in by TANCK to ensure we get the utmost from every fixture on the rig, which is great to see, when the team has gone to the effort of assembling the show each morning. Seeing the looks they achieve from the rig and the extra details, with each advanced cue within the show, is a pleasure.

Almost every pixel on the JDC Line 1000 and X4 impression Bars are being used.”

Video Crew Chief, Dave Mallandain, formerly of Colour Sound Experiment, supervised the video build and the team of Video Technicians, Ed Driver, Frank Wlliams and Tim Curwen.

“Working with Colour Sound Experiment again, in a freelance capacity, certainly has its benefits,” he stated. “You get to know the workflows and personalities of the company. There is an element of trust there and our relationship is stronger because of that.” The 2.5m by 2.5m video screen, made up of Leyard CLM6 LED panels with Colorlight Z6 processing on the back end, was built in an abstract configuration – hung from varying size steel structures fixed on to lighting truss, spanning the entire stage, as opposed to a traditional backwall. “This setup requires us to build it quicker, so the backline can start building their world, but it’s very lightweight and easy to use, so once the local crew are up to speed, it flies up in no time,” he reported.

During the show, there was a lot of camera angles fed into a Blackmagic ATEM switcher, with content then fed into Resolume media servers which was processed and treated with video effects and filters to manipulate the content, monitored by the video team, and pre-programmed by Taylor via an MA Lighting grandMA3 console, operating in MA2 mode.

“The fan camera, which was one of Tom’s ideas, has evolved to the point where Frank and I are on stage during Out Of My System, pointing these cameras fabricated in an old VHS-style shell at Louis’ face in reference to the fisheye-lens inspired music video.”

A mixture of Marshall Electronics and Panasonic PTZ cameras ensured the wider on-stage action was captured. “While the visual content is the same, the shots differ based on the energy of the crowd from night to night,” he explained. “We have an overhead shot for the drums, and another behind Louis, which shoots over his shoulder to the crowd. We also have a PTZ camera on the ground in front of Louis which can rotate to capture crowd scans along with a little ‘bullet camera’ for each musician. It’s been a fantastic tour; everyone on this team has been phenomenal.”

The special effects and pyrotechnics package supplied by BPM SFX included Galaxis PFC 10-way receivers running Galaxis, with a main and a backup controller, which ran through an MA Lighting grandMA2 console, to trigger MagicFX Stadium Shot IIs and a single shot of red streamers. The latter, a “signature of Louis Tomlinson live shows”, according to BPM SFX Technician, Jack Webber – who toured with a new custom control rack, with much of the hardware integrated in one rack.

BPM SFX Account Handler, Matt Heap and SFX Technicians, Blake Harward and Phillip Mathew also provided Webber with support. “The one major change on this tour was putting the Stadium Shot IIs at the downstage edge, and adding lasers for the O2 arena show,” said Webber, who has been involved in past touring campaigns with the camp. “This is the first touring camp to take me to the US, so I feel incredibly privileged.”

Safety was paramount for the BPM SFX team, who implemented the safeguard of warning notices on-stage to ensure the band knew exactly when an effect was triggered. In closing, Webber referenced the ‘rainbow-inspired’ track, She Is Beauty We Are World Class, which demonstrated the strength of the special effects package. “There are about 22 rapid fire chase Comets all going off at the same time with a big lift, which differs in comparison to the other looks with eight units.”

MIXING IN A SEA OF SCREAMS FOH Engineer, John Delf mixed on an Avid S6L 32D console with onboard plug-ins. “I use the onboard plug-ins as much as possible because I want to keep it as simple as possible and know I’ve got a show out of the box without any added extras, which is particularly useful during fly-in gigs, where I have to use a house console or have limited time to set up,” he noted. Delf also toured with some choice pieces of outboard gear including a Rupert Neve Designs 5045 primary source enhancer for vocals, an Empirical Labs Fatso two-channel compressor for drums, and further Distressors for the bass guitar group and vocals.

“The bulk of my mixing is riding the DCA control groups and the vocals, balancing between them, and when there is a lead guitar solo, I’ll jump to that. Most of the mix should stay where it is, and I shouldn’t have to think about it, but every day you make major tweaks and refinements based on how the musicians are performing. Most of the gig is turning the band up and down without affecting the vocals because I have DCAs for drums, bass, guitars, keyboards, main vocal, backing vocals, and an ‘all’ DCA that includes everything but vocals,” he said, explaining his mixing wizardry modestly. “I also run snapshots in which I am changing the sub send amount for different songs, as well as reverb and delay times. If the band changes the set last minute, I have the desk synced to the timecode and that will trigger the snapshots.”

At the beginning of the set, the noise of the crowd can be between 112 to 116dB. “We have a little bit of headroom. When they are loud, I can push the mix, and when they are quieter, I can pull it back for the more introspective moments of the show,” he explained.

“My favourite section to mix is the transition from a cover of Arctic Monkeys’ 505 into Back to You. When that kicks in, I push the “All” DCA up to +10. We’ve built the set up to that point, where I’m able to throw it to the top before the end of the set. The three songs in the encore are also fun songs to mix,” he enthused, accenting the support of Solotech Account Handler, David Shepherd.

“I’ve worked with Dave for years, while he was at BCS Audio (now part of Solotech). He’s been my go-to account handler for a very long time, and Solotech has inherited this gig from them, so there was a natural transition.”

System Engineer and Head of Audio, Oli Crump walked TPi through the PA system: “We’ve been using L-Acoustics, which is our preference, since the start of last year’s tour. The main hang has been K1 with K2 downfill for both tours, however, we are touring with a much larger system this year with K2 on the sides instead of KARA-II. We’re flying subwoofers and carrying delays with us, which is also our preference in big arenas, like the O2 – it provides an even level of coverage across the audience,” the TPi Breakthrough Talent Award alumni said, explaining the thought process behind a larger sound system.

“The PA system is naturally bigger this year because we’re touring larger venues. The crowd is very loud, and we need to be able to compete with that at points of the show. The window of dynamic range we have without it being too loud is compressed because the background level from the crowd is so high, so we need to be able to get our level as consistent as possible from front to back. This setup really helps overcome that.”

Out of ear shot from Crump, Delf extolled the virtues of his partner at FOH: “Oli and I work well together. Every day, regardless of the venue, I know the system is going to sound consistent. We deal with different venue acoustics each day but as soon as I run up my virtual soundcheck, I’ve got the mix back to where I want it because the PA is at the same level every day. I used to walk the room a lot during sound check, but it always sounded consistent, so I’ve stopped doing that because I trust him explicitly.”

The PA generally sat in a standard location for an arena PA, 10.5m off centre and no wider than that, using the same basic system design as Louis Tomlinson’s past touring campaign, which Crump worked on with Kenny to ensure it didn’t impede the production design. “The number of boxes we deploy varies from show to show, based on the venue. The worst-case scenario [visually] is that the PA needs to be a little lower than usual and gets in the way of the IMAG screens slightly,” Crump detailed.

He designed the system using Soundvision, then imported his file into Network Manager, with a DirectOut Technologies PRODIGY.MP chosen for system processing. “I have visited many of the European arenas before so I’ve got fairly accurate plots, however, sometimes you will stumble across an error someone has made in building the models,” he continued. “Madrid’s WiZink Center had different CAD drawings for each layer of the venue and one of the layers was accidentally scaled wrong, so the bottom floors were fine but as you went up everything was out. You get curveballs like that occasionally but that’s why it’s important to verify drawings.”

An audience also changes the acoustics of a room, generally for the better, but sometimes not, so Crump was on hand at FOH to make tweaks when required. “As rooms get larger, they generally get more difficult, reverb time will go up purely as a factor of the room size, regardless of how you treat it. The O2 is quite tall seating-wise, so you end up having to angle the PA up into the roof a lot,” Crump noted.

Over by the stage, Monitor Engineer, Barrie Pitt mixed the five-piece band and frontman using a DiGiCo Quantum 338 console. “Louis and the band are good at verbalising what they want. They’ve been playing a long time, so it’s my job to translate those desires into the mix,” he explained. “DiGiCo has been my ‘go-to’ brand of console for the past 15 years. The 338 is an incredibly powerful console, which can do as much as any other on the market and more in a much less convoluted way. I know it like the back of my hand and how to get the best out of it and do the most complicated things at the push of a button. The Capture features are ridiculously powerful.”

Pitt oversaw 85 channels, 64 directly from stage, with additional channels for shouts, sends, returns, communications, and routing, among others. His outboard rack included a classic Lexicon PCM 91 digital reverberator for vocals. “The way I set up the communications and shout systems are the same across the board. For the layout, a lot of people have instruments on one side and vocal and effects on the other, however, I tend to adjust my banks of faders visually, how you would see it on stage, left to right, as a nod to my analogue mixing days. My second layer is usually tracks and any track content with reverbs next to the vocals, so they’re changed in unison. Sometimes, I’ll do a custom layer of [drum or spill group, two lead guitar channels and vocal] the things I use most, particularly if it’s a busy show input-wise.”

Pitt referred to the basis of his mix as ‘static’ with minor changes. “Louis changes a fair bit between songs I’m running upwards of 60 scenes with a lot of songs having multiple scenes for verse and chorus or specific sections,” he explained. The Monitor Engineer is a big believer in unifying the in-ear monitors, so what he hears is the same as those on stage. “We use Shure PSM1000s, JH Audio Roxanne in-ear monitors for Louis and JH16s for everyone else, except for the drummer, who is using Ultimate Ears IEMs. Louis and the band are solid, and they keep their ears in from start to finish. Louis wants the rock star mix; he likes to feel the weight of the mix. It’s not an overpowering mix but it’s a full mix with his vocal on top with Neve 5045 primary source enhancers on all vocals. Everyone else has a standard band mix at moderate level with their instrument and vocals high. The drummer has the most straightforward mix with his drums and shouts layered on top.”

A further pair of subwoofers stage left, and right were situated under the stage risers, providing the weight of side fills without the top end. “It’s a big rock show with drums and guitars, so the less noise I can have flying about the stage, the better,” he said.

The microphone package included a Shure Axient Digital AD4D two-channel digital wireless receiver, a AD2 vocal microphone with a KSM9 capsule for vocals. Sennheiser MKH 60 and AKG C414 XLS microphones captured the ambient noise of the room. “We track everything, including the two sets of ambient microphones for recording and virtual soundcheck, in case the band decides to do anything with the live content,” he noted.

Having collaborated with Solotech and previously BCS Audio multiple times, Pitt was pleased to see the company on the tour sheet. “They are a solid choice and I know Dave Shepherd well. They fix any problems swiftly, and all their gear is well packaged and maintained,” he said. “The band and crew are lovely. It’s rare to come across a camp so friendly on a show of this size.” Pitt thanked Solotech Monitor and Stage Technician, Matt Coton. “He is fantastic. He takes all the second guessing out of my day and is so meticulous and thorough that I know everything will be as it should be from the get-go. When there are issues, he knows exactly what to do to remedy it. He’s been a joy to work and hang out with.”

Audio Technicians, Matt Coton, Tim Miller, Kim Watson, Elliott Clarke, James Coghlan, Matt Benton; Bassist and Keyboard Technician, Chris Freeman; Guitar Technician, Dan Ely and Playback Technician, Scotty Anderson made up the sound team.

CURATING A HOME AWAY FROM HOME Sarah Nicholas of Sarah’s Kitchen and Caterers, Rebecca Henderson, Helena Robertson, Chris Carter, Matty Pople and Tamsin Manvell provided band and crew catering, ensuring morale stayed high and stomachs were full on the road. Making a name for themselves as One Direction’s caterers, the outfit now cater for each of the band members’ individual tours and private functions, amassing a dedicated online following. “I started catering for Louis and the rest of One Direction during their first theatre gig in Watford and I feel very privileged to have that connection. At dinner time, we perform a plate service, which I think is important – our reputation is not only built on really good food but the entire hospitality package, creating a nourishing environment away from home,” Nicholas said.

Sarah’s Kitchen provided a range of vegan, gluten-free and vegetarian options. “We also provide disposable products and water coolers, and our runner regularly collects fresh, local produce from markets based on where we are in the world,” she explained.

The wider European crew featured Security, Kristian ‘Ches’, Ross Foster, Ben Major, and Gav Kerr; Merchandisers, Jon Ellis and Maddy Stephens; Bus Drivers, Aivaras Arminas, Frederico Antunes, Scott Pickering, Chris Grover; Entourage Bus Driver, Paul Roberts; Merchandise Truck Driver, Warren Dowey; BTS UK Account Handler, Garry Lewis; Stardes Account Handlers, Tyrone Reynolds, and Alam Minshall; CSE Crosscom Account Handler, Hannah Evans and Altour Travel Account Handler, Alexandra Gati.

Having wrapped up the best-selling livestream of 2020 – a lofty achievement given the proliferation of remote productions amid the grounding of live events with in-person crowds – Tomlinson shows no signs of slowing down post-pandemic, making the leap from sold-out theatres to arenas across the globe with his trusty crew in tow. “Live From London was great because the crew and I really needed it,” Delf said. “It gave us some much-needed work amid the lockdown, and all the proceeds went directly to the crew, which was an incredibly honourable thing to do. To come back out on the other side of lockdown was great. It was a dark time back then for everyone, but to be back out on tour surrounded by friends, who feel more like family, it’s special.”

-> read here on Issuu

#louis #fitf tour #fitfwt #lt crew #tpi magazine #05.01.24 #article #touring #thank youu omglarryrabbit ;)#love getting to peek behind the scenes this is great

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phoenixyfriend · 1 year ago

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Ko-Fi prompt from KemiKitty:

id enjoy hearing about concerts and ticket money if you want

Referencing my “how does this make money/how does this lose money” in this post.

Whoo! I actually really enjoy talking about money flow like this. Digging into examples like this helps with understanding the interconnectedness of the economic systems we inhabit, and with why things cost What They Do.

Disclaimer: I have not worked in this industry. I just majored in business, watch a lot of documentaries/video essays, and like to break down business and economic topics. When I got to performances, I try to figure these things out as an observer (dinner theater from watching Lindsey Sterling before she got super famous, more Traditional concerts at Staller Performing Arts center, Broadway shows) and asking questions of tour guides when at places like the Vienna Opera House.

Our Example: A moderately popular performer, in an enclosed performance space with a stage, fixed seating, and food service.

Let us consider a performer of middling popularity. They go on tours, but only in the lower 48 states, not yet internationally. They do single nights at an independent venue, which has either dinner tables or rows of audience seating. Let's say... 350 seats, in a middle-sized city, with $30/ticket on average, with wiggle room depending on seating, VIP passes, and discounts (groupons, senior, military, annual passes, etc).

So, who is getting paid, and who is paying?

Money coming into the venue, tied directly to this one event:

Tickets The people who came to this concert are paying for the tickets. 350 seats, at an average of $30/ticket, that's about $10,500. Most of this money does not go to the venue, but may pass through it, or leave a cut with it. (Depends on the ticketing software; we're saying this is an independent venue, not part of the ticketmaster situation, so it's a maybe.)

Food and drink The venue sells snacks, possibly full meals, if it's a dinner-and-show location. It may sell alcohol. It almost definitely sells drinks, maybe has vending machines if nothing else. If attendees cannot bring their own food and drink, and don't want to leave the building so they don't miss the show, then the venue can mark up the food they sell.

Merchandise Dependent on the type of merch and the venue, this may be a flat fee, where the performer puts down a few hundred dollars up front to set up a table for after the concert, or it might be taking a small cut of whatever is sold that night. They might not charge anything, but we'll include it as a likely avenue of income. I can see some kinder venues waiving the fee for newer, up-and-coming artists, but generally you can assume that the venue will take a cut.

Money flowing out of the venue, tied directly to this one event:

The Performer and their team The ticket costs will go primarily to the performer, their backup dancers/singers/band, their manager, and whatever fund they have for things other than wages, like a tour bus rental fee, the label, the driver, the night's post-concert laundry costs, and so on. The chances of all that money going to a single performer is very low; you can generally assume they have backup, management, additional costs, and someone pulling the strings. There are exceptions, like unaffiliated stand-up comedians or other, genuinely solo acts, but for the type of event I'm outlining, these are all contributing factors. Performers may bring their own lighting/sound techs. The venue also might provide their own. For a larger venue, I'd assume both are involved; one who knows the concert's program, and one who knows the venue's setup.

Venue staff The ushers, lighting/sound technicians, the bar staff, the cook, the janitor, security, and anyone else who is working night-of is getting paid. We can equate their pay to the money coming in from specifically the food and drink sales, along with tips for the waitstaff in particular. By this, I mean that the correlation is such that, should sales fall, the corresponding cut in costs is employee labor (the bar staff and cooks), rather than the performers (whose costs are calculated in relation to the money they bring in relating to the ticket sales).

Food and Drink Raw ingredients for the food, wholesale costs for the liquor, napkins, single-use straws, and so on.

Printed Programs Someone has to print the little booklet that tells you who's performing tonight, who's performing for the next few months, and anything else you need to know. If it's a big-name cultural center, they may even include some interviews! But ink is expensive, and that's a lot of paper.

Money coming into the venue, not connected to the specific event:

Advertising Does the venue have posters around for local businesses? For insurance companies? For upcoming events? Someone is paying them for that. Does the venue intersperse the pre-show music over the speakers with the occasional ad spot? Someone is paying them for that. Does the venue have ads in the program booklet? Someone is paying them for that. For a really, really large venue, the kind with dozens or hundreds of employees and massive lighting/sound setups, they are liable to get most of their income from advertising.

Government Grants and Private Donations Depending on the venue, they may donations or grants. This is more likely to apply to a university/community performing arts center than a for-profit dinner theater, but it's a possibility.

Merchandise The venue may have merch that is unrelated to the performance of the night. A historic or novelty location is most likely to have success with this, selling beer glasses with their logo or a t-shirt with 'home of the [band from several decades ago]' printed across the front.

Money flowing out of the venue, not connected to the specific event:

Administrative/Overhead Employees Management, bookkeeping, legal, marketing, and so on.

Utilities Electricity, water, sewage, gas, telecomm, and so on.

Taxes, Licenses, Fees Sales tax, property tax, liquor license, etc.

Mortgage or lease The venue's business owner is not necessarily the one to own the property outright. They may pay rent to a property owner, or mortgage to the bank.

Maintenance - Building Codes Any large building is going to need plumbers, glass techs, electricians, roofers, and so on coming by with regularity. (This part, I actually do know; I used to do repairs dispatching, and you'd be amazed how frequently a big box store needs someone to come by about the toilets.)

Maintenance - Venue Codes There are certain things that an entertainment venue needs to do that other businesses... don't. Namely, fire safety. It's a huge deal. Staying up to code can be expensive, especially if you need to get your backstage/wing curtains chemically treated again, which can be anywhere from one to five years, or the next time someone spills water on it. (That's the main reason open containers of liquids aren't allowed backstage.)

Marketing Just like people pay the venue to advertise, the venue pays for others to advertise it. This could be in the local newspaper or online, but if a given performer isn't someone semi-famous on tour that has a following, then something else needs to draw in a regular paying crowd.

Miscellaneous Overhead There is a lot of overhead for any business of moderate size that has its costs spread out over the year. This includes hiring an accountant for tax season, purchasing uniforms for employees, replacing cutlery and plates and furniture as it wears out or gets lost, repainting the walls every few years, office supplies when the printer for the programs wears out, and so on.

Is this everything? Almost definitely not.

But, hopefully, I've untangled a few things that you may not have considered before.

Those tickets and drinks you bought cover a lot more than just the performer!

...unless it's through ticketmaster, in which case it's probably just the monopoly.

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If you enjoyed this post, please support me on ko-fi! You can also prompt me for a business/econ topic of your choice here.

#business #budgeting #accounting #phoenix posts #ko fi #ko fi prompts #economics prompts #theater fires #are a big deal #this is what accountants do btw. they track all of this plus less concrete stuff like depreciating value or deferred costs

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geeta1726 · 7 months ago

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Can the presence of exalted planets in the 7th house indicate a successful and fulfilling marriage?

The 7th house in astrology is traditionally associated with marriage, partnerships, and committed relationships. When exalted planets are present in the 7th house, it can indeed suggest the potential for a successful and fulfilling marriage, but there are nuances to consider:

Nature of the Exalted Planets: The success and fulfillment of a marriage depend on the nature and condition of the exalted planets in the 7th house. For example, exalted Venus in the 7th house is generally considered auspicious for marriage, as Venus signifies love, harmony, and partnership. Similarly, exalted Jupiter in the 7th house can indicate a marriage blessed with wisdom, growth, and abundance. On the other hand, exalted Saturn may bring a sense of responsibility, stability, and longevity to the marriage, but it can also indicate challenges or delays.

Aspects and Influences: The aspects and influences on the exalted planets in the 7th house play a crucial role in determining the overall outcome of the marriage. Benefic aspects from other planets can enhance the positive qualities of the exalted planets, while malefic aspects may bring obstacles or difficulties. Additionally, the presence of malefic planets such as Mars or Saturn in the 7th house, even if exalted, can introduce challenges that need to be managed effectively.

Balance of Energies: A successful and fulfilling marriage often requires a balance of energies between partners. While exalted planets in the 7th house can indicate favorable conditions for marriage, it's essential to consider the balance of energies between the partners and the compatibility of their birth charts. Factors such as mutual respect, communication, shared values, and emotional compatibility play significant roles in sustaining a fulfilling marriage.

Individual Growth and Evolution: Marriage is a dynamic and evolving journey that involves personal growth and mutual understanding. Exalted planets in the 7th house may indicate opportunities for growth and evolution within the marriage, both individually and as a couple. However, it's essential for both partners to be committed to personal development and to work together to overcome challenges and deepen their connection over time.

Loving partnership. For this you can take help of Kundli Chakra 2022 Professional Software. You can get personalized information about the possible outcomes of marriage based on the positions and aspects of specific planets in your birth chart.

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houseofbanquet · 10 months ago

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tripkartz2024 · 8 months ago

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venlyapp01 · 1 year ago

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spann-stann · 5 months ago

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Setting Blurb: Present Day CorpEmp

It's 3616 A.D.. The Corporate Empire (or CorpEmp for short, but you should know that by now) has seen a lot, done a lot. Fifteen hundred years since Ignacio I Rotthey united Earth's warlords, eight hundred since Osei Tutu Huangdi III had the displeasure of ordering Earth's nuclear bombardment, and four hundred since the Transhuman Wars almost tore the human species apart. CorpEmp under the Dix-Nipponese dynasty feels more united than ever post-Transhuman Wars, and talks within the Imperial Concert are underway in regards to recolonizing Earth.

Life is decent for the contented citizen. With few exceptions, Imperial workers do their jobs at home, be it the family farm, print-smithy, or workshop. Children of a certain age work alongside their parents, learn the family trade for when it's their turn to inherit it. If that's the line of work they want to test into, of course. Testing into Classes upon coming of age has remained unchanged since the Class System's implementation in the 2100s. Children are tested to determine their role in Imperial society, and are subject to a crash course apprenticeship if they don't test into their parents' class.

Automation has phased out many lines of work deemed "undesirable" (primarily white collar office work). Really, really undesirable jobs are relegated to the penal laborers of the Servile class. With the rise of devices like the print-smithy, industry in CorpEmp has become heavily decentralized. The Great Syndicates, CorpEmp's industrial juggernauts, have managed to survive and adapt. While their own production has diminished, they made up for it by selling proprietary software.

CorpEmp's Solar territory is staring to feel crowded. If there isn't a habitat, there's probably one being planned or under constructed. More and more, families across CorpEmp are signing up for expeditions to further develop the Extrasolar Territories. Bolder ones want to strike out on their own, as CorpEmp expands the list of potential colonization sites.

The Fifth Dynasty, the Imperial House of Dix-Nippon, have been responsible for a relative golden age. But there's an electricity in the air. The current monarch, Lee Himiko, isn't having a good time after her latest chemo session. The other factions are slowly reaching parity in terms of territory and population. The Faytouched have got everyone worried as well, increasing the number of colonial expeditions might increase the number of encounters with the Fay, or worse. Something's gonna happen sooner or later, but this won't be the first something humanity's hyperpower has encountered, and endured.

A(n) (in)complete list of Corporate Empire territories within, and outside the light of Sol:

Sol and Mercury: The Sun is home to a few cults that worship the star, having been renamed Sol Invictus to commemorate humanity's victory over the alien invader. A growing number of extraction/power generation industries have been in development near the star's polar regions.

Mercury is slowly, but surely, being mined for its resources to support the many construction projects across the Solar System. CorpEmp plans to hollow out the entire planet, converting into a massive habitat. Debate rages on if it should be tiered or not. It may take a while, but a thousand year empire is anything but impatient.

Sphere Sovereignty Venus: Terraforming Venus was a long effort involving blood, sweat, tears, dead aliens, and even more blood. The majority CO2 on the planet had frozen prior to the Human-Crystalline War, but weaponizing the terraforming equipment during the war resulted in returning it into the atmosphere. Terraforming wouldn't restart until at the end of the War. Originally a joint project by the Big Three, CorpEmp was the only faction that still had the resources to make the planet a second Earth. For recognition of the many lives lost on the planet, Venus herself was awarded the Anderson Blood Diamond. The scars left on the Ishtar and Aphrodite Terrae are sites of pilgrimage for many Venusians. The dominant Venusian cultures in the 3600s are the Kechua-go of Ishtar Terra, Silavfirika of Aphrodite Terra, and Lada Terra's Eureakan Ulus. For every colony on Venus' surface, there are twice as many habitats orbiting the amber planet. Some are older than the terraforming project.

The Terran Viceroyalties: Don't snicker under your breath that they're not technically "Terran" anymore, they orbit the Earth and that makes them Terran. No, Lunars aren't Terran, shut up. The eight Viceroyalties (Eurmerica, Eurasia, La Hispanidad, the Ummah, Sub-Sahara, Jambudvīpa, Pan-Pacifica, and East Asia, respectively) saw some shuffling of populations during the colonization of the rest of the system, and the Crystalline War. The original right of tribes to secede and confederate (referred to as "Border Fluidity") had to be done away with once CorpEmp's Terran population evacuated to orbital habitats. Eight hundred years later and the tribes and cultures within each Viceroyalty have changed quite a bit quite a bit.

The Blue planet still has some patches that glow in the dark, hordes of volunteer and Serviles are shipped to expedite the Earth's healing. Contact is made with survivors of the nuclear bombardment are made frequently, which may complicate plans to resettle the planet.

Imperial Luna: CorpEmp's, WCOF's, and the UM's Lunar colonies are the oldest in the Solar System, especially after most of Earth's population centers were evacuated and nuked. CorpEmp's leadership (as well as the other human factions) spent the duration of the Human-Crystalline War coordinating the Solar System's defense in the settled lava tubes of Luna. Said lava tubes paved the way for more advanced habitation. Most of the Lunar surface is now dotted with domed habitats. Domes of the Big Three's colonies don't touch, lot of bad blood after the first round of border wars. CorpEmp's Lunar territories tend to be very cosmopolitan, it was hard for CorpEmp's constituent tribes to have the same amount of leg room on Luna than they did on Earth (or would in the other colonies). So, they banded together to become one big Lunar Tribe.

Sphere Sovereignty Mars: Originally, the Big Three treated the red planet as a free-for-all in regards to colonial claims. The threat of competing claims spilling over onto the Earth lead to a formal partition over Mars into its present day borders. CorpEmp's Martian colonies, organized as an autonomous unit called a "Sphere Sovereignty" (a term later given to other colonies) included the Tharsis Rise and Olympus Mons, Tempe Terra, Xanthe Terra, Aonia Terra, Terra Sirenum, and a portion of Cimmeria Terra. The Han-Ashante of Tharsis, Oranians of Tempe Terra, and the Pashtolacchians of the Sirenum highlands are the dominant cultures within the Empire's Martian holdings. The largest industry on Mars at the moment is mining the expended munitions surrounding the mountains-cum-arcologies of Tharsis Rise used in the Human-Crystalline War.

Mars' two moons, Phobos and Deimos, are dotted with mining settlements. Similar to Luna, they are either domed or sealed lava tubes. The Imperial Space Force uses half of Phobos as a massive space port, and construction yards for their motherships.

Sphere Sovereignty Jupiter: During the conclusion of the colonial wars for the Moon and Mars, the Big Three decided to divide the first three outer planets between them. CorpEmp, the biggest of the Big Three, received the biggest gas giant, Jupiter. It's moons are either in the process of being hollowed out or disassembled for artificial habitats. A group that advocated the merger of various historical cultures, the Societal Anachronists, was the first to begin settling CorpEmp's then-newest and largest Sphere Sovereignty. One group of Anachronists, blending the Antebellum American South and Sengoku Japan, gave rise to the current ruling Imperial House. The Rottheys, a cadet branch at least, call the king of planets their home. More adventurous tribes, working on orbital rings around Jupiter, call for the creation of a massive shell covering Jupiter (giving CorpEmp lots of real estate to work with).

Sphere Sovereignty Neptune: When the Human-Crystalline War devolved into "every inner planet is Stalingrad times 1000", CorpEmp designated Neptune as their zone for refugees. While most refugees returned to the inner solar system after the war, some (mostly Terran stock learning of their home's bombardment) decided to remain and make a new life for themselves orbiting the blue giant. Thus, Sphere Sovereignty Neptune was born. The rickety and slapdashed orbitals used to house refugees were phased out in favor of pristine habitats more fitting for an Imperial populace. Much to the Terrans' chagrin, Neptunian Imperials like to advertise themselves as "purer" in culture than the Viceroyalties themselves. Some of the shellworld advocates of Jupiter have migrated to the smaller gas giant, hoping to construct a shell over Neptune as a proof of concept for the larger Jupiter project. Triton is also home to a massive Imperial Space Force base.

Extrasolar Territories: Alpah Centauri, Sirius, Tau Ceti, and TRAPPIST-1 are the systems that have had the most success (as there was no interference from the Fay [that we know of]) as colonial ventures. What was once expeditions made up of several hundred families now fields populations in the low millions. No doubt the small but steady trickle of new arrivals is helping the growth of their populations. Of the colonies in the Extrasolar Territories, the ones in Alpha Centauri are the largest and most developed. The Imperial colonies have been in a low-level conflict with WCOF and UM colonies almost since their beginning. For now, the Big Three's leadership in Sol allow the conflict to persist so long as it doesn't spill over into Sol.

The Faytouched: These colonies' motherships had the misfortune of encountering what are believed to be holes in reality, that lead to another universe (referred to as Fayspace after contact was reestablished with the colonists' descendants). Due to differences in space-time, according to the most popular theory, these motherships were ejected into the past. The colonists, at least most of them, regressed technologically after arriving at their destination. An unfortunate few, uninhabited, show signs of what was either civil conflict aboard the mothership, or slaughtered by what lives in Fayspace, known only as the Fay. The Imperial Armed Forces have dispatched multiple expeditions to help reincorporate these colonies back into CorpEmp, and to learn more about the Fay.

#my setting #setting #worldbuilding #setting lore #might tinker with later

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