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Friday, November 4, 2011

Ning Baizura Jual Kereta Demi Konsert




Teks oleh Haswari Ali
Foto oleh Mazlan Yunos Photography

KUALA LUMPUR, 4 NOVEMBER 2011:
original post:  Ning Baizura Jual Kereta Demi Konsert

Demi memastikan impiannya untuk menganjurkan konsert Ning@ KL Live tercapai, penyanyi popular Ning Baizura Hamzah, 36 sanggup menjual dua biji keretanya bagi menampung kos perbelanjaan konsertnya itu.

Jelas Ning kepada portal murai.com.my, semuanya dilakukan bagi memastikan janjinya untuk menganjurkan sebuah konsert bertaraf antarabangsa dapat direalisasikan walaupun tanpa sokongan kewangan daripada penaja besar.



"Inilah pengorbanan yang saya lakukan. Sedikitpun tak rasa terkilan kerana apa yang saya lakukan ini adalah sebagai pelaburan untuk kejayaan konsert ni juga. Terutama sekali buat syarikat saya HappeNings (M) Sdn Bhd sebagai penganjur rasmi.
"Apatah lagi saya telah memberikan sepenuh jiwa dan raga saya untuk konsert ini dan saya yakin pengorbanan itu nanti akan memberi balasan yang baik untuk saya di kemudian hari," katanya yang kelihatan semakin langsing dan berseri.

Wajah terbarunya ini dirakamkan ketika majlis pelancaran dan sidang media Konsert Ning@ KL Live di Hotel Seri Pacific, di sini petang semalam.

Ning bakal tampil dalam sebuah konsert selama dua jam setengah dan lebih 20 buah lagu popularnya bersama iringan muzik pemuzik handalan pilihannya di KL Live, Jalan Sultan Ismail pada tanggal 2 Disember ini.

Enggan berkongsi angka sebenar kos penganjuran konsert solo keduanya itu,tambah Ning, syarikatnya telah mengeluarkan belanja ratusan ribu ringgit dan menjadi pelabur keseluruhan konsert berkenaan itu nanti.

"Inilah buah tangan saya selepas membuat sedikit sebanyak penyelidikan ketika menghadiri konsert Celine Dion Amerika Syarikat dan juga beberapa persembahan hiburan bertaraf antarabangsa di luar negara.

"Mungkin tak sehebat mereka kerana kos perbelanjaan mereka yang jauh lebih mahal, tapi ada beberapa perkara yang telah saya pelajari untuk diterapkan dalam konsert saya ini. Itulah yang membuatkan saya sangat teruja," katanya.

Menggunakan khidmat Aylwin Santiago sebagai pengarah produksi dan pengarah muzik, konsert itu juga akan digahkan dengan rekaan pentas daripada lima elemen mempesona , hasil kreativiti pereka pentas berpengalaman luas, Raja Malik.

Lima elemen berteraskan bunga-bungaan itu dimulakan dengan kehadiran bunga teratai, bunga matahari, bunga jasmine, bunga ros dan diakhiri orkid sememangnya mempunyai simboliknya tersendiri di sebalik pembabitannya lebih 18 tahun sebagai penghibur terkemuka.
"Warna merah jambu yang ada pada bunga teratai menceritakan pembabitan awal saya sebagai anak seni, diikuti kuning dari bunga matahari yang banyak dapat dilihat dalam penerbitan album kedua saya dan juga seterusnya.
"Warna perak dari rona bunga jasmin ada kaitan dengan latar belakang saya yang berdarah India. Manakala panahan merah membara yang digambarkan menerusi bunga ros menceritakan lagu-lagu cinta dan dirinya saya yang dimiliki ketika itu," katanya.

Jelas Ning lagi, pentas konsertnya itu nanti akan disemarakkan dengan permainan lampu dan kesan khas dari warna emas yang mewakili bunga anggerik atau orkid sebagai menyahut kegemilangan kerjayanya sebagai anak seni sehingga kini.

Pentas konsert itu nanti, turut dilengkapi dengan konsep putasan yang membolehkan Ning bergerak dan berinteraksi dengan penonton selain di meriahkan dengan kehadiran 3 skrin LED dan tirai projection serba canggih.

Keseluruhan kawasan pentas juga akan dilengkapi dengan kipas khas yang akan meniup tubuh Ning yang disaluti persalinan indah gemalai rekaan tiga pereka tersohor tempatan iaitu Michael Ong, Jovian Mandagie dan Rizman Ruzaini.

Tiket bagi menyaksikan Ning@KL Live boleh didapati pada harga serendah RM150 sehingga RM300 yang boleh didapati di Rock Corner dan butik fesyen Ed Hardy atau hubungi 012-2897406 dan email ke www.ning-baizura.com.

iskandarX: wowo.. agak agak aa kak long takkan sampai jual kereta kot??

Live, at a Field Near You: Why the Music Industry is Singing a Happy Tune





Paying $175 for the right to cram into Orlando's Citrus Bowl Park with 50,000 other people for two days straight might not sound that appealing to some. But throw in nonstop live music on a slew of open-air stages and people will turn up in droves, even in a state with one of the highest jobless rates in the country. That's the thinking behind Los Angeles-based entertainment giant Live Nation's latest endeavor in the music-festival business. The company's Orlando Calling festival, which will host more than 50 music acts, including headliners the Killers and Bob Seger, on Nov. 12 and 13, is one of eight new festivals it launched this year as a way to boost its profits in a down economy. Says Alan Ridgeway, Live Nation's CEO for international operations: "Festivals are one of the big growth areas of our business."



Music festivals are a rare bright spot in the struggling music industry. The festival business has grown from almost nothing a few decades ago to roughly $1.36 billion in Britain, one of the world's largest festival markets. In the U.S., where music fans are acquiring a similar taste for outdoor paloozas, live-music revenues have nearly doubled over the past decade, to $4.6 billion last year, fueled in part by the growth in festivals. That has shifted the music industry's focus from recorded albums to live performances. After a decade of dwindling sales of recorded music, caused in part by free Internet downloads from music-sharing start-ups like Napster, live entertainment is the industry's new cash cow — one that can't be infinitely reproduced. According to trade group IFPI, global sales of recorded music have plummeted more than 40% in the past 10 years, to $16 billion in 2010. Ticket sales for live music in Britain, meanwhile, have nearly quadrupled over the same period, to $2.4 billion. In the digital age, people "yearn for actual experiences, like concerts, and they're willing to pay a premium price for them," says Nick George, a media analyst at PricewaterhouseCoopers. (See the top 10 albums of 2010.)

The festival boom could mean big changes for the music industry and its customers. Digital media, which lend themselves to endless replication and piracy, have driven down the value of recorded music over the past decade. But live shows, which are by definition a limited number of one-off events, promise to continue turning profits for years to come. That's good news not just for big media conglomerates like Sony and Warner, which have been fishing for ways to redefine their music divisions in the digital age; it could also help boost the incomes of struggling musicians, especially independents who rely on even the smallest gigs to make a living. For music fans, festivals mean more access to live music in bulk and the chance to discover new bands in the flesh rather than through computer screens or on the radio.

Festivals haven't always held this kind of appeal in the music industry. A decade ago, many musicians viewed live performances as at times tedious marketing plugs for their latest albums. Nowadays the opposite is true. Artists are finding that touring is the way to make "the big money," says Douglas Arthur, a music-industry analyst with New York City investment bank Evercore Partners. 2008 marked the first year artists in Britain made more money from live performances than from recorded-music sales, according to PRS for Music. Rave reviews of appearances at high-profile festivals can help acts sell records. And by pooling artists' audiences, festivals allow them to broaden their fan bases. (See pictures of the Pitchfork Music Festival.)

Corporate executives are seeing dollar signs too. For media-savvy companies, festivals have become a form of "experiential" media, interactive events through which they can market their brands. Unlike giveaways or ads, enjoyable experiences give brands "long-term engagement with a captive audience," says Bryan Duffy, a marketing executive at New York City consulting firm MKTG Inc.

And the audience is growing. Britain, host of the famous Glastonbury and Reading festivals, now puts on more than 670 music events a year, a 73% increase since 2003. There were 2,500 to 3,000 festivals this year in Europe, according to trade magazine IQ. Festival operators have attracted a wide range of music lovers by expanding their repertoire beyond rock music and featuring nonmusical entertainment like comedy, poetry and theater. "Festivals are now attracting the types of people who would never have gone to one before," says Dave Newton, a co-founder of online ticket agency WeGotTickets, which expects a 20% increase in festival ticket sales this year.




Bigger audiences are attracting bigger investors. Although the global festivals industry is dominated by independent operators and entrepreneurs, bigger umbrella groups like Live Nation and Music Festivals have designs on becoming festival empires. Music Festivals owner Vince Power, who runs Spain's Benicàssim and Britain's Hop Farm festivals, raised $10.4 million on London's small-cap Alternative Investment Market in June to grow his festival business into a $160 million operation over the next five years. Music retailer HMV has also jumped into festivals — in 2009 it bought live-music company MAMA Group, which hosts Britain's Great Escape and High Voltage — as a way to revive its struggling brick-and-mortar business.

Still, the road to expansion is fraught with risk. Attracting artists big enough to fill hectares of empty pastures with fans is costly and requires a certain finesse. Outfitting an empty field with temporary infrastructure robust enough to accommodate tens of thousands of fans also isn't easy. And there's the threat of bad weather, which can wreak havoc on events where fans are unprepared for torrential downpours and muddy fields. Last year, when ash from an Icelandic volcano grounded flights across Europe, attendance at Power's Benicàssim festival plummeted. At Belgium's Pukkelpop festival in August, four people died and more than 70 were injured when strong winds from a thunderstorm caused a stage to collapse. Building a fan base also takes time. Newbie operators "don't realize that you're probably not going to sell 50,000 tickets in the first year," says Live Nation's Ridgeway, and cash-flow problems can occur when events don't sell out. Glastonbury has flirted with bankruptcy, most recently in 2008, when festival loyalists were turned off by the decision to headline the traditionally rock-oriented event with rapper Jay-Z. (See pictures of Jay-Z at Glastonbury.)

Barring those pitfalls, the payoffs for well-executed festivals can be huge. Putting thousands of people in close quarters for two or three days creates an ideal sales environment for high-margin food, drink and merchandise vendors. And when the audience is big enough, corporate sponsors like Ford, Jack Daniel's and Intel come running.

Corporate involvement has taken its toll on festival culture. What was once the playground of '60s hippies is now a more mainstream affair, often flush with upscale amenities like babysitting services, waitstaff and rentable Winnebagos. But many of today's festivalgoers don't seem to mind. In fact, corporate backing can actually "make festivals seem less threatening" to mainstream audiences, says Andrew Bengry-Howell, a sociologist at the University of Southampton who co-authored a recent study on festival branding.

With money pouring in, more European festival operators are looking abroad, especially to the U.S. Surprisingly, the country that invented the concept with California's Monterey Pop in 1967 and New York's Woodstock in 1969 hosts only a handful of major pop events, including Tennessee's Bonnaroo and California's Coachella. "It's such a huge place, and it's underserved," says James Barton, who runs Creamfields, a popular 13-year-old electronic-music festival near Liverpool. Bonnaroo's 80,000 attendees this year paled in comparison with the 700,000 people who turned out for Poland's Przystanek Woodstock in April. (See pictures of the Polish Woodstock.)

Crowds like that are drawing attention to untapped markets in Eastern Europe, Latin America and parts of Asia. Already Barton has expanded his Creamfields empire from the U.K. to 11 other countries, including Argentina, Australia and Malta. Sony Music bought a majority stake in Hungarian live-events group ShowTime Budapest last year to build on "the many synergies between the recorded and live-music industries," said Marton Brady, managing director of ShowTime Group. Ridgeway says Live Nation is looking at prospects in Australia, Dubai and Hong Kong. And Festivals Republic head Melvin Benn is eyeing China's Guangdong province, home to over 150 universities. "One would assume that a market like that could accommodate at least one big festival," he says. For a country with 200 million young people craving more access to pop culture, that's an understatement.

Polis haram Seksualiti Merdeka



Oleh Wan Faizal Ismayatim
wfaizal@bharian.com.my
2011/11/04
Sumber:Polis haram Seksualiti Merdeka

 

KUALA LUMPUR: Polis mengharamkan semua aktiviti dalam penganjuran program Seksualiti Merdeka 2011 bagi menuntut kesaksamaan gender serta mengiktiraf pengamal seks songsang gay dan lesbian, termasuk yang diadakan secara tertutup, berikutan bantahan pelbagai pihak.




Sehubungan itu, Timbalan Ketua Polis Negara, Datuk Seri Khalid Abu Bakar, berkata pihaknya akan menghentikan semua aktiviti dalam program yang sepatutnya berlangsung Selasa lalu hingga 13 November ini, atau tindakan tegas diambil termasuk menahan penganjur dan peserta.
Katanya, polis sudah membuka kertas siasatan mengikut Seksyen 298 Kanun Keseksaan iaitu berniat melukakan perasaan agama seseorang dan Seksyen 27A(1)(C) Akta Polis.
Beliau berkata, polis sudah mengenal pasti lebih 10 penganjur membabitkan pelbagai pertubuhan bukan kerajaan (NGO) dan akan memanggil mereka bagi membantu siasatan termasuk bekas Presiden Majlis Peguam, Datuk Ambiga Sreenevasan yang dijadual merasmikan program itu pada 9 November ini.

“Sehubungan itu, mulai hari ini (semalam) kita akan menghentikan apa juga acara dalam program berkenaan, kita beri amaran kepada penganjur dan peserta supaya bersurai dan jika berdegil, tindakan tegas akan diambil termasuk menahan sesiapa saja yang terbabit.

“Kita akan panggil semua selepas ini kerana kertas siasatan sudah dibuka. Kepada sesiapa yang bercita-cita nak hadir, lupakanlah,” katanya kepada pemberita di Unit Udara Polis Diraja Malaysia (PDRM) di sini, semalam.

Program Seksualiti Merdeka diadakan setiap tahun sejak 2008 bertujuan menuntut hak dan kebebasan golongan lesbian, gay, biseksual dan transeksual (LGBT) mengamalkan gaya hidup pilihan mereka secara sah dan terbuka. Bertemakan ‘Queer Without Fear’, program berkenaan diadakan di The Annexe Gallery Pasar Seni di sini.

Antara penaja dan penyokong program berkenaan termasuk Majlis Peguam dan Suara Rakyat Malaysia (SUARAM) dengan beberapa aktiviti dirancang seperti bengkel, perbincangan, pameran dan persembahan.

Khalid berkata, pihaknya menerima dua laporan polis selain mendapat maklum balas pelbagai pihak yang mengecam penganjuran program berkenaan termasuk NGO dan pertubuhan berkaitan agama Islam serta agama lain.

“Polis bertanggungjawab memastikan keselamatan negara dan bila ada ancaman kepada ketenteraman awam, kita perlu mengambil langkah sewajarnya bagi mengelak kejadian tidak diingini.

“Penganjur sepatutnya berfikir terlebih dulu, adakah acara dianjurkan diterima semua golongan masyarakat, malah saya percaya majoriti masyarakat tak boleh menerima homoseksual dan lesbian, jadi janganlah kita nak mengagungkan perkara seperti ini,” katanya.

Khalid kesal kerana Majlis Peguam tidak memberikan nasihat yang betul terhadap penganjur berkaitan pelanggaran undang-undang negara berhubung penganjuran program seperti itu.



iskandarX: Memang patut kena tangkap, Malaysia adalah Sebuah Negara Islam, Ketua NGO pulak tu. Patutnya hormatilah undang-undang negara bukan buat sesuka hati, memang Malaysia negara majmuk, tapi kepala tetap orang Islam dan hormati lah Islam sebagai agama rasmi Malaysia.
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