VIP-News Premium - Vol. 136 May 2011

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VIP- News premium ›› Vol. 136 ›› May 2011

McGowan’s Musings: It’s been a busy time in my home City of late; we’re in the middle of the month long Brighton Arts Festival and last weekend a large section of the music industry turned up on my doorstep for the 6th edition of The Great Escape (see report in this issue). Apart from having the pleasure of just having to stroll down the road, rather than get on a plane, to meet with friends an colleagues from various countries, I was happy to be vindicated by several delegates who now have their own tales of airborne attacks, over my loathing of the rats of the air – yes, again, seagulls! One had his car completely re-sprayed in that fetching shade of recycled Gull Lunch, another had his own lunch stolen off his plate whilst dining alfresco near the front, and most horribly, I am reliably informed by Pip of UK Trade and Investment that she had to supply a change of clothing to an unfortunate lady delegate who was splattered from head to toe by another of the incontinent winged bastards! – Fashion statement? – I don’t think so! – So it’s not just me! – Right, I’ll lay of that for a while now…

It’s a fact that music events have come increasingly to depend on sponsorship

Allan McGowan

to subsidise their activities, and of course music for huge brands music is a vital area for marketing, but now and again music companies are not so happy about the way giants like Coca-Cola go about their business; one of the sponsors of The Great Escape was Relentless, the energy drink owned by Coca-Cola, the logo was prominent throughout the Conference and Concert venues and in the streets of Brighton.

The brand has a strong association with music via its marketing and sponsorship activities, but it appears that after attempts at negotiation about the use of the brand name Media Village Entertainment, owners of the Relentless Record Company, now a subsidiary of EMI are suing Coca Cola.

The fizzy drinks giant is not having a good time over its choice of names of late, having had to back down on their plans to trade mark and use the term ‘No Half Measures’ in the UK with respect to the cultural activities classification. The trouble started in 2008 when the mark ‘No Half Measures’ was used to brand the Relentless activities within the music business, an area where No Half Measures Ltd. has a long established reputation. A series of legal exchanges took place over a thirty month period as the giants tried to dismiss Dougie’s claim, now vindicated by the Intellectual Property Office. He commented, “We are extremely pleased with this outcome, it has been a long and at times fraught encounter however we feel completely vindicated in our decision to stand up to one of the biggest businesses in the world.”

So, although the music industry may need the support of the big guys with the deep pockets, it’s nice to see the ‘little guys’ win now and again, after all it’s them that give the business its character and develop the artists and the music that make it what it truly is.

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Finally, you’ll be glad to know that your hard working editor’s efforts on your behalf as I jet around the world attending events to glean information for your eager consumption have been recognised…. It was with a tear in my eye and the unresolved intention to say that I owe it all to my readers, that I stepped up at the Yearly Music Conference Awards (YMCA’s) at the conclusion of The Great Escape to accept the ‘Conference Junkie of the Year’ award - the fact that my name was misspelled hardly diminished my feelings of pride and joy!

As ever Ladies & Gentlemen…. The News.

Isle of Wight Festival Capacity Increase Agreed Allan McGowan am@vip-booking.com

Local councillors have agreed to grant permission for The Isle of Wight Festival to boost capacity, allowing for a further 20,000 people for this year’s edition from 10 to 12 June. This will bring full capacity up to 90,000 for the three-day event’s 10-year anniversary this year.

The extra capacity will mainly allow for more backstage crew and security.

Organisers Solo submitted the application to the Isle of Wight Council under the Isle of Wight Act, which safeguards the council over clean-up costs for large events. Not all councillors were happy about the decision. Councillor Geoff Lumley, representing East Newport residents expressed concern over the rise in numbers, saying it was, “...a step too far” but the Conservative-led council decided that the island could cope with the increase in numbers.

Foo Fighters, Kasabian and Kings of Leon are playing at the sell-out event this year.

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Promoter John Giddings of Solo told VIP-News:

Managing Director: Ronni Didriksen rd@vip-booking.com

“It’s fantastic that the island has recognised what the festival does for it and how it advertises them globally. It doesn’t necessarily mean that I would sell another 20,000 tickets, the capacity includes all staff /security /police etc, this year we will not sell over 65,000. We sold out at Christmas and it is better to have a hot show, and create demand for the future. It’s unbelievable that we have reached 10 shows already we were young once! I became a festival promoter by mistake, but it is incredibly enjoyable and hopefully will continue to be.

Getting a licence in perpetuity will save a lot of time every year, (it helps to have married a lawyer...)”

General Manager: Peter Briggs pb@vip-booking.com Writer and editorial: Allan McGowan am@vip-booking.com Writer: Manfred Tari mt@vip-booking.com For advertising enquiries pls. contact Peter Briggs pb@vip-booking.com or +44 870 755 0092 Lay-out: Pekaye Graphics, Phuket – Thailand info@pekayegraphics.com

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Music Industry Forms Organisation to Join UK Music Allan McGowan am@vip-booking.com

Union (MU), representing 32,000 musicians; PPL, representing 45,000 performer members and 5,750 record company members; PRS for Music, representing 70,000 songwriters and composers and music publishers.

UK Music is the umbrella organisation founded two years ago, headed up by Feargal Sharkey that was formed to represent the collective interests of the UK’s commercial music industry. The organisation involves itself with matters concerning and involving: artists, musicians, songwriters and composers, major and independent record labels, music managers, music producers, music publishers and music licensing companies. The aims of UK Music are to “… understand, explain, promote, protect and nurture the UK’s commercial music sector so that its inherent value grows and its positive knock-on effects reverberate ever further and ever deeper.”

UK Music’s membership is comprised of: Association of Independent Music (AIM), representing 850 small and medium sized independent music companies; British Academy of Songwriters, Composers and Authors (BASCA), with over 2,200 songwriter members; BPI representing over 440 record company members; Music Managers Forum (MMF) representing more than 425 managers throughout the music Industry; Music Producers Guild representing and promoting the interests of all those involved in the production of recorded music – including producers, engineers, mixers, re-mixers, programmers and mastering engineers; Music Publishers Association (MPA), with 250 major and independent music publishers, representing close to 4,000 catalogues; Musicians

Until now though there has been no organisation representing the live music sectors main trade associations and representative bodies, this omission has now been rectified with the formation of the UK Live Music Group. UK Music has announced that the live music sector is to join the board – ensuring that, for the first time, one umbrella body will represent the UK’s entire commercial music industry. The members of the UK Live Music Group are:

AA - Agents Association AFO - Association of Festival Organisers AIF - Association of Independent Festivals CPA - Concert Promoters Association ILMC - International Live Music Conference NAA - National Arenas Association PSA - Production Services Association we:Live - independent venue and promoter association

The group will meet every six weeks and have nominated Paul Latham of Live Nation Entertainment to be their representative on the UK Music board.

Feargal Sharkey, chief executive of UK Music said: “This is a fantastic development for UK Music. The coming together of the UK Live Music Group is hugely significant in itself - establishing a unique and powerful voice for the sector. Having their input at board level will be a huge asset for this organisation and we hit the ground running next week, with the publication of some groundbreaking research on music tourism.” (See below)

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Paul Latham - COO Live Nation

Paul Latham, COO International Music at Live Nation Entertainment and UK Live Music Group chair said: “I think it is long overdue that live music was represented within a wider sphere and UK Music is the most appropriate forum. Too many times decisions are made at a parochial level that have far-reaching consequences for our industry. Through the voice that is UK Music we would hope to become a force for pro-active change.”

Music tourists Contribute £864m a Year to the UK economy: UK Music has called for a ‘live music tourism strategy’ to increase overseas visitor numbers. On May 16th UK Music published Destination: Music – the first study of its kind to scope the economic contribution of music festivals and major concerts to tourism throughout the UK. Drawing on unprecedented access to more than 2.5m anonymous ticketing transactions, the report’s main findings are as follows: • Large-scale live music across all regions of the UK attracts at least 7.7m attendances by domestic and overseas music tourists.

• Collectively they spend £1.4bn during the course of their trip. This is a positive contribution of £864m (GVA) to the national economy and equivalent to 19,700 full-time jobs.

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• Although 5% of all music tourists come from overseas, they contribute 18% of total music tourist spending.

From these findings UK Music has issued a list of recommendations to Government (see below) – including the implementation of a national live music tourism strategy, with the immediate goal of increasing the number of overseas music tourists.

The research follows the Government’s Plan For Growth, published alongside the Budget. This specifically identified the UK’s creative industries and tourism amongst sectors with the greatest potential to drive economic growth.

The Government’s Tourism Strategy, published in March 2011, included a National Brand Index Survey which ranked the UK as fourth in the world for being an “interesting and exciting place for contemporary culture such as music, films, art and literature”.

Feargal Sharkey, Chief Executive of UK Music said: “I am hugely excited by the findings of this research. Its message is crystal clear: music provides a huge boost to UK tourism, it drives growth, it sustains thousands of jobs across all regions and it enhances our lives. I am optimistic that policy-makers will view this data and acknowledge there is even more we could achieve, especially when it comes to attracting overseas visitors. The rest of the world clearly recognises the importance of music to the UK. It is time we did similar.”

Creative Industries Minister Ed Vaizey said: “This report demonstrates the world-wide reputation the UK music sector enjoys and the contribution it makes to our economy.

People are travelling to and within the UK to see our musicians and bands perform while many overseas festivals feature British artists among their headline acts. This underlines the fact that the UK music industry is one of the strongest in the world.”

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Feargal Sharkey, chief executive of UK Music

Research on Destination Music was undertaken by Bournemouth University’s International Centre for Hospitality and Tourism Research. Research leader, Professor Adam Blake said: “This is the first

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time that a comprehensive study of music tourism has ever been undertaken in the UK. The data on where music-goers come from confirms that large numbers of them do travel around the country to go to music events, and significant numbers come from overseas. However, it is important to note that our definition of a music tourist is hugely conservative, and that we did not analyse the vast numbers of non-ticketed or smaller capacity events. Subsequently, the true value of music to UK tourism will be much higher.”

The full report will be available at: www.ukmusic.org Music tourists Contribute to UK economy

The full list of recommendations is as follows: UK Music strongly recommends that a national strategy is required to unleash the full potential of live music to contribute to the UK’s tourism economy. Our aim should be that music fans the world over choose the UK as the most favoured destination for live music events and music attractions.

• Clearly, we must do more to attract greater numbers of overseas music tourists – they spend a quarter more in the UK than the ‘average’ overseas visitor, and constitute 18% of music tourism spending even though they only account for 5% of the music tourist population.

• The Government’s new tourism policy allows for the creation of ‘thematic’ tourism bodies based around a particular type of holiday (caravanning, boating or walking). This should pave the way for the creation of the first ever “live music tourism body” to promote music tourism within the UK. • Tourism authorities and local economic partnerships should capitalise on the unique musical strength and heritage of each region and nation with specific campaigns and packages including transportation and accommodation.

• A comprehensive ‘music tourism map app’ should be designed which can help potential tourists design their own musical tour to cater for every musical taste, incorporating iconic places, histories, and opportunities to attend live music events.

• Central Government should address concerns over the difficulties that overseas performers encounter with the UK’s visa system, and work with their counterparts in other countries to ease difficulties that UK performers encounter when seeking entry to other countries to tour and perform.

• Central Government should work with the music industry to ensure that fans have an industry-approved facility to trade and sell on any tickets to live music events which are surplus to their requirements.

• The success of the ‘top end’ live music scene owes much to the health of the grassroots and intermediary music scene. Central Government should encourage live music at the grass roots by exempting small venues from the licensing regulations in the 2003 Licensing Act. • Regional and city planning authorities should ensure a balanced mix of small, medium and large capacity venues in each region or major city for a seamless progression route for musicians as their musical careers advance.

• In recognition that this study, though the most comprehensive ever undertaken, only captures a proportion of the music events that take place in the UK, we recommend further research on the value of live music to the tourism economy. As well as incorporating data from smaller capacity music events, it could analyse the significance of music attractions in drawing tourists, other live events where music is a significant element, such as opera, musicals, and street carnivals, and crucially, track trends to see whether music tourism in the UK is growing.

UK Music strongly recommends that a national strategy is required

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The Great Escape Allan McGowan am@vip-booking.com

According to the organisers 15000 people, 2,500 delegates and 12,500 punters attended this sixth edition of the event that many publications and reviewers refer to as the UK’s answer to SXSW. Certainly The Great Escape achieves that same feel of “..what am I missing now?!” that the Texas event generates. Thankfully it is not as gigantic as SXSW, but even so those with wristbands hoping to see the better known acts either found themselves in massive queues or were better off taking pot luck on the act they’d never heard of in a neighbouring venue– often a rewarding experience as the programming of TGE is very good. The gold delegates band cut very little ice with door staff who were either uninformed of the importance of those displaying them, or they were just too busy to care – very reminiscent of SXSW in the last few years.

elements of a very big subject in front of a good sized audience. The numbers of parties, mainly given by international concerns increasingly go up against the panel programme – again a similar situation to that in Austin. Faced with the choice of free beer and a sausage or fish and chips as opposed to a panel discussion that may or may not hit the spot, selection can be tricky! As it happens though over the three days of the CMU-programmed Great Escape convention with over 100 industry leaders taking part in talks, debates and interviews there seemed to be very few badly attended sessions. The main themes concerned themselves with developing and monetising new talent in the digital age.

dropped by 6.7%, after a decade of growth that saw income increase by 9.4% in 2009 and 13% in 2008 whilst in Europe the picture was worse – with arena music gigs seeing a 16% drop .But festivals were up, including the Eastern European events, and delegates were sent off to do business over the next couple of days reassured by Chris’s conclusion that, “I don’t think this is a disaster, I think it is a blip, I’m not worried, about the future of live music.” With a lack of big name live acts touring last year, things look set to change in 2011. This sense of optimism continued through to the end of the event on Saturday night in the late night gathering place of the delegates, the crowded and raucous Queens Hotel Bar.

Highlights of the convention will be available on SoundCloud from later this month.

However, that said, there was a lot that was right about what went on in Brighton this May 12 to14th. The panels were all well attended and just as importantly, relevant.

Yours truly chaired a panel on Eastern Europe, going up against a keynote speech by ex EMI Chairman Tony Wadsworth of the BPI, a couple of parties and who knows what else – and still we discussed

www.soundcloud.com/cmu

Highlights of the showcase and festival gigs included Australia’s Jezabel, Moss from the Netherlands, the UK’s Dry the River, and many others – the standard of acts was definitely high.

Economist Chris Carey of PRS had started off the conference with a report urging caution reminding the audience at his keynote that the saviour of the music industry, the way to make money while CD sales dropped, the live music industry stuttered last year. In the UK, live music revenues

VIP-News asked a few of the delegates for their opinions of this edition: Martin Elbourne: Great Escape co-founder: I found this year a lot smoother and a lot more relaxed. The Convention side felt full and relevant, and crucially from an industry point of view there seemed to be a lot more significant players at the event, more than any other event I’ve been to in the last year, and they seemed to be both having a good time and also being quite optimistic about the future. So for me it felt like a real turning point.

Guna Zucika: Brainstorm Management & Record Company - Latvia: This was my 3rd Great Escape, I attended the first year, last year and this one. The growth of the event was obvious – in terms of communication prior to and during the event, networking possibilities, people attending, etc. As per results regarding the Latvian band BrainStorm I work with – I usually say, give me some 2

Our very own editor Allan McGowan together with Ruud Berends at The Great Escape 2011.

Proud winners of the awards “Conference Junkie Of The Year” and “Best Conference Bag”.

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months after any particular industry event to be able to inform of any real outcome. I can tell you that the Great Escape in 2010 was great for us – I got BrainStorm to play China’s leading festival Modern Sky and arranged a comeback sold out club show in Helsinki. Additionally I was glad to see more delegates from Latvia attending the event – this is a good sign for my tiny lovely country to become more visible on an international scale. I also was thinking about all the panels I have heard regarding Eastern Europe and usually they are concentrated on how international acts can get to play in those territories, but there hasn’t really been anything on one of the artists coming from Eastern Europe and having a career outside the region - case studies, challenges, quality, etc. There are few examples, including BrainStorm who have succeeded to a certain point. The most prominent example is TATU from Russia of course, but also Vanilla Ninja from Estonia had few years success in Germany, plus Ro-

mania’s DJ’s, etc. Now especially with the proposed CETEP programme it would be nice to have such panel.

»What I really like about it is that the event does not try to do too much; just the right amount of bands, the quality of the bands performing is top notch« - Adam Lewis

Adam Lewis: The Planetary Group - US: I had taken a couple of years off from The Great Escape, mainly because I was tired of getting rained on! (Weather was good this year and last – Ed.) However this year was fantastic, the event has really grown.

The international participation has as well.

What I really like about it is that the event

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does not try to do too much; just the right amount of bands, the quality of the bands performing is top notch. Highlights included The Jezabels, Cloud Control, Said The Whale, The Holidays, Team Me, Little Red, The Heartbreaks.

All the shows were quite full. I do worry about the number of wristbands sold, since, as a delegate, it was often impossible to get into some shows. However, with planning this worked out. Business wise, I expect to be working with several bands from the festival and was very happy to see the buzz that our clients, The Jezabels, received.

Fer Isella - Producer: Buenos Aires - Argentina: A plane took me to London, then a train to Brighton. Buenos Aires, my homeland, was feeling far away at that time. But only to enjoy one of the richest and most wonderful experiences I have lived in my pro-

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fessional career: The Great Escape. Thanks to the “Young Creative Music Entrepreneur Award” of 2011 by the British Council, I was able to attend this amazing event, where the audience enjoys live bands playing as early as 11am at small venues, and where music biz pro’s from around the world meet to debate about the current state and future of the music industry. Exiting live shows, peers with beers, pier with games, music conferences, fish & chips and people enjoying more than 70 live bands throughout the charming streets of an always sunny Brighton.

Talented music industry thinkers like Andrew Dubber (Bandcamp), Ian Rogers (Topspin), Dave Haynes (Soundcloud), Chris Swanson (Secretly Canadian Records), Mark Jones (Wall of Sound) debated over the current ways of promotion and distribution for independent artists. It was a wonderful experience that I will never forget! www.ferisella.com

Fer Isella

Josh Little: Acumen Business Law - Brighton, UK: A flying start for Acumen Media Law, with a legal presentation on Thursday morning. 51 hours, many business cards, several beers and an increasingly strange selection of canapés later and we wrapped up our convention with a room full of industry drinking cups of tea and eating

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cakes at our Mad Hatter’s Pop Quiz. All in all, I would say it was a mighty successful weekend. Festival Highlight: watching a Danish man with a beard sing a note perfect rendition of Wuthering Heights.

Convention Highlight: bringing Acumen’s Legal Sound Check to the Great Escape for the first time. Requests for next year: let’s get the artists more involved in the convention.

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Yearly Music Conference Awards: The day-time events of The Great Escape concluded in the Conference Hub in the Dome, on Saturday with the presentation of the YMCA’s.

The winners were: Special Legend Award - Seymour Stein Best Conference Bag - Eurosonic (Netherlands) - Ruud Berends received this.

Best Delegates Trip - Lobster Tour Prince Edward Isle (Canada) Least Boring Trade Fair - Womex Best On Line Experience - Canadian Music Week Conference Junkie of the Year - Allan MacGowan (told you they couldn’t spell it! – Ed.) Best Agent For Breaking New Acts - Lucy Dickins (International Talent Booking) Martin Elbourne Award for the Best Boutique Event in Canada - M For Montreal Best New(ish) Event - Tallin Music Week (Estonia) Best Line up for Breaking Acts - South By South West (USA) Best Export Office - Australia Best Hotel - W Hollywood Best Delegates Bar/Party - The Queens Hotel in Brighton The Moose Jaw Random Award for General Conference Randomness - Tony Scott - Guilfest UK

Seymour Steir - winner of the Special Legend Award

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Nick Blackburn appointed new Chairman of EVENTIM UK Allan McGowan am@vip-booking.com

European ticketing market leader CTS EVENTIM AG announced on May 13 that Nick Blackburn has been appointed Chairman of EVENTIM UK Ltd. Nick Blackburn was previously Chairman and CEO of See Tickets in the UK. He joined Really Useful Theatres in 2001 with a remit to grow a new ticketing business.

The business became See Tickets, which after quickly growing into the number two position in the UK was successfully sold to Stage Entertainment in early 2008.

Prior to his involvement with See Tickets, Nick had been a director of Ticketmaster for 13 years where he was largely responsible for their growth in the UK. Since leaving See in September 2010, he has acted as a consultant to such companies as Last Minute.com and Universal Music.

As the new Chairman of EVENTIM UK, Blackburn will be responsible for EVENTIM’s business development in the UK and Ireland. He said, “I am very excited to be joining such a successful company at a time when they are looking to develop their business in the UK. EVENTIM has always been at the forefront of technological advance, and I believe the EVENTIM system really has an edge over the competition in terms of attractive features and impeccable performance.”

claim to be one of the leading ticketing services providers in the UK.

Klaus-Peter Schulenberg, CEO of CTS EVENTIM, commented: “Nick Blackburn has been a driving force in ticketing in the UK for more than two decades, and we are happy he has accepted our offer to become Chairman of our UK operations.

His appointment underpins EVENTIM’s Nick Blackburn

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22nd Music & Media Finland Conference Introduces New Opportunities for International Delegates Allan McGowan am@vip-booking.com

In planning its 22nd edition this year, Music & Media Finland conference is again looking to bring together over 700 representatives of music and related industries, including over 100 international delegates from all over the world. Taking place in the intimate and picturesque setting of Tampere, Finland on October 20-23, the event comprises a variety of networking and business opportunities, seminars, keynotes and of course, showcases.

connect and enter into new business with participants from all over the world, but especially with key executives from the emerging Russian and Baltic music markets as well as the Nordic countries. Lost in Music is a unique chance to showcase talent to music business people from all sectors of the industry.

Live music has a key role at Music & Media Finland; the delegates can attend a full range of high-quality showcases at the Lost in Music Festival, where around 100 hand-picked Finnish and international acts perform during the three conference days.

With all venues within walking distance, delegates have a chance to catch a good number of shows on each festival day.

The conference itself provides the participants with a platform for networking and keeping up with the current developments in the industry. Ms. Anu Aittoniemi, the Executive Producer at the company behind the conference says, “We work very hard to offer insight to the multifaceted business of music through a carefully selected lineup of panelists and keynote speakers. Each year the conference also highlights some of the greatest pioneers who have helped shape our business.”

For the global music community, Music & Media Finland offers a unique chance to

Previous speakers and Celebrity Guests of Honour at Music & Media Finland include

Terry McBride

visionaries such as Seymour Stein (Sire Records), Barry Dickins (ITB), Terry McBride (Nettwerk Music Group), Jonathan Poneman (Sub Pop), Jonathan Forster (Spotify), Tommy Ramone (The Ramones), Tom Silverman (Tommy Boy), David Fricke (The Rolling Stone) and many more.

Read more about the event and sign up by June 30 for an exclusive international delegates’ early bird deal at www.musiikkimedia.fi. Music & Media Finland is produced

by Suomen Musiikki & Media-Tapahtumat S.M.M. Oy. in co-operation with Lost in Music and Music Export Finland. The international program is funded by the Ministry of Employment and the Economy, the Ministry of Education and Culture, the Ministry for Foreign Affairs of Finland, ESEK, LUSES and the Finnish Institute in London.

Music & Media Finland, Tampere: October 20-23, 2011 www.musiikkimedia.fi Showcase Festival Lost In Music, Tampere: October 19-22, 2011 www.lostinmusic.fi

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Clean &Green - Greenest and Cleanest!

Manfred Tari mt@vip-booking.com

With the 2011 Festival Season soon to be in full swing Manfred Tari looks at the plans of various festivals and Green Organisations to increase their efforts to make our major music events Cleaner and Greener.

Wacken Open Air: The world biggest metal festival promoted

by ICS Festival Service in partnership with RegionNord Office and the Academy for Agriculture and Landscape Architecture in Osnabr端ck will undertake a number of measures for the restoration of its festival site after the event.

The 200-hectare Wacken Open Air site for is intensively used for the event. Depend-

ing on the weather conditions it takes significant efforts by farmers to restore the festival site for their purposes. The Academy Osnabr端ck will now set up a 250 square meter test area in order to investigate the carrying capacities of new ground mixtures and seed variations.

Besides this the scientists aided by farmers and a new geographical information system will set up an analysis that evaluates an optimised cultivation of the site after the event. Additionally ICS Festival Service will be supplied with a virtual map that enables the promoter to best plan and lay out visitors and transport routes on the site. The project will last three years and with funding of 118.000 Euros from the Deutsche Bundesstiftung Umwelt (DBU Federal Foundation for Environment) The results of the examination will eventu-

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Wacken Open Air 2011

ally also be made available to other festival promoters.

Green Footsteps at Roskilde Festival: Green Footsteps is the title for the campaign for sustainable measures at Roskilde Festival. The festival is already well known

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for undertaking measures that includes social elements alongside environmentally friendly activities Among other activities Roskilde Festival supplies sleeping bags and tents left by visitors on the site to homeless people organisations.

Furthermore this year Roskilde Festival already offers 6 so called ‘Green Camps’ for visitors, special camping areas for visitors that commit themselves to more environmentally friendly behaviour. Festival goers that choose to stay in these are asked to commit to rules such as :

Green footsteps

“The camp must organise and run some ‘fun’ green activities each day to involve and inspire other festival guests.

The camp must have some kind of original or unusual theme and a catchy slogan that reflects ‘Green Footsteps’ green feet. Everyone should be able to see immediately that it is a Green Camp.

The green activities during the festival must be documented through photographs and video. The goal being to create a video that can inspire future festival guests to a green camp life.

VIP-News spoke to Marie á Rogvi, Roskilde Festival project manager about current activities and other sustainability measures for the upcoming edition of Roskilde festival.

VIP-News: Roskilde, Oya and the Way Out West intend to develop an organic food range that will be available at the festivals and also in normal shops. Can you please provide me with some information on this project?

Marie á Rogvi: We are currently working with Oya and Way Out West to improve the exchange of knowledge between festivals on how to get even greener - and yes eventually we will also cooperate on getting organic and sustainable products to the festivals.

VIP-News: What percentage of the food consumed by Roskilde visitors is organic?

Rogvi: We actually haven’t counted, but it’s an area in which we think there is space

Marie á Rogvi

for improvements. In the area around the Sustainable Stage (Odeon) we only have ecological and Fair Trade products - food, drinks etc. - and this area works as a test area for the rest of the festival, so we try to get even better.

VIP-News: What kind of organic food is served at Roskilde for festival visitors?

Rogvi: This year we will also intensify our focus on transport. The focus is on public transport, the use of bikes and electric cars.

We make sure it is easier for our audience and our volunteers to use public transport to and from the festival. More trains and buses are operating between the main station and the festival site and the service starts earlier this year.

»We rent out bikes to our volunteers so they can use these instead of cars.

Also our audience can rent bikes so that they can get into Roskilde city in a sustainable way« - Marie á Rogvi

Rogvi: All dairy products, popcorn, vegetarian meatballs with potato salad and green salad, normal and luxury falafel in pita bread with lettuce and homemade dressing, Tapas dishes, soup, spaghetti, fruit and vegetables, pizza, drinks, tea, coffee, juice - among others.

VIP-News: Does the catering for the crew and artists at Roskilde-Festival include organic food and if so, what kind of organic food products?

Rogvi: “Dairy products as well, honey, tea, coffee, sugar, some nuts and fruit - it depends on the riders, but this is actually an area we are focussing on this year - how to improve and make it easier.

VIP-News: Are there any new environmental measures or improvements you will implement at this years edition of the Festival?

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We have 13 electric cars, which our volunteers can use during the festival. That saves us the use of petrol cars. We rent out bikes to our volunteers so they can use these instead of cars. Also our audience can rent bikes so that they can get into Roskilde city in a sustainable way.

Furthermore we have a bike-event where the audience can cycle from Copenhagen to Roskilde Festival and we supply them with food and music.

This year we have laid out all our green audience activities - we call them Green Hot Spots. At a Green Hot Spot the audiences have the opportunity to do a sustainable act. Examples are: producing energy on an exercise bike to charge their mobile phone, buy biodegradable bottles, eat food made of mealworms (meat without carbon footprint) etc.

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This year we also get our own three wind turbines, so we can produce our own energy, and we keep intensifying the use of LED-lamps on our stages.

Again we will carry out our daily trash collection - every day we go around the camping area, encouraging the audience to collect their trash and deliver it in the trash cars. We call it Green Hour - it lasts longer, but in this hour we make a little more noise and excitement about it!

And again, we hand out pocket ashtrays to make people put their cigarette butts in these and empty them in the trash cans instead of on the ground.”

For further information please check: www.roskilde-festival.dk/uk/about_the_ festival/environment/green_footsteps/ about_green_footsteps/

Lowlands Festival VIP-News spoke to Eric van Eerdenburg, MD of the Lowlands festival in the Netherlands about his motivations to run a more environmentally friendly festival.

VIP-News: Why do you put ‘green’ measures on the agenda for Lowlands?

Eric van Eerdenburg: Festivals should be more than a line up. Festivals are the gathering of likeminded young people.

They are the future of the world. They have to deal with the big issues of tomorrow. In the 60s and 70s festivals were the platform for the issue of the Vietnam war and how to come to peace. One of the big issues today is a sustainable world.

As a festival organiser I want to be part of the solution and not part of the problem.

Lowlands can be seen as a metaphor for a city for 55.000 people for three days. If

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I find solutions for my temporary city and they work well they can work anywhere. I want my visitors to be involved and they are. They expect us to work cleaner. Lowlands is a frontrunner in choice of line-up and its festival concept. We want to be a frontrunner in recognising and tackling social issues too.

VIP-News: Do you have for a ‘sustainable’ or ‘environmental’ manager for the Lowland event?

Eerdenburg: Not really. We just put the issue on the agenda and keep sustainability in mind with all the things we do. We have been working on it for over 10 years and take things step by step. I think we have done all the logical and easy things one can do. Now we are at the point where we have to fundamentally change the way we work to do things cleaner and better. Innovate, invest and experiment.

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VIP-News: What kind of efforts in particular will you undertake to make this year’s edition of Lowlands ‘greener’?

for outdoor events. We will experiment this year we hope with a new type of unit with 20 vacuum toilets.

Eerdenburg: The biggest issue is electricity. We use over 130.000 litres of diesel for electrical power. We are about to have a new lease for the festival site. That used to be 3-year contracts, now we will have a 15year contract. This enables us to invest in a permanent infrastructure for electricity.

That is quite a thing really. We use peaks of 8 megawatt. We work together with people that normally do the infrastructure for big factory buildings to get it right. No more diesel after this years edition is the goal, when everything is working we will have a lot less co2 emissions. Over 300.000 tons of co2 that is ridiculous! It could be a model for other festivals that have longer lease contracts for their site. The most important thing is that you get the business model right, and that looks very promising. Greener and cheaper, what else could one wish?

VIP-News: Do you collaborate with external partners regarding these issues?

If that is in place we want to put a solar energy plant in place on the site as well, but that will take more time to get licenses to build - we are a very bureaucratic country....

Furthermore we are looking at better waste composting this year, and we are trying to reduce our wastewater. We are talking to a factory that takes in urine and transforms it into fertilizer. We are developing a vacuum toilet system that works

Eerdenburg: Yes, we hire a consultant this year to organise the expert meetings and calculates the business models. He tries to get the right companies involved and persuades them to co- invest in our experiments and test cases. There are quite a few external companies involved in getting the plans into realistic models.

VIP-News: What kind of waste you have to deal with on the site and how many visitors did Lowland have in recent years?

»We have 55.000 visitors who all camp for three days. But from camping the waste is too diverse to recycle. It will be burnt in a power plant« - Eric van Eerdenburg

Eerdenburg: We separate our waste from production and catering on the backstage side of the festival in paper, glass, plastic and wood, scrap metals etc. From the festival ground itself we make sure everything we give out from the catering is compostable/ biodegradable. Beer-cups are from bio-plastics and through a deposit

system 80% is recycled. We have 55.000 visitors who all camp for three days. But from camping the waste is too diverse to recycle. It will be burnt in a power plant.

VIP-News: What are the figures on the Lowlands eco-balance sheet?

Eerdenburg: the CO2 footprint is 2679 ton; that’s officially measured including bands, audience, and production transport, waste, food, etc.

(A) Average City with 60.000 people (B) Lowlands incl. Visitors, Crew & Guests 60.000 CO2 emissions: (A) 5277 ton (B) 2700 ton Waste: (A) 314.630 kg (B) 487.000 kg Water: (A) 23 million liter (B) 10 million liter Electricity: (A) 757.030 Kwh (B) 864.000 Kwh

Greener Festival - Another Best Case Example: It is a certification but also a brand. It is very valuable example for the live music industry of how to deal with environmental issues in a smart and clever way. It is also an example about the relevance of networking and collaboration in a part of the music industry as practised by the recording music industry or music publishers and copyright collection societies.

VIP-News spoke to Ben Challis, general secretary of the Glastonbury festival and one of the founders of the organisation Greener Festivals.

VIP-News: When was the organisation ‘Greener Festivals’ founded and by whom actually?

Eric van Eerdenburg

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Ben Challis: It was founded in 2006 by Claire O’Neill (MD of the Association of Independent Festivals), it was her research in 2005 that inspired us, myself and Luke Westbury.

Our team now includes Helen Wright who is our European co-ordinator and Amie Green, our Australian co-ordinator.

VIP-News: What inspired your engagement for ‘Greener Festivals’?

»Last year 47 festivals entered our Greener Festival Awards scheme, hundreds of festival goers took part in our Great Big Green ideas competition, we spoke to hundreds of event organisers at conferences and seminars around the World and visited a number of Universities promoting sustainable events« - Ben Challis

Challis: Whilst a number of festivals in the United Kingdom have been instrumental in promoting green living and sustainable lifestyles for many years, there seemed to be a need to have a central resource where event organisers - and festival goers - could swap ideas and good practice. A Greener Festival grew out of that need and the 2005 research undertaken by one of A Greener Festival’s co-founders, Claire O’Neill, which showed that the audience going to events was worried about noise, pollution, waste and increasingly greenhouse gas emissions. Against a background of increasing recognition of climate change and the effect of greenhouse gases on climate, and a dramatic increase in planned legislation, we hope to have helped music and arts festivals around the World promote sustainable events and sustainable lifestyles. Last year 47 festivals entered our Greener Festival Awards scheme, hundreds of festival goers took part in our Great Big Green ideas competition, we spoke to hundreds of event organisers at conferences and seminars around the World (Australia, Hungary, Finland, Belgium, Germany, UK) and visited a number of Universities promoting sustainable events.

VIP-News: How many festivals usually hand in the application for the Green Festival Award?

Challis: “16 in 2007, 32 in 2008, 39 in 2009 and 47 in 2010”

real difference.

VIP-News: Do you work together with organisations such as ‘Green & Clean’ or public institutions?

Challis: Not really - I think it was initially that we launched in the UK because that is where we are based

Challis: Yes, we do - we work with Julie’s Bicycle in the UK and now with Green Events Germany and the Green Music Initiative in Germany - we recently provided speakers for the Belgian Festival’s organisation, for the British Council in Hungary and for Finnish festival promoters. BUT, we receive NO government funding of any sort. We are ‘not for profit’ and open to work with any credible and effective partners depending on what they want to do.”

VIP-News: Do you have an overview of how many UK-Festivals currently have an environmental or sustainability manager?

VIP-News: What else comes into your mind that may be of interest for other people in this industry?

Challis: Not exactly - its growing and festivals like Glastonbury and organisations like Festival Republic do have full time members of staff - but many small festivals do not. BUT - we feel it is important for one person to have overall responsibility for environmental issues - with the support of organisers they can make a

Challis: Maybe the work of Reverb in the USA - on greening tours - and the original research into greenhouse gas emissions

by Julies Bicycle there are links on our blog to those organisations

VIP-News: Just in terms of figures, it looks like many English festivals support the idea behind ‘Greener Festivals’. Are English festival promoters and their audience more open minded and concerned about these issues?

www.juliesbicycle.com www.agreenerfestival.com/blog

Ben Challis

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Business News Manfred Tari mt@vip-booking.com

Music In Shares CTS Eventim Reports First Quarter Results: For CTS Eventim it is almost a shock; for years the German market leader was able to continue to report increases in its business, but the first quarter results for 2011 (Q1-2011) were the first since 2007 not to achieve this.

The revenue went down 21 percent, from 127.8 million Euros in Q1-2010 to 101 million. To explain this CTS Eventim cited the deconsolidation of FKP Scorpio and temporary higher spending for legal consultations due to the ongoing arbitration case with Live Nation, as well as additional spending for staff compensations linked with the acquisition of See Tickets Germany in July 2010.

In June 2010 CTS Eventim lowered its stake in FKP Scorpio from 50.2 to 45 percent in order to avoid problems with the German cartel office in reference to the acquisition of See Tickets Germany. This measure among others resulted in the returns for the Live Entertainment division dropping 45.9 percent from 89.1 to

48.2 million Euros. The Earnings before Interests, Taxes, Depreciation and Amortisation (EBITDA) within this company segment went down from 11 to 4.9 million Euros, the Earnings before Interests and Taxes (EBIT) from 10.4 to 4.4 million Euros.

In the Ticketing business segment the company as usual delivered growth figures. The revenue went up from 40.3 to 54.8 million Euros, the EBITDA from 14.6 to 18.6 while the EBIT rose from 13 to 16.3 million Euros.

CTS Eventim’s overall company results for Q1-2011 reported EBITDA of 23.6 million Euros compared with 25.6 million and EBIT of 20.7, up on 23.4 in the same period a year ago. For the ongoing business year CTS Eventim determined to focus on international expansion plans and the integration of its acquired companies.

On the Frankfurt Stock Exchange the share went down since the release of the business on May 16 from 48.98 to 47.60 Euro.

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Music In Shares First Quarter results for DEAG

The Deutsche Entertainment AG managed to increase its revenue in Q1-2011 from 20.5 to 24 million Euros. The EBIT went up from 1.3 to 1.6 million while the company net result went from 0.3 up to 0.4 million Euros. DEAG will reveal a detailed business report with figures from its various business divisions on May 31.

DEAG announced that it expects to maintain a positive business development for the ongoing business year in the upcoming quarters. Earlier this months DEAG announced that the company would expand it cooperation with the classical music singer Anna Netrebko and her partner the singer Erwin Schrott. In 2011 the company added one more concert with the singers on July 2 in Cologne while in 2012 a tour and further open-air concerts are planned.

Live Nation increased turnover and lowered its loss in Q1-2011 Live Nation has been able to increase its revenue result from $723.4 up to $849.4 million; the company improved its results in every business section except the management division Artist Nation.

In the Concerts segment the revenue rose from $408.1 to $449.3 million, for Ticketing returns leapt up by 41.7 percent from $209.1 to $296.3 million.

Percentage wise the biggest growth gainer was the eCommerce division of Live Nation, which went up 62.4 percent from $18.1 to $29.4 million while the company reported increased revenue for its Sponsorship department from $21.2 up to $24.8 million. Only the revenue gained by Artist Nation went down, from $69.9 to $54.1 million.

The Operating Loss lowered from $87.7 to $69.0 million. The total liabilities on December 31 2010 were $1.474.221, on March 31 this year this figure was at $1.825.877 billion. In the business report Michael Rapino commented:

“Our healthy first quarter performance reflects improvement in ticket sales, solid growth in our Sponsorship and eCommerce segments and our focus on carefully managing our costs.” Regarding the outlook Rapino said: “In the year ahead, we remain focused on driving the two key parts of our business which are adding content and monetizing the event in order to grow our higher margin businesses. We’re continuing to invest in upgrading our digital infrastructure to improve functionality and adding enhancements to our eCommerce platform to improve our core services for fans, artists, sports teams and venues.”

On May 5 when the business report was issued the share closed the market day at $10.87 and until May 20 went up to $11.00.

On May 18 when the company published its preliminary report the share stood at 3.16 Euro, on May 13 the share closed the trading week at 3.55 Euro.

Michael Rapino

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Financial heavyweights Enter French Concert Market It appears that the corporatisation of the live music market in France is speeding up. Whilst no major acquisitions are currently to be reported in most European live music markets, the activities of new corporate investors have attracted attention to the French concert market.

The French investment company Fimalac Développement announced at the beginning of May that it intends to acquire a 40 percent stake in the concert company Auguri Productions. Fimalac already owns a 40 percent stake in Gilbert Coullier Productions, the French market leader in the concert business and a 40 percent stake in Groupe Lucien Barrière that promotes about 2.500 shows per year via its subsidies Barrière and Fouquet’s.

Fimalac Développement belongs to the holding Fimalac and is listed on the Paris stock market Euronext. The company also owns a 100 percent of the venue chain Vega, owners of 20 concert halls, sport venues and conference centres. Vega is the market leader in France within this business segment.

Another new market entry is the Lagardère Media Group who launched a new division entitled Lagardère

Unlimited Live Entertainment at the beginning of April. The venture intends to promote tours and concerts and will also hold a stake in the company that runs the Zénith concert hall in Paris. In 2010 the Lagardère Group returned a turnover result of 7.9 billion Euros and, due to its financial strength and media power, is considered by other live music participants as a very serious player that will accelerate the consolidation of the French live music market.

Also corporate players are focusing on the ticket market in France; at the end of 2010 Vivendi Universal took over the ticketing provider Digitick.

According to media reports Vivendi Universal paid 45 million Euros for the company, supposed to be the market leader for so-called e-tickets. In November 2010 Live Nation bought the French ticketing company Ticknet, which according to the company is the second biggest ticketing company in France. Live Nation also owns the festivals Main Square Festival in Arras in the north of France and Garorock in Marmande in the southwest. In 2010 Garorock attracted more than 50.000 visitors up on the 41.000 in 2009 while the site of the Main Square Festival in the centre of the Arras can hold up to 30.000 visitors.

artist avails ›› Dub Syndicate (feat. Adrian Sherwood and Style Scott) Territory: Europe Period: November - December 2011 Agency: Paperclip Agency Agent: Rob Berends Phone: +31 24 323 9322 E-mail: rob@paperclip-agency.com Homepage: www.paperclip-agency.com CIRCA (feat. Billy Sherwood & Tony Kaye of YES) Territory: Europe Period: Summer 2011, Autumn 2011 Agency: Kultopolis GmbH Agent: Markus Sollner Phone: +49 6861 939980 E-mail: booking@kultopolis.com Homepage: www.kultopolis.com Anthony B Territory: Europe Period: 24th of June to 23rd of July 2011 Agency: Magicbox Agent: Pedro Pontes Phone: +31 5 915 378 951 E-mail: pedropontes@magicbox.pt Homepage: www.magicbox.pt Hairball Territory: Europe Period: 01/06/2011 - 31/12/2011 Agency: ARM Entertainment Agent: Dana Strutz Phone: +1 651 483 8754 E-mail: ds@armentertainment.com Homepage: www.hairballonline.com Wu-Tang Clan Territory: Europe Period: June/July Agency: Paperclip Agency

(in cooperation with Eva Ries Inc.) Agent: Rob Berends Phone: +31 24 323 9322 E-mail: rob@paperclip-agency.com Homepage: www.paperclip-agency.com Groove Armada Territory: Europe / Worldwide Period: Worldwide 2011 Agency: WME - William Morris Endeavor

Entertainment Agent: Steve Hogan E-mail: SHogan@wmeentertainment.com Homepage: www.groovearmada.com

More Artist avails on: www.vip-booking.com Post your Artist avails on: www.vip-booking.com 20 VIP-BOOKING.COM

VIP- News VIPNews - A u-g M u s ta2y0 025 0 1 1

notice board ›› Another new service in the improved and redesigned VIP-News is the Notice-board, which is available for all readers.

Reader’s messages will be posted on the Notice-board as a free service, passing on announcements, job postings, buying and selling notices, inquiries or alike. Announcements should be emailed to noticeboard@vip-booking.com

3 Artists On Tour - Jose Feliciano, Alan Parsons & The Orchestra w/ f.m. ELO Please take a moment to refer to the dates and details below for 3 of our Artists:

I am looking to surround the following 1 date for: JOSE FELICIANO & Band • Hasselt, Belgium on Sunday, Aug. 14, 2011 (Exclusive Belgium Appearance) The Artist is OPEN and LOOKING FOR OFFERS for the 3 or 4 days in front-of, and the 3 or 4 days in back-of August 14th.

THE ORCHESTRA starring ELO former members

For additional information please visit: Jose Feliciano www.worldentertainment.net/artist-information/jose-feliciano

I am looking to surround the following 3 dates for: ALAN PARSONS ‘LIVE’ PROJECT • Motril, Spain on Friday, Aug. 5, 2011 • Gibraltar, on Saturday, Aug. 6, 2011 • Zofingen, Switzerland on Wednesday, Aug. 10, 2011 The Artist is OPEN and LOOKING FOR OFFERS for the following dates in August: • Sunday, Aug. 7, 2011 • Monday, Aug. 8, 2011 • Tuesday, Aug. 9, 2011 • Thursday, Aug. 11, 2011 • Friday, Aug. 12, 2011 • Saturday, Aug. 13, 2011 • Sunday, Aug. 14, 2011

I am looking to surround the following date for: THE ORCHESTRA starring ELO former members • Uffenheim, Germany on Tuesday, Aug. 2, 2011 • Linz, Austria on Saturday, Aug. 20, 2011 The Artist is OPEN and LOOKING FOR OFFERS for the following dates in July and August: • Friday, Jul. 29, 2011 • Saturday, Jul. 30, 2011 • Sunday, Jul. 31, 2011 • Monday, Aug. 1, 2011 • Thursday, Aug. 18, 2011 • Friday, Aug. 19, 2011 • Sunday, Aug. 21, 2011 • Monday, Aug. 22, 2011 For additional information please visit: THE ORCHESTRA starring ELO former members: www.worldentertainment.net/artist-information/the-orchestra/

For additional information please visit: Alan Parsons ‘Live’ Project www.worldentertainment.net/artist-information/alan-parsons/ Kind Regards, JOYCE MAKINAJIAN Executive Assistant to Mr. John Regna Manager of Jose Feliciano, Alan Parsons and The Orchestra WORLD ENTERTAINMENT ASSOCIATES of AMERICA, Inc. Telephone: (407) 993 - 4000 Ext. 101 Fax: (407) 993 - 4444 Cellular: (201) 394 - 8229 E-mail: Joyce.Makinajian@WorldEntertainment.net JOSE FELICIANO & Band

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Monthly featured Artist ››

Black Circles Origin: Style: Tour period: Territory:

England Alternative rock -

Agency: Name: Email: Website:

Dave Williams blackcirclesbooking@gmail.com www.myspace.com/blackcirclesband

Black Circles are a power-trio Black Circles are a power-trio with experience in their ranks and a gloriously melodic heavy sound. Frontman Dan and bass player Mayumi cut their teeth in previous bands before fate brought them together. In 2010 they recruited drummer Tris and self-released their debut single “Little Girl” (iTunes/Aug 2010), picking up reviews in Japanese and UK press (Classic Rock Magazine). It was also played on BBC Kent Introducing and further afield in LA. With a busy festival season ahead (The Great Escape) and a video

by Crossroad Films, there is no doubt Black Circles are a force to be reckoned with.

Looking for: Management, Festival / Tours, Record Label, Booking Agent Black Circles

The VIP-Booking European Live Entertainment Book Advertising in the VIP Book will make you visible to 10.000 business professionals all over Europe. You will find no better place to expose your company to the whole European Live Entertainment Industry. ›› Reserve your ad now on www.vip-booking.com 22 VIP-BOOKING.COM

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Member presentation ›› In In this this section section we we offer offer members members of of VIP-Booking.com VIP-Booking.com some some space space to to present present their their company company to to VIP-News VIP-News readers. readers.

If you would also like to present your company please contact Peter Briggs at pb@vip-booking.com If you would also like to present your company please contact Peter Briggs at pb@vip-booking.com

RWE Arena Mülheim an der Ruhr RWE Halle - a multi functional Venue focused in Concerts, Galas, Conferences & Sport Events offering a perfect service to visitors, Artists and Promoters.

In the Heart of Germany with best infrastructure and Cities around like Duisburg, Essen, Oberhausen, Cologne and Düsseldorf - 15 million people catchment area.

Capacity from 1000 to 4000, seated 3500 and 3 variable Tribunes gives multiple potentialities.

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Short distance (under 10 meter) from Loading Dock to Stage ground level Bus and Tram stations named “RWE HALLE” are immediately outside the Venue

Showbiz-Management & Booking Agency is the exclusive Marketer & tenant for the RWE Halle - 45468 Mülheim an der Ruhr Germany All kind of booking enquiries could be sent by e-mail to: rwe-halle@showbiz-management.com

Some Facts and services we offer: - Large Foyer incl. separate Ticket Entries, Bars, Guest Wardrobes and culinary offers - Luxury VIP Lounge - 3 tiers variable to use - Externally roofed huge Terrace - Close to City Centre and Central Station & Airport - 14 Wardrobes incl. Showers and Lounge Furniture - Sauna area - Weight & Sport room - Production Offices incl. LAN, ISDN & Fax, WLAN all over the Venue - Press & Conference & Catering Rooms RWE Arena

About Our Company VIP-Booking’s core product is the Internet’s oldest and largest database for the European Live Entertainment Industry www.vip-booking.com developed as a tool for industry professionals. Since it’s launch in the year 2000, we have consistently offered our subscribers the very best in database services and now boast subscribers in over 30 countries.

Today VIP-Booking offers a range of tools for the industry – including VIP-News, VIP-Booking, VIP-Book and VIP-Contract.

Please visit vip-booking.com for further information.

Your comments and suggestions are always appreciated.

®

vip-booking.com

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