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So this was never even about the festival in the first place, it was actually just a marketing platform.

 

http://www.vanityfair.com/news/2017/05/fyre-festival-pitch-deck

 

I'm too old to really understand Instagram beyond some other place to put your photos, interesting read on how this sort of thing works though. I do feel bad for kiddiewinks growing these days using this stuff as the norm and dealing with this insidious shit, you're either gonna forever aspire to be a colossal douchebag, or be one, a lose-lose.

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Is someone going to get fyred over this?  :dadjoke:

With that 100 million dollar lawsuit, it's out of the frying pan and into the fyre

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Orange is the new black

 

90E80DB6-7610-40F1-B842-14C41F9B768D_zps

 

 

BBA69F44-757B-44FA-B2D4-5D54242669C8_zps

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Der Fyhrer is a very naughty man.

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So this was never even about the festival in the first place, it was actually just a marketing platform.

 

http://www.vanityfair.com/news/2017/05/fyre-festival-pitch-deck

 

I'm too old to really understand Instagram beyond some other place to put your photos, interesting read on how this sort of thing works though. I do feel bad for kiddiewinks growing these days using this stuff as the norm and dealing with this insidious shit, you're either gonna forever aspire to be a colossal douchebag, or be one, a lose-lose.

 

 

there was a new yorker article about this, specifically the hashtag horseshit faux lifestyle #vanlife. couldn't even make through skimming without feeling exhausted at the cringe factor. depressing and equally irritating stuff. 

 

I actually like instagram a lot but it's strange realizing some seemingly chill people I follow (shiba inu owners in japan, tape collectors) have these professional stresses on them to keep posting, tagging, and gaining/maintaining a following. for example I started following vinyl and vintage audio collectors and my recs went from regular folks with hobbies to people who seem either be trustbabies or execs with expensive hobbies who perpetually post slick photos of new buys.

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Is someone going to get fyred over this?  :dadjoke:

With that 100 million dollar lawsuit, it's out of the frying pan and into the fyre

 

 

damn shots fyred

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Turned out to be more like Pyre Festival.  :dadjoke:

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So this was never even about the festival in the first place, it was actually just a marketing platform.

 

http://www.vanityfair.com/news/2017/05/fyre-festival-pitch-deck

I don't think so - they tried! They could have just as easily cancelled the festival 2, 3 weeks in advance and just say sorry and give the money back. certainly didn't make any more money by actually having people show up. Blink-182 only pulled out a day or so before, if this was truly an ad campaign and nothing more this whole fiasco wouldn't have happened. It's the parade of bro delusion that makes shit like this happen. it's just that all these idiots can do is come up with shit marketing, they don't know anything about final product and follow through

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What I meant was the festival was a means to get people locked into the whole fyre brand and app, it wasn't just a one off event, the festival was just to get people interested so they could sell the ads. It's the same as his previous 'credit card' scam in that sense.

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https://www.engadget.com/2018/10/11/billy-mcfarland-fyre-festival-sentenced-federal-prison/

 

What if we re-imagined what it means to attend 6 years in a federal, pound-me-in-the-ass prison?

 

"The actual experience exceeds ALL expectations."

 

 

 

 

Stupid kids.... SMH

Edited by jsmcpn

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I can hear that voice in my head. lidderallee, like...

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Should've spent some of those CPU cycles on the actual festival and less on modulation in unexpected places.

 

http://www.ampthemag.com/the-real/read-leaked-fyre-fest-organizers-nonsense-email-music-bella-hadid-video/

 

 

 

 

Hi All,

I hope this email finds everybody well this morning. It was a pleasure to meet yesterday— everything looks very strong and we’re excited to keep the momentum as we move through this process.

I know one outstanding question mark with regard to the video is music. I know that we touched on this a bit during our meeting yesterday, but wanted to provide further clarity on direction as I do know time is of the essence.

With regard to the brand piece, we’re all in agreement that an original composition is the way to go here. Would love to lock down a composer as soon as possible. I know you mentioned having a few shortlisted composers— would love to hear their work. Ideally, these individuals will have a strong theoretical background with a diverse knowledge of classical, popular and world music. 

As far as the musical direction for the brand piece is concerned, we really need to pushy the sonic boundary. The track should work at most points, synergistically with the visual composition; however, at key moments having the music and visual composition run in parallel to create moments of tension (to be sonically resolved) would strengthen the overall work as a whole. Although some of the inspirations below are quite global, I think we need to develop a track with mass appeal. When global music elements are leveraged properly, the bits of unfamiliarity perhaps enhance listener attention. Cohesiveness of the overall work is so important.

Elements and inspirations: 

  • Use of odd-meters (i.e. compounded time signatures or something like 5/4 for more exploratory elements) with global music elements can help to inform the more “exploratory” bits of the work, where use of even meters (i.e. 4/4 straight ahead) can inform the more “emotional” segments. Use of strings in odd meter is quite effective
  • Use of reverberation during water sequences (i.e. how this is achieved in genres such as tropical house) adds a more “suspended” element to the work
  • Employing the use of modulation to transition in and out of various sections is good— also is  the use of modulation in unexpected places (however this is cautioned as it can be quite jagged) 
  • Instrumentation inspirations 
    • Xylophone
    • Sudro (Brazilian drum) 
    • Tiko drums (especially during more exploratory elements) 
    • Tabla (which can be filtered)
    • Fretless bass (as opposed to p or jazz bass would add more of a ‘glue’ specially with the more global elements— I would listen to Bakithi Kumalo on Graceland as this is the ultimate exemplar) 
  • String segments which fall somewhere in between bright blue music  [Torke] (during the build sections) and Hassan learns French Cooking (this is perhaps overly exaggerated staccato; however, dialing back 25% on staccato will land in a nice place) is good
  • Use of extremely consonant key signatures (i.e. D or G) would really help to provide “resolution” after the more “exploratory” elements— likely the composer will need to back into this compositionally if they are using an odd key (however use of borrowed chords, parallel keys, secondary dominants) would prove to be helpful   
  • Lack of repetition is quite important 
  • Heavily cutting elements (i.e. how Kiiara’s Gold is cut in the first 2-3 seconds) would also serve as good transition elements
  • Global inspiration
    • Rhythm of the Saints (specifically the track Can’t Run But
    • Hamadoun Toure by Sidiki Diabete— this is the classic expression of West African Kora playing which is very combinative with Brazilian Sudro and more percussive elements such as marimba 
    • Cool Papa Bell 
    • Aevintyr— the use of percussive elements and ambient accessorial elements in the extreme right or left of the sonic field // soundstage is great)
  • Classical inspiration
    • The string segments in Glory if dialed back 30% would be right on point

Elements to avoid in the track include:

  • Regal (i.e. Hans Zimmer) style french horns— using them in the cut would be a bit “over the top” and stress “emotion” rather than imply and allow the listener to “feel”. Moreover, as french horn will likely be sampled, i’m not sure how “live” the horn lines will feel (even with sampling systems such as East/West, Vienna, Kontak, the lack of “breath” and variance with live recorded french horn will draw away from the incremental benefit of using phrases and themes. Caution against the use of english horn; however, bassoon would be a good use of woodwinds. Clarinet when combined with bass clarinet and bassoon are incredible. Would not use saxophone. 
  • Rock drums— sometimes in more modern composition, rock drums are contrasted with luscious string arrangements— while the final result is impactful, I do not think this method will add to the overall work
  • Overly luscious string elements— all too often, it comes across as sappy and too ‘gushy’. Instead, I would recommend something a bit more reserved (i.e. leveraging an arrangement such as 5 violins, 2 violas, 2 cello and contrabass)—I know the is difficult as we are recording strings in the box via same, as opposed to live; however, in string sampling plug-ins, often times, the composer can throttle up and down the lusciousness 
  • Themes which are too “quest driven”— i.e. take inspiration from video games like Zelda and the like. While we do have “quest driven elements” (i.e. treasure hunt), we need to come across more as “exploratory” and less “driven on a mission.” This is where the use of unfamiliar global music elements (please see above) will come in. Most prominently, the use of xylophone (or other percussive melodic instruments) and traditional instruments from Brazil (Sudro) or West Africa (Kora) is great— luckily the global music plugins for Logic are quite amazing 
  • Ending on a I chord or square endings (I think ending on some variance of a IV chord can be interesting, or a subtly pickety third contrasted with another compositional element as not to make things so “square” 

Although the compositional elements to this work will be important, the sound design and mix are an equally important exercise! Proper placement of instruments in the sound field allowing for not such a straight ahead compressed mix is important. White space and breath is crucial! 

The above was meant to provide some frame of reference from the composer. I do think the best tracks are ones which are briefed prior to the composer putting pen to paper— that being said, I really want them to inject their own style and methods— the above is just a collection of thoughts I’d find helpful if I was writing. 

With regard to the hype track, Father Stretch My Hands Part I is the track of choice. Looking forward to information regarding music publishing or licensing. If you could recommend some other track (I think use of soul samples with a contemporary lyrical approach) it’d be great.

Thanks,

Grant

Edited by jsmcpn

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Who are these cnuts and why have I just wasted few mins of my life reading about them?

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That brief is amazing, watmm should do a comp based on it.

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That email reads like something my last two bosses would write.


Who are these cnuts and why have I just wasted few mins of my life reading about them?

 

 

You need to read up on Fyre Festival and watch the videos the attendees made

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I got a brand piece right here for ya pal

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WHAT ABOUT BONGOS

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That brief is amazing, watmm should do a comp based on it.

 

Totally down with this

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  • Employing the use of modulation to transition in and out of various sections is good— also is  the use of modulation in unexpected places (however this is cautioned as it can be quite jagged)

 

i.e. https://youtu.be/boBR_CdNjpQ?t=33

Edited by jsmcpn

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