P R E S E N T A T I O N D O C U M E N T The UK and The USA have - - PDF document

P R E S E N T A T I O N D O C U M E N T

There are some small locational based attractions such as The Cavern in Liverpool but there is no venue that could house and honour artists like The Rolling Stones, The Beatles, Led Zeppelin, Elton John, Queen, Pink Floyd, David Bowie, The Bee Gees, Genesis, Fleetwood Mac and Rod Stewart under the same roof and that is before we think about myriad others including The Sex Pistols, Oasis, Cold Play, Duran Duran, Cold Play and even The Spice Girls. The list is endless and continues to grow with Amy Winehouse, Adele and One Direction in the modern era. NOW IS THE TIME TO BUILD THE FIRST ROCK’n’ROLL MUSEUM IN THE WORLD IN THE CENTRE OF LONDON. The trademarking process is underway and the search is on for a suitable Central London location. The venue will be an audio visual feast and an educational extravaganza for future generations creating hundreds of jobs within industries that the UK is already famous for. Imagine taking a walk in the footsteps of the UK’s legendary Rock’n’Roll heroes or experience what it’s like to be in a full professional recording or radio studio. This 90 minute tour will take you on a stroll through legendary musical locations such as Abbey Road Studios, Tin Pan Alley and

• Glastonbury. We will tell the story of Rock

from the 60’s to the present day demonstrating the change in recording techniques plus how fashion has played its role through to the fast moving digital world. The attraction will be crammed full of

• riginal recording, broadcast, musical

equipment and costumes all of which will be authenticated. There will be videos, images plus dry ice and laser light shows to create the feel, sound and smells of Rock’n’Roll. Before visitors leave the show they will have the chance to visit the merchandise centre to purchase many fabulous items such as T shirts, back stage passes, statuettes, guitar picks, posters, iconic photographs of the stars plus very special items endorsed by the bigger artists. Rock’n’Roll Legends will exist to interpret the impact rock has made on our world and tell the evolving story of the greatest show on earth for many generations to

• come. Imagine standing next to Queen or

a major band rehearsing their biggest hits, mixing tracks from Live Aid, seeing David Bowie’s view from a live stage or touching the piano which Elton wrote so many hits

• n.

The UK and The USA have produced over 90% of the most iconic artists from the worlds

• f rock and pop. There are three museums in the US including The Rock’n’Roll Hall of

Fame, The Grammy’s Museum and to an extent the EMP Museum in Seattle. There are none of any scale in the UK and nothing exists anywhere on the scale of Rock’n’Roll Legends.

IT’S ONLY ROCK’n’ROLL AND I LIKE IT!

The following points are our objectives to showcase everything that is best in the British Rock and Pop industry using mind blowing technology from the audio and visual fields which will include holograms, robotics and 3 / 4 D installations. This will allow the young to be educated and the

• ld to walk down memory lane.

VIP EXPERIENCE

A valuable and exciting way to increase the user experience and increase revenue will be to offer the customers a VIP experience which would include “fast track entry”, a gold backstage pass, free T shirt and a glamorous paparazzi style photo from the red carpet.

EDUCATIONAL EXPERIENCE

The whole experience will have a high educational value with many commercial facts and the opportunity to discover how the whole process unfolds from each instrument to recording techniques, live staging, electronic and digital technology plus live experience in the radio station.

RADIO STATION

There will be an interactive and educational experience entitled “The History Of Radio” within the radio station which is a world first and the younger audience will be encouraged to experience this fully.

VENUE HIRE

The venue will be designed with private hire in mind so that various sections can be used for private and corporate events. The main stage and backstage bar will form the core of this and it is envisaged that this will be one of the most popular venues in London for after show parties and events.

LAYOUT

A spectacular main entrance with lots of visuals, music and lighting will greet every

• customer. When you wait in line you will

have the opportunity for a photo with a rock star such as a lookalike Mick Jagger

• r Freddie Mercury.

HISTORY OF RECORDED MUSIC. Studio

• technology and technique

PROGRESSION of radio through to music

• streaming

THE BIRTH OF ROCK’n’ROLL in the 50’s

• from a fusion of electric blues, country

and gospel music. Rock crosses over from Rhythm and Blues to the pop charts from 1955 with Doo Wop and Rockabilly. ROCK EXPANDS in the 1960s when rock

• music comes of age and starts to domi-

nate the popular music charts. Along come soul, surf, folk rock and then the Brits! This was followed by Hendrix, hard rock and psychedelia plus the all important advent of television and the various shows featuring music from The Beatles and The Stones.

MUSIC LEGENDS. THE BEGINNING…UNTIL NOW.

Rock and roll began in the 50’s with the arrival of Elvis Presley, Chuck Berry, Fats Domino, Jerry Lee Lewis and Bill Haley & His Comets. The 50s saw the arrival of the pop charts, mods and rockers, coffee bars, jukeboxes and a huge seismic decade of social change. Rock and roll was driven by and large by American acts while the UK continued to produce pop stars or a much more conservative type. With the arrival of the 60s English pop music began to rule the world. Bands like The Beatles, The Rolling Stones, The Dave Clark Five, The Kinks and many more challenging The Byrds, The Beach Boys, Bob Dylan and then a raft of less commercial, but highly talented rock acts such as Love, The Doors, Jefferson Airplane, Grateful Dead and the huge rise in black culture realised through the iconic Motown and Stax labels. The 60’s has remained an extraordinary potent source

• f memories and references for todays
• society. The sounds of the 60s on Radio 2

is still one of the most popular programs broadcast on Europe’s number 1 radio station. The 70s saw rock becoming big business both in terms of record sales and tours. Great live bands such as Queen, Led Zeppelin, Pink Floyd, The Eagles and Genesis defined the decade, along with the more theatrical performers such as David Bowie, Elton John, Roxy Music and Marc Bolan. This coincided with the birth

• f funk & disco, with stars such as James

Brown, The Jackson Five, Earth, Wind & Fire and Chic and a purer form of pop music from ABBA and The Carpenters. The 1980s brought the birth of music video channel MTV. Music videos became a key marketing tool and the superstars of the decade became much more ‘visual’. This led to superstardom for artists such as Michael Jackson, Madonna, Prince and Duran Duran. Advances in music technology and production meant that synthesizers and electronic instruments played a much larger role, with sounds being looped, changed and edited much more easily. Electronic pioneers include Kraftwerk, Jean Michel Jarre and Vangelis as well as more commercial acts such as Depeche Mode, Eurythmics and New

• Order. The 80s also greeted the arrival of a

new music format - the compact disc, and this resulted in a clearer, digital sound, and a new way of recording and consuming music. In the 90s it becomes harder to discern a defining movement or ‘scene’. There were varying genres and things became more

• polarized. There was the U.S. teen pop of

Britney Spears, New Kids on the Block and N*Sync, and ‘grunge bands’ such as Pearl Jam, Soundgarden and Nirvana. American Hip Hop gave us acts such NWA, Snoop

Dogg and Dr Dre the more ‘chart friendly’

• Eminem. Dance and house music was a

driving force in Europe, along with pop acts such as Take That, Simply Red and Spice Girls. The way people accessed music changed again in the 90s, with illegal file-sharing sites such as Napster beginning to gain traction, and consumers accessing and sharing music files from their computers. The 00s saw the emergence of the MP3 player/iPod/and various tech devices that revolutionized the amount of music we could carry around. The decade also saw the rise of the music festival as more of a ‘lifestyle’ proposition, with big events like Glastonbury and Burning Man selling out in minutes. The internet changed how we watched music (YouTube) and talked about music (social media) and how the artists communicated with the fans (email and the emerging social media). The big artist of the decade understood the power

• f the new digital media and used it to

their advantage – artists like Rihanna, Lady Gaga, Beyonce, Jay-Z, and Justin Timberlake. The 10s decade has seen a continuation

• f the digital revolution. Digital down-

loads have been largely usurped by music

• streaming. This has meant music has

become more of a ‘utility’ - paid for on a monthly basis. Our interaction with it is ‘frictionless’ – any song we desire available at the touch of a button, but we ‘rent’ rather than own. The songs are ours so long as we continue to pay the

• subscription. This mirrors the rise of

TV/film services such as Netflix, Hulu and Amazon Prime. The major music artists make their money from touring rather than record sales, and there are fewer ‘breakthrough’ stars. The superstars of the decade are all multi-media and social-

• friendly. They include Taylor Swift, Katy

Perry, Drake, Beyonce, Kanye West, Coldplay and Bruno Mars. There is perhaps

• ne throwback to a different age where

it’s about the song and the voice – rather than twitter followers, glamorous videos and clothing lines – Adele. She is the biggest selling artist of the decade, and someone who reminds us of the timeless magic of music.

LINEAR POSITIONAL TRACKING

Screens will be equipped with sensors that track the position of visitors relative to the

• screen. The sensors will enable experiences

such as changing content based on the position of the visitor; one example this would be a timeline of a particular artists’ hits which updates as the visitor walks past the screen.

SMARTPHONE TO SCREEN

Internet connectivity will enable smart- phones to connect to screens in the venue. Using their smartphone as the input device visitors will be able to learn the chord to “Under Pressure” by following the screen and hitting the right buttons on their smartphone screen and show off their new found musical skills to friends and family.

ROCK’n’ROLL APP

Gone are the days of handing out hard- ware for guided audio tours. These devices were expensive, dirty and prone to going missing. The modern visitors arrive with their own pre equipped and powerful device in their pocket – the smartphone. Rock’n’Roll Legends will offer a free app that visitors can download prior to their

• visit. The app will feature:

Videos of the venue to entice people to

• visit.

Endorsements from customers.

• Advanced ticket purchase with passbook
• integration so visitors can scan a code to

enter. iBeacon integration which bridges the

• physical and digital worlds. The smart-

phone will recognise the visitors’ locations in the venue via iBeacons with a full audio guide regardless of location or pace of travel. In depth data recording which will display

• where visitors stayed longest at which

part of the attraction. This will be vital for continuously updating the attraction and planning new content. In venue interaction so that the visitor can

• engage with the digital content as it is

presented to them during the experience. The app will drive repeat visits alerting

• previous visitors to new attractions.

JOB CREATION

We will focus on developing employee talent and encouraging future leaders and managers whilst providing full training for individuals from all walks of life. The development pyramid will help to engage individuals and encourage progress at all

• levels. The aspiration is that any employee

can progress to the top of the organisation and reach as far as their ambition will take them. The programme will use a mix of theory, practical experiences, mentoring in particular fields and special assignments. The Rock’n’Roll management course is vital to the success of the organisation and providing a feeling of pride for each employee. The learning portal will be available on line and in a variety of mainstream languages and should match the pace of each participant if they choose to take up the

• pportunity.

It will be important to recruit employees who have a passion for the sector and who want to enter the industry as a career choice with a desire to push themselves and be part of a team with similar

• aspirations. It will be important for each

employee to feel valued and be aware that their input reflects in the success of the

• business. For those who do shine leader-

ship and management opportunities (with increased levels of responsibility) will be the goal. There will be three six month placements in various positions dependent on the skill sets of the individuals giving a great grounding to progress to the next level or to be comfortable in the position that they have achieved. Individual performance will be rewarded and encouraged. There should be no boundaries and no end to what an individual can achieve within the business.

CONCLUSION

This document is intended to clarify and explain the general ethos and projection

• f ROCK’n’ROLL LEGENDS but please do

not hesitate to contact us with any more in depth questions or queries.

The simple projection is based on a very conservative footfall of 500,000 visitors in year one and building to 1,000,000 in year three. Initial build and fit out cost £15,000,000

• YEAR ONE

Operating Costs Lease on 50,000 sq ft of prime central

• London at £60 per sq ft cost £3,000,000

per annum Service charge at £10 per sq ft =

• £600,000 per annum

Rates at £5 per sq ft = £250,000 per

• annum

Utilities £500,000 per annum

• Property Cost £4,350,000 per annum
• Staffing X 100 x £25,000 per head
• £2,500,000 per annum

Dilapidation/Insurance charge/provision

• £250,000 per annum

Sundry expenses/maintenance £150,000

• per annum

TOTAL £7,250,000 OPERATING REVENUE YEAR ONE

• 500,000 visitors year 1 @ £25 =
• £12,500,000

Merchandise at £10/head = £5,000,000

• Venue hire £200,000 per annum
• Beverage sales at £2 per head £1,000,000
• TOTAL REVENUE £18,700,000

YEAR ONE OPERATING PROFIT £11,450,000

YEAR TWO

Operating costs rise by 5% apart from the

• lease so: £4,462,500 plus the lease at

£3,000,000 Total £7,462,500

• OPEREATING REVENUE YEAR TWO
• 750,000 visitors at £25 = £18,750,000
• Merchandise at £10/head = £7,500,000
• Beverage Sales at £2/head = £1,500,000
• Venue Hire £250,000
• TOTAL REVENUE £28,000,000

YEAR TWO OPERATING PROFIT £20,537,500

• YEAR THREE

Operating Costs rise by 5% apart from the lease so: £4,685,625 plus lease £3,000,000 Total £7,685,625

• OPERATING REVENUE YEAR THREE
• 1,000,000 visitors at £25/head =
• £25,000,000

Merchandise at £10/head = £10,000,000

• Beverage Sales at £2/head = £2,000,000
• Venue Hire £300,000
• TOTAL REVENUE £37,300,000

YEAR THREE OPERATING PROFIT £29,614,375

Working and development capital should be estimated at a minimum of £15,000,000 depending on fit out costs, premise, lease premiums, advertising and marketing costs.

OUTLINE BUSINESS MODEL

Peter Burrell +44 7960 975 123 peter@rocknrolllegends.net www.rocknrolllegends.net Registered Office: 4 More London Riverside, London, SE1 2AU