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That $14 million is the estimated amount of total output added to the local economy. Craig and Crawford also measured the amount of employment (FPSF added 104 full-time, equivalent jobs), labor income ($5.4 million) and value-added income ($8.2 million). The different numbers represent, says Craig, "in some sense, three different views of the same thing."

For comparison's sake, Rocks Off dug up an economic impact analysis of the Austin City Limits Music Festival, prepared by the Austin consulting firm Angelou Economics and covering the years 2006-09. It tracked the same types of economic effects as the UH survey: Direct (ticket sales, rentals), indirect (sales increases by local businesses, more jobs created) and induced (people benefiting from ACL, then spending more money).

That study estimated ACL '09 alone added more than $82 million and 871 full-time-­equivalent jobs to the Central Texas economy. A full 25 percent of ACL visitors came not just from out of town but out of state, with about 3 percent trekking in from overseas on top of that.

Still, the bottom line is that Summer Fest brought a lot of money to Houston that wouldn't have been here otherwise. Craig said he once did an economic impact analysis for the 2012 Summer Olympics coming to Houston (ha) and estimated that effect as several billion dollars ("big money").

On the other hand, he said he expects FPSF to have a much bigger visitor impact than the new Nau Center for Texas Cultural Heritage, now under construction near Minute Maid Park.

More than that, Craig says the Summer Fest study made him take a second look at how much what he calls the "quality of life" around here might bring in to the local economy.

"On average, as economists in town, we're sort of skeptical of the service industries as stimulating much new business in town," he says. "How many people come here from Dallas to go to our museums, even our best museums?

"We're usually skeptical that it's not many," he adds. "But maybe there's more than we think." Chris Gray
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Inquiring Minds

Rob Zombie's Mondo Sex Head

Rob Zombie's career has played out like a good horror movie: A surprise at every turn. His '90s band White Zombie put a firm tongue in cheek (and a whole lotta metal) into Alice Cooper-style theatrics and after 1996's Supersexy Swingin' Sounds exited stage left as one of the most remix-friendly hard-rock bands ever. He's still at it, too — Zombie's latest music project is Mondo Sex Head, which allows artists such as JDevil, the Bloody Beetroots and Photek to pick over the bones of "Thunder Kiss '65," "Burn" and "Living Dead Girl."

Back in the day, he also directed most of his own music videos, including White Zombie's VMA-winning "More Human Than Human." Then he parlayed that into a feature-film career that began with 2003's House of 1,000 Corpses and continues now with The Lords of Salem, a rock-and-roll twist on the infamous Massachusetts witch trials of more than three centuries ago.

Currently he's touring with another Halloween-friendly rocker who needlessly scared a lot of uptight parents in the mid-'90s, Marilyn Manson, on the "Twins of Evil" tour that hits Reliant Arena Tuesday. Rocks Off spoke with Mr. Zombie by phone recently.

Rocks Off: With everything else that you have going on now, why do you still like touring?

Rob Zombie: Well, because nothing about touring has changed. What I like about it is exactly the same — it's an experience you can't get with anything else. I love making movies, I love doing everything else I do, but playing live is an entity unto itself the other things that I do just don't provide. Whatever I loved about it, I still love about it.

RO: It's not difficult for you to still make time for it?

RZ: No, it is difficult. It's always difficult. But I figure it out. Everything's difficult — there's not enough time for anything. But I get it done.

RO: Between you and Marilyn Manson, which one of you has the more grotesque stage design?

RZ: Well, I don't know if either are grotesque, but ours is pretty insane. I would use the word "insane." I only wish I could stand in the crowd doing acid watching it because it would be a trip, man. Ours is over the top. There's nothing like it.

RO: Could you elaborate a little bit?

RZ: It's everything all the time. The fire, the explosions, the digital, the giant robots — it's everything. It's like you can't even take it all in. It's nonstop. CHRIS GRAY

The Twins of Evil tour hits Reliant Arena, 8400 Kirby, at 7 p.m. Tuesday, October 30. Tickets available at www.ticketmaster.com.
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Digitalia

Facebook Changes Math, Bands Go Nuts

Almost four months ago, my musician-filled Facebook newsfeed was inundated with outraged artists who called Mark Zuckerberg every foul name under the sun for "hiding" their posts from fans.

It was malarkey, as Uncle Joe Biden says, but since the Web site social@Ogilvy reported that Facebook made significant changes to its Edge­Rank algorithm in September, the howls of anguish have returned.

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