Next Phase

I have emailed Rob Da Bank (Radio 1, Bestival) in order to attempt to collaborate on a Prince-themed event (see previous post re product attributes). I am thinking that this will take place on Valentines Day, given it is Prince and the general wedding theme I am planning for the narrative.


Outline of Kanye Script / Justification

I have written the rough storyline for the next event. Based on the last event, I realised that the solution to wanting people to follow a story, but not wishing to demand their attention (since they should have the option to dance, converse, drink, smoke etc without following), is to have constant ‘rolling news’ on the screens, which are repetitive (just like actual rolling news).


The difficulty I had with the technical work in the last event (syncing sound and film for a 6 hour event, and heavy editing workload) have led me to divide the evening into segments, which I will edit one at a time in the coming weeks.


I just re-read ‘Thinking, Fast & Slow’ by Nobel Prize winning Psychologist Daniel Khaneman – who’s work with Amos Tversky has had enormous impact on behavioural economics, specialising in decision making and judgement, and the instinctual flaws humans have with pure rational behaviour (as traditionally defined by economists).

One heuristic in the book which I fully agreed with from my own experience, is the ‘Peak-end Rule’. This is the idea (shown to be true in many experiments) that we do not remember events in their entirety, but more vividly recount our experiences based on the ‘peak’ moments, and the end of such experience:


“A 1993 study titled “When More Pain Is Preferred to Less: Adding a Better End” by Kahneman, Fredrickson, Charles Schreiber, and Donald Redelmeier provided groundbreaking evidence for the peak–end rule. Participants were subjected to two different versions of a single unpleasant experience. The first trial had subjects submerge a hand in 14 °C water for 60 seconds. The second trial had subjects submerge the other hand in 14 °C water for 60 seconds, but then keep their hand submerged for an additional 30 seconds, during which the temperature was raised to 15 °C. Subjects were then offered the option of which trial to repeat. Against the law of temporal monotonicity, subjects were more willing to repeat the second trial, despite a prolonged exposure to uncomfortable temperatures. Kahneman et al. concluded that “subjects chose the long trial simply because they liked the memory of it better than the alternative (or disliked it less).”[3]

Similarly, a 1996 study by Kahneman and Redelmeier assessed patients’ appraisals of uncomfortable colonoscopy or lithotripsy procedures and correlated the remembered experience with real-time findings. They found that patients consistently evaluated the discomfort of the experience based on the intensity of pain at the worst (peak) and final (end) moments. This occurred regardless of length or variation in intensity of pain within the procedure.”


I in the script, I have deliberately included 3 ‘big moments’ during the event, as well as finishing on Kanye’s most popular songs (and integrating these songs fully into the story, using Jay Z & Ksnye’s joint album ‘Watch The Thron). Outline draft 1 below:


The Electoral College Dropout

Structure: 8pm-2am. Last Entry 10pm.

8pm-10pm - The Warm Up: B-Sides, smaller fan favourites.

10pm - Opening Show

  1. A short video giving the highlights of the election campaign so far, setting the scene. Mostly stock footage, some from our ‘news anchor’,(who will be 1 of 2 narrators for the event, along with the host). 
  2. ‘Opening ceremony’. Silence, pitch black. ‘Ultralight Beam’ plays. Then ‘Jesus Walks’, with dancers parading through the venue from the back, towards the stage. They will carry a bust of Kanye’s head, or indoor fireworks. Visuals start for Jesus Walks, and go immediately into ‘Power’. This will be accompanied by dancing on stage, visuals, lighting show. 
  3. Host does intro, pro Kanye, says we might be behind in the polls but we can do it, New York and Nevada (Las Vegas) have Kanye neck and neck etc.

An election map is updated with wins from Michelle & Trump, with Michelle pulling ahead. Visuals throughout the night rotate between Kanye music visuals, silent news reports / election maps, tweets, especially from Trump. Trump starting to allude to the idea of postponing the election due to issues in the world.

11pm - New York

  1. Cut to New York. Michelle Obama wins. Our host is sad, especially when Jay Z is celebrating with the Obamas. Host says Kanye and Jay still friends, but still subtly induces the crowd to boo Jay Z. This is a brief interlude.

11.50pm - Vegas

  1. Kanye wins Vegas. Balloon drop, confetti cannons, dancers, our host and the crowd celebrating.  

News reports starting to show trouble. Trump saying we need to postpone election now in rant-tweets. News showing Republicans going to Supreme Court to apply for a postponement due to ‘multiple national emergencies’. 

12.30am - News Report

News report that Supreme Court has ruled that whilst the election cannot be postponed half way through, Michele must win by ‘extraordinary margin’ or it will be held again in one year.

Music then goes a bit dark - Yeezus album

12.45am - Agent Taylor

Music cuts out. Out come ‘FBI Agents’ They are cancelling the party, as it is electioneering. Whilst Agent Taylor is talking, the host snatches the mic “Taylor, imma let you finish, but this is London! We’re gonna party all night, election or no election. Now get that music back on!”

1am - Finale

News report - Breaking News! Michelle Obama appoints Kanye West as vice president to get requisite votes. Deal was brokered by Jay Z. Mass celebrations, cue all of Jay Z & Kanye West collaborative tracks (especially Watch The Throne), with Watch The Throne visuals.

Stakeholder Feedback on ideas, and Further Clarification of Theory

My previous post ‘Step Back / The Reason For This Project / Transition To Digital’ contains the main intellectual justification for my project, and so I sent it to several prominent member of the nightlife community for feedback.
One was Richard McGuinness, a founder of Manchester’s Warehouse Project, one of the most prominent and highly regarded promoters in the UK, and now part of Live Nation, the world’s largest music promotion company. Below is his response:
“Looking at what LN do, it’s pure Pareto . 20% of the talent bringing in 80% of the revenue. Nail the big boys with the big deals globally is actually on the most part de-risking the whole enterprise. 
When you have the big talent the others follow as people aspire to be like them, to do the big deals to play the big stages . 
They are also taking cuts at every level. The ticket, the selling of the ticket, the secondary selling of the ticket, the management of the band in many cases, the owning of the venue, the promoter, the drinks deal, the sponsorship deal etc etc 
It’s pretty mad 
Very interesting will send over more thoughts
The difficult bit is spotting, developing and nurturing new talent . It’s easy to write Coldplay a 200m cheque if you know they are gonna sell 150 arenas.. or whatever, aggregating at the top of the market is still a lot less riskier than we perceive it.”
This is an interesting response. The fact that the Pareto Principle can be applied to the business itself (20% of their own business actions provide 80% of profit) does not mean that the product Live Nation produces is subject to that rule. In fact, by giving stadium sized artists enormous up front fees in exchange for worldwide tours that are certain to sell out, Live Nation are attempting to reduce variability at the expense of profit margins. This isn’t bad business practice – lower margins on sure-fire arena sell-outs mean guaranteed profits – and the deals are so large that this means high overall profit. The point is that Live Nation’s business model is predicated on reducing the variability of outcome (thus risk) and being large enough that tight margins still lead to healthy profit. Live Nation is forced to “write Coldplay a 200m cheque” because of competition – if they don’t hand over the lion’s share of the revenue to the talent, someone else will (of course, the bets are so big that should one bet fail it can be extremely damaging, but that discussion is for another time).
The fact that one can tell by record sales, profile, and past performance that a worldwide star (Rihanna, Beyonce, The Rolling Stones) are a reasonably safe bet to sell out arenas, means that they can command enormous up-front fees from promoters, fees which reflect selling out those venues. Compare this predictability to a first time author negotiating with a publisher for their book advance. Because neither party knows if the book will sell 10 copies or 10 million copies, the advance will be modest – so if the book then does sell 10 million copies, there is an enormous windfall for the publisher. Whilst JK Rowling’s publisher can and will offer ‘arena’ level advances for future books, Live Nation have no option to do the first type of trade – offer a small fee for a performer who might then sell out an arena. So no promoter can make extraordinary profits whilst booking talent.
In his book The Black Swan, Nassim Taleb talks about two imaginary countries, Mediocristan and Extremistan, as a way of understanding the distribution properties of outcomes which are predictable, linear, subject to the bell curve distribution (Mediocristan, where Live Nation lives) and of distributions where distributions are not predictable, linear or subject to the bell curve (Extremistan, home of the book publisher taking a bet on a first time author). Below from Taleb, The Black Swan (Pages 32, 33, 34, 36):
Mediocristan Vs Extremistan
Nightlife is highly competitive, and upside is limited due to (mostly talent) costs rising more quickly or in line with revenues. When we talk about entertainment or creative industries which exist in Extremistan, there are two distinct types.
One, by far the most common, is a product which is naturally scalable, and especially ones that are digital (eg book sales, music sales). These are highly replicable products which can be reproduced for little or zero; they are also highly differentiated products – so a competitor cannot produce an exact copy (consider the difference between two spoons by different companies and two books by different authors); hence the huge disparity between sales – and the chance for an Extremistan-based-Black-Swan outcome – Harry Potter for example.
Experiences are said to be higher up the value chain than products because they are more highly differentiated and cannot be commoditised (The Experience Economy, Joseph Pine & James H. Gilmore).
Thus one would expect that anything experiential must exist in Mediocristan – as the cheap reproduction of something whose appeal is uniqueness seems contradictory. But musicals in fact do exist in Extremistan. As stated in an earlier blog post, The Lion King is the highest grossing entertainment property in history, and high failure rates of musicals with a small number of massive successes clearly show there is no bell curve type of distribution at play.
How does a theatre show (which clearly requires performer talent) scale in the way that clubbing or concerts tend not to? By having the appeal of the product be the concept. The idea itself, the intellectual property, is the product, and this is owned by the producer. This is the key reason it can be scaled – the thing which has value is an idea you own.
Put another way, books, music, theatre and plays scale because knowledge or information require zero energy to reproduce.
Implications For My Project
So one can infer from this that I am in fact seeking a form of volatility of outcome in a nightlife product. I want to wildly unpredictable upsides whilst protecting the downside. This appears to contradict my previous post (on Blockbusters), which is searching for product attributes which increase the likelihood of success (in the way Hollywood film studios do with Marvel characters and famous actresses).
There is in fact no contradiction at all in this strategy. The aim of this project is to create asymmetry of outcomes – a set of products which have wildly disproportionate upside relative to downside (a property Taleb calls ‘Antifragility’). Additionally, upon creating such a product type, to use tactics similar to those Hollywood studios to give each specific product the best chance possible to be a ‘Black Swan’ (for example partnering with Rob Da Bank).

Blockbusters, Galacticos and Pareto

I am reading ‘Blockbusters’, by Harvard Professor Anita Elberse, a book about the idea of a ‘Blockbuster Strategy’ – that is, betting big on few enormous winners in the entertainment industry. This is a series of case studies showing where such a strategy has been successful in movies, record sales and even in Real Madrid’s ‘Galactico Policy’.
This strategy can be summarised as an acknowledgement of the Pareto Principle, and an attempt to make ones product fall into the 20% of products dominating the market.
The biggest problem with creative industries is the unpredictability of the success rate of a creative product (no one knows ahead of time which book will be the next Harry Potter); this strategy is, simply put, to gather all the attributes of a blockbuster, and attempt to give the resultant product every possible chance to succeed. For example a well known director, A-list actor, existing intellectual property (Marvel comic character, best-selling book) are all strong predictors of the success of a film. Warner Brothers in 1999 decided to pursue a blockbuster strategy, as outlined below.
Whilst in some ways this is more risky, since each ‘bet’ is that much bigger,  the use of famous actors / directors / well known characters etc helps to negate this risk – these are call ‘Product Attributes’ which have their own intrinsic appeal / value.
This relates to my own project in that the ‘Product Attribute’ is the musical theme of the event. I have gone from something very niche (Nu Rave) to something far safer / more broad (Kanye West). I have also increased the size of the venue from 600 capacity to 1800 capacity; this may seem like I am increasing risk, but in the same way as Warner Brothers, this is actually not the case – the cost of actually producing the event remains fairly constant (host, some decor, some actors), but the scale means a much higher advertising budget – so the cost in absolute terms goes up, but the proportion of advertising of overall costs is dramatically higher – meaning that assuming ticket sales are a function advertising spend, overall risk is reduced. This is especially true when advertising is done incrementally and on social platforms such as facebook – since the ‘cost per click’ and ‘cost per ticket sold’ of advertising is precisely measurable, and the advertising budget, copy, targeting can be monitored and adjusted in real time throughout the campaign. In short, if adverts aren’t working they can be changed at any point before significant money is spent.
The book, whilst not especially rigorous and extremely anecdotal, did make me think more about what other ‘product attributes’ I could add to increase the likelihood of finding an event that was wildly popular and thus could be scaled upwards. Even with the learnings from my last event, the Kanye event adverts are still getting comments along the lines of ‘what is it though?’. It also is difficult for it to stand out in a crowded market of musical tribute events – whilst the product itself is world’s away from those events, the communication is necessarily about the music (because that is the most appealing product attribute).
At the risk of labouring the point from earlier posts, this problem of having to communicate like a musical tribute night because people don’t know what an immersive club night is (because I invented it) is a short-term one; once people have experienced it and enjoyed it, the concept should be the single most important ‘product attribute’ – but we have to get there. Similarly, Secret Cinema’s product attribute is the film in question, but the ‘genre of Secret Cinema’ is it’s primary product attribute – obviously this wasn’t the case initially.
So in order to enhance the chances of one of these events exploding in popularity and being scaled, I think that the next step is to involve talent in the musical direction / curation, to add credibility to the event, and differentiate it from a simple tribute night. This will entail giving a percentage of the profits of a given event to a ‘musical curator’, with high credibility and name recognition. This is very different to booking talent; it doesn’t affect the scalability attributes of the event, since the music director’s physical presence isn’t required, and the cost of the talent is constant (doesn’t increase with scale unlike booking performing talent).
My first proposal for this evolution is Rob Da Bank, the Radio 1 DJ and curator of Bestival and Camp Bestival festivals. He already occasionally does a musical tribute night called ‘Purple Rave’ dedicated to Prince – my idea is to write a script based on Prince’s music and propose this to him. He is currently at Bestival, so I will attempt to get a meeting next week upon his return.

Intervention Feedback from Experts

From John Burgess, director of Bugged Out! ( and Field Day Festival (, and founder / director of The Mighty Hoopla Festival(

I thought the idea of doing a night base around that era of music was great. Might feel too soon to older folk but not to 26 year olds (target clubbing market) who were 15 at the time so it’s their first nostalgic experience.
Like the idea of an immersive night for a rave up in general. Chiming with the times when people seeming to want more out of a club night, to wit Sink The Pink, Elrow and events like Secret Cinema. Seems weird no one has really done it before with a club night. 
Good name and reflects the concept of taking a trip to Mars. Promo conveyed it all strongly. 
I liked the check in with the Japanese ladies best. Fun start to the night. Set the tone that you weren’t about to walk it into Yet Another Indie Night at The Garage.
The installation was great in the centre of the room and the movie clips were fun and well done, clearly worked well on the audience and stoked them into cheering along. Shame the lady who played the co pilot was not at the club night itself. 
I guess it is difficult with a club night on from 8-2am to get everyone there at a certain time. We felt we had arrived really early (10pm) but a lot of people had already arrived and so when we did the check-in bit it was just our small group. Might have been more fun if we were entering with a load of people. Maybe you could sell tickets with time slots to enter? Like 9.45-10pm10pm-10.15pm etc I think Secret Cinema do that so you get to interact more with strangers. 
Shame the audio failed on the last clip as I wasn’t sure why the pilot was strangled. 
Shame Elon Musk’s star fell prior to the event. 
The immersive bit seemed to end quite early? Unless I left and missed anything that may have happened after the death of the pilot. I was standing too far back to really notice the actors doing their bit. 
The music was great and everyone was dancing but could have been improved with a DJ just to be reactive to the dance floor or to deal with any issues (like The Blue Monday bit). 
Wasn’t sure whether there should’ve been more interaction in the club room between actors and punters? Unless the actors took one look at me and assumed I’d turned up to pick my kids up and gave me a wide berth. 



Production Feedback

The two main production people, Mhari and Ignas have sent feedback from the event. Both are Theatre Design students, both worked on the event for the past few weeks and attended as customers. 

Hey Andy, here is my feedback 
During the production process we had a great supply of materials, and a constant support from technicians. We managed to build a durable and stable construction in considerably short time and got surprisingly realistic results (imitating metal) in spray painting stage.
The party seemed to attract an audience big enough to call it success. Live action scenes were amazingly involving and exciting. Crowd enthusiasm was clearly lifted as they took a part in a mission and it went well according to the rebel plan. Actors did an amazing job. Key changes: music organisation (avoiding glitches), more variety in digital visualisations.
Maybe I would do more digital visuals, maybe big projector screens on all angles to create surrounding environment.

And maybe audio could include sounds and effects to help build the atmosphere.


Hi Andy, 

Here is the feedback you asked for. 

I just wanted to start off by saying that it became apparent that you have a very creative side and you are full of good ideas. You are also very open to suggestions and collaboration and I really appreciate that. 
For additional feedback, I think the most important piece I could give is related to time management. Obviously, a lot of this will be clear to you now that you have had the experience of doing the event, but i think there was a lot more work to do than you had anticipated or allowed time for. Perhaps because I have been on the production side in the past, I know that there will always be glitches on the day, so it is important to have anything that could be finished, done before the day of the set up. The film and the music being examples of things that should have been finished beforehand. If there had been any technical trouble with the projectors we would have really been in trouble. 
Also, we should have sat together before and made a checklist of equipment to make sure that everything had been thought of (ie. playlist for upstairs room, lights, instructions for actors, etc.)
There were obviously things that needed to be ironed out to make it a truly immersive experience, but I hope we can work on developing ideas in the future. 

Definitely in the future events production will be addressed for earlier in the process, with everything being tested in advance. I plan to run a ‘dress rehearsal’ of the Kanye event in a small space with 20-40 people to gain feedback far enough in advance to be able to make changes.

Adam Alston’s book refer’s to the concept of ‘elegance’, to mean how smooth the imagined world being created in Immersive Theatre transition’s with practical considerations / restrictions (for example wanting to move people from one room to another to continue the story – tell them to move or entice them in a way that is coherently part of the story). I feel that lighting and devices such as sirens / alarms could have definitely improved the elegance of my production.

Thinking more deeply, my research and thinking are increasingly leading me to conclude that the real aim here is to create events with no limit on their upside – that is scaleable concepts, in order to become subject to Pareto’s law. For that to happen the story must be mostly led by pre-filmed content, which can be used again without additional cost. Replacing expensive DJs with expensive sets and actors isn’t a great leap forward. My emphasis for the next event will be on the digital production over everything else.







Launch of Second Event

I have launched the second major intervention. I have created 3 promotional videos:

And set up 12 adverts for these, with various demographic targeting. Press release has been sent out, and there will be a pre-sale next Wednesday (August 1st). This is a better date than previously with a broader musical theme – hopefully this will do better




Intervention Feedback From Actors

From actors Miranda & Tim, who just completely a full season of Secret Cinema’s Blade Runner and are experienced immersive actors with Punchdrunk, Secret Cinema and more.

Tim and I just sat together and wrote you some feed back. Hope it’s helpful. Please don’t take the negative personally. For a first time immersive event you did a fab job much better than many I’ve done. 


• It was nice to have  the brake out areas to perform more one on one content. Allowed us to drive a lot more detailed narrative in spaces like that. • The toilette pathways was little disruptive when trying to create an atmosphere and deliver content. 

We countered the natural flow of audience going to the toilet at inconvenient times by using the security detail. He would stop them and ask them questions like “do you think it’s your basic right to be able to go to the toilet?” Or “do you have ID?” Or pretending to listen to a walkie talkie. This gives enough time to to be able to send them through where they wouldn’t interfere with the rebel story line. It wasn’t perfect but it was ok.

• The flow of audience to the smoking area is also another pathway to think about and warn your performers next time where. As they are always asked. 

• When you are opening up a new space, like the big room we opened at 10: 20pm. it  can be useful to use the narrative to help that reveal land in a more exciting way. 

• We found with walk about interactions in the big space. it is limited to physical tasks 
As it was too loud to deliver much vocal content. This was absolute fine as the videos where doing that at this point. Although they needed a little more tech support to land right. Personally I think they were too quite. Perhaps a siren or a loud sound that snaps the environment for a moment before the videos. A repeated sound motif used through the event like a school bell to teach the audience to pay attention at critical narrative moments. The videos could also use subtitles. 

• The same tech support is needed if you are going to have a live scene in a space like that. “Find your light” became a catch phrase, when working on The drowned man with Punchdrunk. Its great to perform in dark space’s, but you need pools of concentrated light to be seen in, if the audience is gonna have any clue of what’s going on. 




Post Event

The event was Saturday. I will go deeper with my assessment as more stakeholders are surveyed, but below are my initial thoughts / learnings.

Overall the event was a commercial failure, a creative success and an amazing learning exercise.


There were just over 300 people through the door, which was more than enough to create a great atmosphere (see video above), but more than half were ‘comped’, so the revenue did not cover costs. There were three reasons for this in my opinion:

1) The date was terrible, June 7 July are the worst possible dates for club events, and the week before payday is especially bad; in addition a hot summer exacerbates this, and it’s the hottest summer in living memory.

2) This is a new and unknown concept, which people found confusing (there were people asking online ‘what is it though?’ throughout the campaign. Partially this is good, in that it indicates that this is an original idea, but perhaps I could have simplified the messaging earlier (after the first few weeks of advertising I switched to emphasising the music).

3) The musical theme is an obscure one – that’s fine as a test event, but by combining a challenging concept with an obscure musical theme the potential audience shrinks dramatically.

No new business can expect to be profitable during it’s first ever trading period, so this isn’t disastrous, and I would much rather learn all the other lessons during a low profile event. I am rereading ‘Smarter, Faster, Better’ by Charles Duhigg, the book where I first read about creativity often being the cross pollination of ideas between domains. In his example which inspired this whole concept, Duhigg talks about A West Side Story, and how it brought together different types of theatre. The first showing was held in Washington “So if it bombed, news might not reach all the way back to Broadway”, which I find comforting when reflecting on this event. The Garage is not a high profile venue, and Nu Rave is not a mainstream musical genre I will need to revisit.

The event itself was one of the most stressful days of my career, starting at 10am in the venue. My production team were there all day creating the centrepiece, which looked amazing and did a magnificent job of making the dance floor less intimidating.  

I spent much of the day editing and re-editing the video which contained all the music for the night as well as the visuals and filmed parts. I was using Premiere Pro, a programme I used for the first time on this project, and had spent all week on. At 6pm I was ready to upload it, and the computer said it would take 5 hours to save! Having only used iMovie previously, I had no idea that large films take hours to render – this meant a last minute panic, and having to run the film from within the programme itself. This caused significant anxiety on the night, and the programme froze twice, but it was a minor pause and didn’t affect audience experience.

Audience members on the night arrived and were led into the upstairs room, where there were 9 actors manning tables marked ‘Mars Immigration’. There were told they were not getting full citizenship and given glow sticks and faces painted in neon, as per the script. The ‘secret room’ was used to great effect to recruit ‘rebels’ as per the script also, and the audience were loving the experience. We decided to hold everyone upstairs until 9.30pm building atmosphere and anticipation, and it worked really well. When they went downstairs the dance floor immediately filled up, and the atmosphere was euphoric. The biggest surprise of the night for me was the reaction to the first filled scene. The audience went crazy cheering and celebrating, and booing Elon Musk’s name. It was an amazing moment, and bodes well for the concept in the future.

Several people expressed surprise that there wasn’t a DJ, and in hindsight perhaps I should have had one after the filmed scenes were finished. The pre-programmed music got harder as the night went on, when in actual fact the crowd was thinning, and it should have gone more towards disco than rave in those circumstances. I need to find a way to balance a pre-existing story with the flexibility to react to the night in future.

The actors final dramatic scene which coincided with the final filmed scene had mixed results. Those who saw it loved it, and were cheering the ‘rebels’ enthusiastically, but in a busy, dark, loud club many missed it entirely. The actors felt this could have been overcome using spot lights to focus the crowd on them.

Overall, I am delighted with the experience of putting this on, despite it’s problems. I have never been so nervous before an event, and probably would have cancelled it when the film failed to save were it not part of my Masters – doing something out of one’s comfort zone leads to fast learning, and that has been the story of my summer so far.

Before the next event I am going to research ways to add flexibility to using music and film in a club environment – I think there is a type of CDJ music player which incorporates visuals. I will also make the next event far clearer in it’s explanation from the beginning, and go for a more mainstream music policy. The film / music will be sorted well in advance, and some kind of mini ‘dress rehearsal’ is a must in future. I would like to invest in more actors and more decor / effects on the night, but of course this is budget dependent.

The actors will be sending me detailed feedback this week, as will several promoters I asked to come to the event, and the venue itself. I will send a survey to all ticket holders also.

On Wednesday the second iteration of my concept will be announced – ‘The Electoral College Dropout’, to take place at Electric Brixton on October 5th. I built the website for this today –